GRAMOPHONES

Sun (Auckland), Volume III, Issue 700, 27 June 1929, Page 16

GRAMOPHONES

The Happiness Boys are to the fore again with another merry song, “Sing, Sister, Sing.” On the other side Johnny Marvin is at his best in a melodious number, “Old Man Sunshine.” Both sides of this disc are most attractive. (H.M.V., E.A. 423.) The J. H. Squire Octet give fine arrangements of the popular classics, richer and more interesting than the original piano scores. They make an effective contrast, for the ‘“Chant sans Paroles” is in quiet and meditative mood, while the “Invitation” sparkles with gaiety and excitement. The Celeste Octet are at the very top of their form, and they record as convincingly as ever. Columbia 02805. * * * A record of particularly wide appeal among this month’s issues is a pair of duets by two popular singers in Hubert Eisdell, the popular tenor, and Dora Labbette, one of the principals of the British National Opera Company. Their voices blend excellently, for both are characterised by

subtlety rather than force, and purity rather than volume.' They sing two remarkably clever arrangements of the old. favourites, “Liebestraume” and the “Londonderry Air” to an admirably effective accompaniment by the J. H. Squire Celeste Octet. Columbia 02806. * * * Snappy orchestration, impeccable rhythm and out-of-the-usual parts are the chief features of the latest Paul ; Whiteman disc. “Mother Goose | Parade" is fresh and jolly with its I reminiscences of nursery times and rhymes, while on the reverse one of the latest song hits is effectively treated in the typical Whiteman manner. Columbia 07017. The tremendously popular theme j song, “My Angel” (theme song of the j picture “Street Angel”) is played by Jesse Crawford, who now enjoys the well-earned title of Ihe Wurlitzer King. He is assisted by C. Robeson and his guitar. On the reverse side is “Out of the Dawn” (theme song of “Warming Up”). A male trio enhances the fine playing in this piece. (H.M.V., E.A. 418.) As a rule gramophone humorists “have their day and cease to be,” but Clapham and Dwyer, whose latest 10-inch record is a delicious burlesque of a broadcast programme, are just at the beginning of the vogue, and should carry on until further orders. Their humour is more than mere comic mannerisms. It is clever. And it pokes fun at all types and classes, and squeezes a laugh out of the most innocent situations. This is a great record to put on during a party, when a hearty laugh is wanted to thaw any stiffness. Columbia 01480. * * * Not for months has the writer been so stirred as he was by the playing of Liszt’s “Hungarian Fantasia” by the Belgian pianist Arthur de Greet and the Royal Albert Hall Orchestra, conducted by Sir Landon Ronald. This is an adaptation by the composer from his “Fourteenth Rhapsody.” The chords of triumph, the twinkling descriptive passages, and the perfect balance between piano and orchestra leaves one spellbound. To one who has listened to the big output of great orchestra numbers during the last year, this seems perhaps an exaggeration, but it is certainly not. The glory and majesty of Liszt is unfolded here. The strength of de Greef even in the most difficult double octaves is astonishing. The writer confesses to having played the two records over a dozen times during the first evening they came to hand. No one can fairly ask for more superb climaxes, or for more vivid playing and recording, than there are in this set. (H.M.V., D 1306-7.)

“Merrie England” is one of the few light operas that will easily hear comparison with Gilbert and Sullivan. Edward German’s score is full of fresh, happy melodies, and this selection includes the most popular numbers, played in the Grenadier Guards’ impeccable style. Both in performance and recording this record is a creditable addition to the Grenadiers’ output of “Selections.” Ar e has sparkle and life, and the holiday spirit of the music comes out m the bright crispness of tone. Anyone listening carefully can pick out instrumentalists who would be worth a place in some of the major orchestras. Columbia 02804. * * # Schubert songs, “Whither ” Hark, Hark, the Lark,” “Song of the !it er i“ a ; l ° the Twin Stars” and The Hedge Rose, are sung by John Goss, baritone. (H.M.V. 82686.1 John Goss makes a most seasonable contribution to the Schubert centenary by these four songs. Three of them ve L y well - k nown, but the fourth, _The Song of the Fisherman to the Twin Stars,” is something of a novelty to most people. * * • “The Varsity Drag” and "The Best Things in Life are Free,” fox-trots, from “Good News,” played by Frank Black and his orchestra, with solo and vocal chorus. Perhaps the second side is the better of the two in this record, for one must admit the orchestration of the “Varsity Drag” is a little bit overdone. That Brunswick shines in the dance record department goes without saying, and accounts for a critical estimate being formed of everything they turn out. Hence the above mild comment. 3657 Brunswick.

Two very popular numbers, Caruso’s favourite, “O Sole Mio,” and “La Paloma” (The Dove) are the latest contribution of Rudolfo Mele, a lyric tenor with a large following as a ballad-singer in his native Italy. His voice has an infectious exuberance, and he is never so happy as when he can fairly “let himself go” in a luscious outpouring of sentiment, and while his phrasing is none too carefully worked out, he makes up for it with a natural ease of note production and a masterly breath control. One mentions these technical details because they are the unobstrusive machinery by which he gives the effect of spontaneity. Columbia 01417.

Perhaps the most striking feature of modern light songs and music has been the advent of the theme song. A couple of years ago only a few motion pictures had songs accompanying them, but owing to their popularity, and owing to the increasing desire for vaudeville turns on picture programmes, the theme song has become a vogue, and the producers are paving big prices for satisfactory numbers. This has brought some of the best composer's into the field, and such songs as “Romance” and “Jeannine” have been the result. We have in the H.M.V. list “My Angel” and “Out of the Dawn,” played by Jesse Crawford on the Wurlitzer organ; “Some Day” and “Neapolitan Nights,” ! two dance numbers played by the i Troubadours; “Sonny Boy” and “Jean- \ nine,” sung by Jene Austin; and “Angel,’ by Johnny Marwin. Practically all the theme songs are available ] on H.M.V. records in two or three ! forms.

“March of the Marionettes” and “Lovely Little Silhouette,” fox-trots, played by the Varsity Four. The chief interest of these two numbers lies in the rather unusual combination—xylophone, banjo, saxophone, and piano. Some of the phrases are far from jazzy, as, for example, the introduction! to the march, which has quite an original turn, while the coda of “Lovely Little Silhouette” is in good modern style. The Varsity Four certainly cannot be accused of lacking pep. 3843 Brunswick. * # * Among the latest issues is a most fascinating group of Spanish tonepaintings, full of sunlight and colour and romance. “Ilberia” was composed for piano by Albeniz, and brilliantly scored for a large modern orchestra by Arbos, the distinguished conductor. The movements are founded to a large extent on Spanish dance-rhythms, and only a national orchestra can give the full flavour of this music, as we hear it now. “The Corpus-Christi Festival at Seville,” with its blaze of fortissimo and its final, vanishing pianissimo, sets a severe test for performance and reproduction—a test that is passed with flying colours. Columbia 02800-02. • • * Brilliance and verve characterise the waltz song, “Carmena,” by Dusolina Giannini, a glorious soprano, who is to visit New Zealand this year. She sings with a Spanish-like abandon, and one is carried away with the accelerating rhythm. A marked contrast is provided by the reverse number, “My Mother,” which is given with sympathy and tenderness. (H.M.V. DA930.) * * + “Moonlight on the Danube,” waltz, and “That Melody of Love,” waltz, played by Joe Green’s Novelty Marimba Band. Both these very tuneful waltzes are well played. They feature particularly marimba, vibraphone, and xylophone, in appropriate style for waltz, though it must not be taken that this is the ideal mode of using these instruments in fox-trots. The vocal choruses and recording are equally good. 3826 Brunswick. * ❖ * The traditional air to which Moore wrote his lines, “Has Sorrow Thy Young Days Shaded?” Is surely one of the most beautiful in all the wealth of Irish folk-music. Its charm is enhanced in this arrangement by Clyde Twelvetrees, the well-known soloist of the Halle Orchestra. His expressive tone, which is splendidly recorded, and the refinement of his phrasing, are equally enjoyable in Massenet’s ever-popular “Elegie.” Columbia 01447. * * * A selection from the popular “Lilac Time” Is played by the Adelphi Orchestra (Schubert, arr. Clutsam). Zono., 6086. Here is a skilful selection of the best music from one of the most successful musical plays of recent times. An ideal record for those who favour light orchestral music. * * * “I’m Winging Home” and “Ramona,” sung by “Scrappy” Lambert, comedian. What a delightfully sweet voice and excellent diction Lambert—who numbers his admirers in America literally by the million—manages to combine with an artistic rhythmic style. Recording also Al. 3870 Brunwick. * * * An outstanding yodelling record is presented by Columbia (01360). It contains “Syncopated Yodelling Man” and “Jazbo and his Yodelling Band.” This is yodelling with the real Swiss flavour. Roy Evans, who makes this jolly little record, must have a throat of elastic to tackle that terrific bounce from the bottom register to the top. His yodelling is set off by two very attractive melodies—“Jazbo” in particular. Altogether a first-class record of its sort. “My Mammy” and “Back in Your Own Back Yard,” sung by Al Jolson, rhythmic vocalist. Everyone who has seen “The Singing Fool” heard “Sonny Boy”—and, of course, bought Al Jolson’s inimitable record of that songwill want to see him in “The Jazz Singer,” and hear him sing these songs. Then it goes without saying they will buy this record, if for nothing else but Jolson’s perfect diction, unique sense of style and rhythm, and his colourful if not exactly refined voice. (3867 Brunswick.)