GRAMOPHONES

Sun (Auckland), Volume III, Issue 908, 27 February 1930, Page 16

GRAMOPHONES

Among this month’s H.M.V. dance Issue the following are recommended for their tunefulness and clever orchestration: —"Reaching for Someone” (and Not Finding Anyone There), fox-trot with vocal refrain, played by George Olsen and His Music, and “Junior,” fox-trot with vocal refrain, played by Nat Shilkret (EA 599); “Miss You,” fox-trot, vocal refrain, by Rudy Vallee, and “Heigh-Ho! Ev'rybody, Heigh-Ho!” fox-trot, played by Rudy Valle and his Connecticut Yankees (EA 614); "Am I a Passing Fancy?” (Or Am I the One in Your Dreams?), fox-trot with vocal refrain, and "What a Day!” fox-trot with vocal refrain, played by Ted Weems and his orchestra (EA 606), » V * * Layton and Johnstone sing “The World is Yours and Mine,” and “Dream Mother.” (Columbia 01744). These two fine singers are well up to standard in these samples of American “big hits.” Apparently the world at large is not yet tired of this sentimental output, for this has been one of their most popular records to date. The accompaniments are extraordinarily neat and cleverly played. * * * Mark Hambourg uses the piano to interpret a sincere and artistic expression. Yet one never gets the effect of a merely studied interpretation. His strong touch is also capable of gnomic capriciousness, and there is always a flow of tone. This is exemplified in the poetic gem by Debussy, “Jardins souss la pluie” (Garden under the rain), in which the melody is lusciously ornamented by beautiful shadings of tone. Hambourg realises the delicacy of Debussy’s theme, but maintains sufficient firmness to give the work character. There is tendency in playing Debussy to make the music sound insipid, but there is no suggestion of this with Hambourg. In another charmingly lyrical composition, Liszt’s arrangement of Schubert’s song, “Hark! Hark the Lark,” the pianist brings out both the brilliance of the accompaniment and the sweetness of the melody. The balance is skilful and artistic. (H.M.V., 82990.) * « •

Dealers report that they are making their biggest hits with the following Columbia records: 01793—You’re Always in My Arms (from Rio Rita) —vocal. 01720—Where the Bab-bab-babbling Brook —vocal. 017S0—Love, Your Spell is Everywhere. By Miss Gladys Moncrietf. 017S1—Painting the Clouds with Sunshine: Tip Toe Through the Tulips —vocal, fox trot. 01797—Love, your Spell is Everywhere; Dance away the Night—fox trots. 01754—Tip Toe Through the Tulips; Painting the Clouds with Sunshine — vocaL

The steady output of records by Peter Dawson is enhanced by his latest disc, embracing two songs with an Eastern flavour, the famous “Star of the East,” by Lohr, and “The Garden of Allah” by Marshall. The singer’s recordings of the “Indian Love Lyrics” some time back were most favourably received. Dawson has the rare gift of being able to impart character and atmosphere into practically every kind of song within the range of his voice whether it be grand opera, ballad, or lyric. His robust bass-baritone voice is extremely flexible, and because of this he is able to give the required tone colour to every note. (H.M.V. C 1689.) * * * Trevor Schofield, the boy soprano, sings “Pierrot at the Dance” and “A Song of Long Ago.” (Columbia 01750.) One thing only we look for in a boy soprano, and Master Schofield gives it to us. That thing is utmost purity of voice. This lad has a silvery flutelike quality that would be a delight to listen to, apart from any words or music. Fortunately, he takes his songs with a child-like simplicity; heaven preserve us from youngsters who try and give their immature ideas on expression! His tutor has evidently coached him well in his phrasing, and as he sings two excellent songs, and sings them with delightful ease and clarity, we can truthfully write this down as a highly successful recording. * * * The French music-hall artist, Yvette Guilbert, whose fame and popularity on the Continent eclipses even that of Maurice Chevalier, has made her first record. She has for years been one of the stars of the Parisian stage, and London engagements have also been great successes. She sings a thirteenth century French song, “Pourquoi me bat mon Mari?” and “Ditesmoi si je suis belle.” Those who have seen Yvette Guilbert with her long black gloves and her black dress, her vivid hair and pale face, holding a huge audience entranced, have realised from the performances how great music-hall art could be. Her singing on the record makes such a description easy to realise. The quaint comedy is sung in French, but with such a personality language has no barriers. (H.M.V.) * * • The keynote of all performances by the J. H. Squire Celeste Octet is "satisfaction.” Nobody would claim that they rise to the heights, but they certainly never fall below a very high workmanlike standard. Unpretentious and sincere versions of good music, true in meaning, and melodious and agreeable in harmony, are their stock-in-trade. That is why a popular welcome is assured for their new coupling of the old familiar “Londonderry Air” and Ward’s "The Chorister’s Dream.” One can safely give the Squire Octet a good tune and rely on them to make the best of it. That is sufficient recommendation for most of us. And they always record exceptionally well. Having recorded for so long, and so often, they have obviously acquired a few “tricks of the trade,” which make a distinct difference. Columbia 01508.