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4 'I,
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MI

DANCES
on"His Master's Voice"
GRAMOPHONE RECORDS

Here are the Famous Orchestras whose recordsof the most popular dance numbers appear in"His Master's Voice" January Dance Supplement:

SAVOY ORPHEANSSAVOY HAVANA BANDVARALDI TANGO BAND
JACK HYLTON & HIS ORCHESTRAPAUL WHITEMAN & HIS ORCHESTRARIO TANGO BAND
KIT -CAT CLUB BAND

All these famous orchestras and bands record exclusively
for "His Master's Voice." Ask your dealer to play you anyof their records on the new "His Master's Voice "Instrument

THE GRAMOPHONE COMPANY, LTI)., LONDON, W.I.

Tic \i.7 -'`.T. -Nt.

His Master's Voice

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I

1
I

THE

L,)I

__4(x77-)lay :Sing :"Ukulele
Lullaby "AND"Tin -Can
Fusiliers

A MONTHLY MAGAZINE FOR ALL WHO ARE
DIRECTLY OR INDIRECTLY INTERESTED IN:: THE PRODUCTION OF POPULAR MUSIC. ::Edited by--

EDGAR JACKSON.

ANNUAL SUBSCRIPTION

4/- POST FREE.

UkuleleLullaby"AND"Tin -Can
Fusiliers

91

Published at :-19, DENMARK STREET,(Charing Cross Road),
LONDON, W.C.2.

N O.

VoL. I.

)FEBRUARY 1926.

PRICE 3d.

EDITORIAL.

BIG FUTURES FOR MUSICIANS.
FROM WHERE ARE THE MUSICIANS OF 1935 COMING ?
These are days of mechanical music.
Even the home piano is allowed to get out ofopportunity of history to lay to -day the foundationsof great musical careers. Patiently fostered tuitiontune and stiff from want of use.

backed by the great modern oral advantages

The. family is now gathered round the wirelessset or the gramophone --when it is at home 'atmusic so freely " on tap " will yield an unparalleled

all-atid the home library of sheet music is invariably

out of date ,and neglected. Now the value -of
wireless, the gramophone, and the player pianois quite apparent as an educational force in thepractice of music. It is .obvious that they afford
the opportknity to musicians of studying fromthe works of the world's masters which thesemechanical instruments perpetuate and reiterate
at will. The student may thus endeavour to acquire

the technique of the leading artistes of the day.
t what of the yolinger element ? The youth
our day is steeped in a musical atmosphere,
t never finds time or inclination to learn tb
play anything properly for itself. What will
ren be like in 1935 ? Is there not adanger that in these ten short years

1111

.

ill be a glut of critics and a dearth oformers ?

Undoubtedly there is a big future for embryonic"musicians, both in natural music and artificial
mechanical music, which, of course, must comefrom a human agency. The ignorant young,ilrected by the wise old, have the greatest

provided by the wealth of excellent mechanicaldividend in ten years to come. The demand for
artistes will be greater than ever and, by the lookof things, the supply of talent will be hopelessly
inadequate to meet it.
Thinking people will see the force of the argument
and the obvious trend of this self-evident prophecy.

People who look ahead invariably succeed to the '-flesh -pots of life, and ten short years is by nomeans a long time in which to prepare for so surea success. For both young women and men, evennow, it is not too late to mend. It is a crime against +6

nature to neglect the opportunities that, in somany cases, she has so bountifully bestowed on
inattentive and unforeseeing youth.
The Mozarts of 1926 are now jazzing to thegramophone or listening in to fhe John Henries
instead of creeping with hope to the organ. Insteadof earning proud salaries in 1935 they will, unlessthey wake up, be the merest automatons in thecommerce of life, still demanding entertainment
from the veterans of to -day instead of providing
it for the edification of the musically unendowed.

THE EDITOR.

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MELODY MAKER.

LEADING RECORD MAKERS.

MORE WORK FOR
MUSICAL DIRECTORS ?
We hear that there have been many meitipg,sThere are so many excellent makes of records

lately between the various popular music publishers
on the belated question of performing rights.

FIGHT BETWEEN

on the market at present, with such a uniform
standard of excellence due to the improved systemsof recording, and each, maker has the services ofsuch excellent artistes and bands, that none excels

the other by virtue of these attributes.

Wherethen does the greater success of the one over theother lie ? It is admitted and proved beyond

argument that a good popular title made andplayed on an inferior record by a nonentity bandhas frequently enjoyed a much larger sale to thegeneral public, if not to musicians, than a more
obscure number recorded by a big -feature bandon a first-class make. It is undoubtedly the title
which matters, first and foremost, hence thereason why the leading recording companies
strive their utmost to outdo each other in getting

hold of the big " hits " first.
It will be noticed that Columbia are alreadyout with " THE TIN CAN FUSILIERS " and" UKULELE LULLABY," but that other companies, at the time of going to press, althoughhaving them recorded have not yet listed them.
The Columbia Co. will no doubt steal big sales
on these numbers by this extra " slickness."

In the case of " BABETTE," H.M.V. werefirst out, and reaped accordingly. So keen arethese companies on being first with the " hits,"that they never rest until they obtain a MS Piano
copy of a new number, and will not even wait
for the advance printed arrangements, but score
the number for themselves..
Fourteen companies recorded " THE TIN CANFUSILIERS " before it was arranged, and before
a band part was issued. They all made their own
orchestrations. Even now there is a possibility ofa further successful recording of this number
played from the Lange arrangement which has
now arrived from the States.
That the title is the thing that matters is again
evidenced by the fact that 956,784 discs of " The Toy

Drum Major " have been sold to date, the greatest
number of any tune (excepting, perhaps, " Tea For

Two," which, of course, had the advantage ofbeing in the production " No ! No ! Nanette.")
It was recorded 32 times, twice on Regal andtwice on Columbia.

" Babette " was done twice

on Zonophone and in three different ways on
H.M.V., by Jack Hylton's Band, De Groot's
Piccadilly Orchestra, and as a vocal record by
Raymon Newton, accompanied on the piano
by Billy Mayen.

The same principle applying to the sale of records

also applies to the dance band. Success comes tothe combination which features the right kindof popular music, as well as attains a high standardof technique and playing ability.

On the Continent, for a long time, there has
been no such thing as a " Free for Public Performance " line printed on the bottom of music.
Under the system prevailing on the Continkrit

the composer and publisher are fully

to -day,protected by a society which collects a fee fromany institution which publicly performs thecontrolled works of its members.
Up to now, only a few of the bigger publishers
have been members of the British Performing
Rights Society, so that great houses like Francis,
Day & Hunter, Feldman & Co., and the WrightHouse, who have kept aloof, have never yet

participated in the fees collected from places ofpublic entertainment by this Society on behalfof its members, and who, of course, will be thefirst to admit that they have but a modest
comparative share in a representative dance,
programme.

It is now expected that these great houses andall the other important publishing firms 'will
enrol in the Performing Rights Society when
no doubt new rules will be found necessary to'cover so vast an influx of interests.
In the event of this affiliation by dance music
publishers with the Performing Rights Society
one of the first effects will be to place anobligation on the musical director of any orchestra
to render daily to the Society a full return of all titles

played, a failure to do which might involve his
employer in having his license revoked with theconsequent inability to play without legal penalty
any of the popular British musical works of theday.

A TREATISE ON ARRANGING.
Arthur Lange shows " How."We are informed that Arthur Lange, the world's
most famous arranger of light music, has written

a wonderful treatise on modern arranging. So
far it is not off the machine, but we understandso complete and explanatory is the treatment
the subject, that the work will be big and bul

enough to make it impossible to market it
England under 30s.

How many young musicians-or old ones forthat matter-will have sufficient enterpliSe
invest this sum in so instructive a propositioti, ?
The man with sufficiently open ideas to be willingto learn will find Arthur Lange's book worth not
only 30s., but £50 or more.
Although we are not officially in receipt of thebook, yet 'for any earnest student who cares towrite us we will endeavour to obtain an advanc
copy.

Deadheads won't write-live wires will !

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THE MELODY MAKER.
_1.=commerrr

A TONIC TALK.
A Period of Musical Transition. Beware !
Keep up to date-or get out ! The year A.D. 1926

might be the year B.C. 55 in that it differs somuch from the musical conditions of 1914. Manyof the masters of the pre-war period are thenonentities of these days of new style syncopation.
The little man of a few years ago-is the captainto -day. Look at Jack Hylton-a few years ago
the recipient of a modest salary as a conductorof a touring show. To -day, having advanced on

the wheels of progress-a musical magnate inAdvertisers !Note !
ALTHOUGH

FIRST COPIES OF " THE MELODY MAKER "WERE RECEIVED FROM THE PRINTER ON
JANUARY 15th,andDISTRIBUTION WAS NOT COMPLETED UNTILJANUARY 25th,

the dance band business. Again, a few short years
ago, Debroy Somers was an arranger in a publisher's

BY JANUARY 23rd
OUR ADVERTISERS HAD RECEIVEDENQUIRIES.

raced time and reaped a harvest which gives the
Income Tax man insomnia.

Read what our Advertisers write

office on a salary which worried not the Tax
Comthissioner. He has not stood still, but has
The dignity of the fossilised is the steppingstone for the success of youth. Musicians of advanct

ing years must drop all dignity. They must start
their education again. These are days whenyouth, more than ever, must be served. Middle
aged folk must look young. It is largely a matterof hair and glad rags. Too little hair on the head
and too much on the upper lip and chin are signsof old fashioned dispositions. Reverse thesethings. Yes, wear a wig if Tatcho won't do !
Don't wear a walrus-a tooth brush at the most.
Clothes-well, you don't want to shine in them.
Looking glass pants and snuff stained waistcoats

for the- abnormal
I must compliment you on behalf of.
results obtained by advertising in this first issue. So far it has brought us inover £250 worth of business from obscure towns and villages where the paper
has circulated. . . . I shall continue to advertise in your paper, as I
think it has certainly filled a long felt want in reaching dance musicians, who,in the ordinary course of events, would not read any trade paper.
London.

.

.

.

23.1.20.
We are pleased to tell you that we have already had inquiries about
Saxophones which we advertised in its (" The Melody Maker's ")
.
.

the .
columns.

London.

January 26th, 1926.
We are quite satisfied with the results we have already secured from.
. .
our advert. in your first issue; and are now awaiting to hear from you re
special rate for series.

can be hidden in the orchestra pit, but not in

the dance band. The band of to -day must be seen
as well as heard. The young look as gay as their"THE MELODY MAKER "music.

20,000 COPIES PER ISSUE.
PRINTER'S CERTIFICATE

has a guaranteed minimum circulation of

The old must look young, and gay too.

Home-made socks and trench boots are wise

for the streets, but patent leather and silken hose
are the attributes for the band stand. Man isin his prime at 40 and can look young if he likes.
Keep the mind young. Don't get old and stuffy,
it will re -act on your playing. A well-known
musical conductor who was a force in the musicworld a few years ago, and still is an excellent
theorist, was summarily deprived of his positiona few days ago in a West End Musical Comedy
Orchestra. The young minded Proprietor found
him old fashioned.
Old fashioned mothers are wonderful-old
fashioned musicians are nobody's darlings thesedays. Keep moving-beat the time -piece.
SAXOPHONE QUERIES.

It is with much pleasure that we are able toannounce that we have now completed arrangements whereby the world famous Saxophonist, Mr.

Al Starita, of Jack Hylton's Kit -Cat Band, willanswer through these columns any queries ourreaders may wish to submit concerning Saxophones and matters appertaining to the playing

To the Publishers of.

This is to certify that I have this day completed delivery as per
your instructionsof 21,000 copies of the January (No. 1) issue of"The Melody Maker."(Signed)(All display advertisements are guaranteed facing
matter).
10
FULL PAGE .
HALF PAGE (vertical or horizontal) 5
QUARTER PAGE

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issue.
ssue.

COVER PAGES by special arrangement.
Special discount for series.
All communications to :-The Busine3s Manager,"THE MELODY MAKER,"
19, Denmark Street,(Charing Cross Road).

London, W.C. 2.

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H. A. PERRY.

ADVERTISING RATES :-Maker," 19, Denmark Street, Charing Cross Road,
London, W.C.2, and marked, " Saxophone Query."

Blog

London, Jan. 2001,1926.

"The Melody Maier."

Letters should betaddressed:to " The Melody

Jobs

13-14, Great Sutton Street,
Goswell Road, B.C.',

Sirs,

of these instruments.

About

who will let you have our

We have handed your letter to our Mr. .
copy for the next number without delay.

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THE MELODY MAKER.

4OVER £6,000 A YEAR FOR ARRANGING..

Huge Fees for Arthur Lange.
One of the biggest scoops of the day in the

popular music industry has been brought off by
the Lawrence Wright Music Co., who have secured
a contract with Arthur Lange (a portrait of whom
appears on our cover) to arrange no other English
numbers excepting those published by themselves.

Arthur Lange is also tied up in America with

Messrs. Shapiro, Bernstein & Co., Inc., to arrange

only American numbers published by that firm,and, as the Lawrence Wright people issue forEngland

many of Shapiro Bernstein's American publications, it seems as though they have obtained almosta monopoly of Lange's work, so far as England isconcerned.
The two contracts guarantee Lange a minimumof $30,000 a year, which we believe is thehighest salary every paid to any arranger of music.

Arthur Lange has completely revolutionised
the art of arranging music. His original ideas
have earned for him an enviable reputation. He
is to music what Jack Hobbs is to cricket, andwhat Jack Dempsey is to boxing..

The reason of Lange's success as an arranger isthat he has a wonderful knack of arranging pads
so that the same score sounds equally good on any
combination, whether it be a café band of three
or a full symphony orchestra of forty performers.
His name on any band part is sufficient guarantee
to all musical directors that the number is U.K.,

Mr. Peck :--" A wind instrument."
Mr. Justice Eve :-" What is the other instrument she (the litigant) is playing ? "she played.
.
,Mr. Peck :--" I am told
the piccolo."
Mr. Justice Eve :--;-" What is that ? ,,At a dinner recently given by the Federation of
British Music Industries, the Lord Chief Justiceof England, Lord Hewart, suggested that Mr.
Justice Eve's antipathy to the saxophone might
have been caused through his having at one time.

purchased one of these instruments andendeavoured to play it himself. Only our respect

for the Bench prevents our adding, " Probably."
It is an extraordinary fact, too, that there seems
to be a general tendency amongst the public toregard the saxophone merely as an appendage
to jazz. Actually the instrument was first used
for " straight " music ages before jazz was everthought of. It was invented by Adolphe Saxe as
long ago as 1840. Kastner used it in 1844 in his" Le Dernier Roi De Juda," and Meyerbeer,

Ambrose Thomas and Richard Strauss have also
included it in their schemes of orchestration.

Mr. Josef Holbrooke has written a quartet for
saxophones.

The saxophone has only been introduced into
syncopated bands because, like the Violin, Piano and other instruments, it has a distinct use, and,being capable of producing a striking intonation
without loss of tone and of quick manipulation, isparticularly adapted to this class of work.

and that it can be safely performed with theminimum of rehearsing.
This contract places the Lawrence WrightMusic Co. in the position of having, in the
melodies of Horatio Nicholls combined with thewonderful arrangements of Arthur Lange, thestrongest combination in the popular music business.

" WHAT IS A SAXOPHONE ? "With remarkable persistence," says " The
Evening Standard," " law suits concerning music
and musicians come before- Mr. Justice Eve, whoof all His Majesty's judges is most renowned forbeing unmusical and not a little proud of the fact."

THE CHARLESTON.
It is particularly interesting to note that theCharleston, far from having died a natural death,
seems to have taken on a new lease of life.

It is true we no longer see it featured as aseparate dance like the Fox-trot, Waltz or Tango,

but four or five " Charleston " steps are being
introduced more and more into the Fox-trot bysuch of the better ball -room dancers who havesucceeded in mastering their somewhat intricate
foot -work and swing.
Contrary to general belief, these Charleston" What is a saxophone ? " asked his lordshipin a Chancery case the other day, with the tradi-steps do not necessarily require the special Charleston rhythm music, but can be satisfactorily

tional judicial ignorance, that in this instance wasprobably not assumed. Learned counsel repliedthat it is an instrument resembling a cornet(which is not true) and used in jazz bands (whichis)."
At a subsequent hearing of the same case, the" Daily Mail " quotes the following dialogue
between Mr. Justice Eve and 11Ir. Peck, themeasure) usually occur, and are sometimes accented,

barrister :Mr. Justice Eve :-" Is the saxophone a windor stringed instrument ? "danced to modern Fox-trot time. If one looks
into the matter this is not really surprising as theactual Charleston beats (which are all or any of
the 1st, 4th and 6th quavers in a common timein the rhythmic accompaniment with which the
up-to-date dance bands so often support their
Fox-trot melodies ; being introduced as ". grace "or " lift " notes to the melody notes when these
melody notes do not fall on, but follow, theCharleston beats.

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THE MELODY MAKER.
Thus, in the case of " Araby," the " straight "melody of which is:-

REFRAIN
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the modern Fox-trot rhythmic accompanimentlends to that " straight " melody the effect as
though it might be divided up as follows (theMANN, MEI GM Ma

BIG RADIOSYNCOPATED PIANO PLAYINGHITSCharleston beats being marked*) :tr,
INIaM1111
11111EMMII I P. -CAN BE TAUGHT !
The"EVERY STEP TOWARDSBILLY MAYERLKILLARNEY '1(Song Valse .

COURSE of MODERN SYNCOPATION
for the PIANO
iseasy ----interesting" A MESSAGE ,FROM MISSOURI

quick, up-to-the-minute.

(Song Valsel.

Not merely a list of " breaks "which you may (or may not !)" LOVE'S
iLiebestraum Valse).

want, but everything about syncopated piano playing : how you
can use your own ideas -. notsimply copy other people's. Gives
all Billy Mayerl's own embellishments, and explains how. Covers
the whole field, including the allimportant left hand. .No knowledge of harmony needed.

" WHY DO SHORT MEN
LIKE TALL GIRLS "Valsel" WANDERING ON TO AVALON "eocit-e.n.n.tics

FOR SALE!

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Fo -Trots

134, Charing Cross Road, LONDON, W.C. 2. 'Ei

Phone : GERRARD 3307.

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DANCING ACADEMY.

Blog

//

IN THE PRESS-READY SHORTLY .
" BYGONE MELODY" (Introducing " ZAMPA ") .

Temporary Address :46, Hallswelle Road, LONDON, N.W. 11.

Jobs

4

" TANGOTOWN(French Tango).

THE BILLY MAYERL SCHOOL,

Write!: Box BFA/4, c/o "The Melody Maker,"
19, Denmark Street, London, W.C. 2.

(Novelty Fox -Trot).

Enrol to -day !
For full particulars
and Special Professional Offer, write :Splendid Situation in West End of London.
Consisting of Ballroom, Lounge, Cloak -rooms
and Kitchen.

DREAMII

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That these two new recruits to matrimony
may find all their troubles little ones and theirdual achievements big and lusty is the cordialwish and expectation of all admirers of their
obvious outstanding talents.
***

Scovell and Wheldon have made a great
reputation on the music hall as a double turnwith their excellent interpretations of popularnumbers of the day which make them firm
favourites wherever they appear. Listeners -in
are assured of a turn well worth listening to when
their names appear on the Broadcast programme,

and they are also very popular at the National
Sunday League Concerts, their style of work
ranging from straight ballads to comedy chorus
numbers.
Their recordings, undertaken exclusively by
the Parlophone Co., are achieving large sales ;the most popular being, " When My Sugar Walks.

Down the Street " (E5413) and " San Francisco "(E5412).

THE TRIX SISTERS.

THE ROMANCE OF THE MONTH IN THE
VAUDEVILLE WORLD.

The totally unexpected announcement of themarriage between Miss Josephine Trix and Mr.
Eddie Fields has suddenly terminated one mostsuccessful combination between two vaudeville

ZEZ CONFREY S
MODERN COURSENOVELTY PIANO PLAYING

stars to create an even closer one which we and alltheir countless friends believe will prove as successful as the wonderful partnership of the two sisters.

Congratulations to the new benedict and his
charming wife must be tempered with much
sympathy with Helen in being left for the time
being to her own resources, which no doubt will
prove ample for the successful development ofher new solo career.

Contents include Explanations of 100" Breaks " used by this famous Artist Composer in his compositions and

PRICE

performances, as well as his modern
syncopated waltz solo and his modern

51

conceptions bf some favourite melodiesa

Post Free

All music hall goers know the history of theor direct from-The Lawrence Wright Music Co.,
0041090

DENMARK STREET (Charing Cross Road),
LONDON, W.C. 2.

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From ALL MUSIC DEALERS,

513

Trix Sisters quite well, whilst Eddie Fields, one ofthe original Three Rascals, and during later years,of The Two Rascals, has only just created a further
stir by joining the ranks of Jazz Band Leaders.

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THE MELODY MAKER.
Leslie Hatton, wellknown as one of themost up-to-date juven-iles in the show business, to -day in revue,musical comedy andconcert party, has anenviable reputation.

At present he is ap-

pearing with Francis
Laidler's " Punch andJudy " Show, now
touring the provinces.

Mr. Hatton has a de-lightful way of producing his numbers,

and was one of the
S. Georges

Photo byfirst to feature thatchorus number," Save Your Sorrow."
fine

LESLIE HATTON.

It is safe to say that his interpretation of thisnumber is one of the best that has been heard up* **to the present.
The successes of Mr. Thorpe Bates at the
National Sunday League Concerts and on H.M.V.
Records are too well known for us to expatiate
on them. Recently he has been working withMiss Jose Collins with wonderful results, but
now that Miss Collins is in America he is assisted'by Miss Janet Hemsley, the celebrated soprano.
This excellent combination is appearing at theColiseum, London, at £150 per week, commencing

March 15th, where lovers of really good singing
will have an opportunity of seeing an. act that iswell worth while.
* * *Arthur Roberts' name is one that has been known
in the music hall world for a great number of years.

One of the original Veterans of Variety, Mr.

Roberts, has a little niche of his own in the heartsof lovers of variety. As .a character comedian
he is pre-eminent. One of the most prominent
members of the Eccentric Club, Mr. Roberts,

during the war, realised over £10,000 for the

wounded soldiers by auctioning different articles

whenever the opportunity arose.

He is now

compiling a book of memoirs which will be a very
interesting volume, and should be read by everyone
connected with the profession.
***

Those famous artists, the Two Bobs, Bob

Adams and Bob Alden, are known to theatregoers from Land's End to John o' Groats, and we

doubt if their success in " Bran Pie " has beenforgotten even to this day. For sixteen years

these boys have been together as one of thestandard variety acts. At present they areplaying first-class music halls, their names appearing amongst the headliners. Their present repertoire includes that very big comedy number," My Girl's Got Long Hair," and " Ukulele
Lullaby."OUR MONTHLY MESSAGE.
" SPENDING YOUR TIME."
THE, old saying that time is money is absolutely true. Not until we are middle-aged,
or old, do we fully realise the real truth of this statement.
We are now living in an age where things move along at a very rapid pace andsometimes it seems as. if our days are all too short to accomplish all that we have in mind.
Every musician should devote at least a few hours a month to reading some particular
musical magazine that pertains to his branch of the music field.
A few hours spent in such a way help to keep you keen and up -to -the -scratch in yourline of work.
Be interested in what the other fellow is doing, and then you will see more clearly
how you can make more of your own opportunities.
The town of to -day may be the city of to -morrow and, if you keep well-informed, youwill be in a better position to take advantage of a real opportunity when it comes along.
Try and devote one evening a week to reading " THE MELODY MAKER." Lookover the reading colums and advertisements carefully and see if there is anything listed thatyou can use to advantage-something that will really help you.
You cannot spend your time to better advantage than by reading " THE MELODY
MAKER " regularly. If you are not a regular reader, get aboard at once and join the
many satisfied " MELODY MAKER " subscribers.
Reproduced by kind permission of "The Metronome."

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THE MELODY MAKER.

8" COMEDY SONG HITS
(The Lawrence Wright Music Co.)

..

S

..

..
..
..

..

1' YE NEVER

517 Everyone is familiar with the name of Jack
Cock, who first made his name Pas a football
player, and has been selected for many Inter-nationals. As soon as it became known that
Jack Cock was a vocalist of no mean merit, offers

showered in upon him and he is now touring thehalls, making a very big success with several/9

numbers from the Wright House, including " Why

WRONGED AN ONION..

Care What You Used to be." It makes no difference

Featured by..

ERNIE MAYNE..
..

Don't My Dreams Come True ? " and " I Don't
whether you are a football enthusiast or whether
you love revue, if you see Jack Cock at either you
will see an artist.

and::MY GIRL'S GOT

LONG

HAIR.:..

Featured by.

GEORGE JACKLEYandDICK HENDERSON.
S.

..

X -Large 3K (2125 k 2930).....

. COMEDY SONG HITS

Everyone knoWs George Bass, the famouscomedian, and those who have seen him on thehalls have come away from the theatre feelingmuch happier than when they went in, for who
can sit and look at George Bass without laughing,
and without thoroughly enjoying themselves ?
He recently finished a very successful tour of thehalls in his own revue entitled, Mr. Tickle, M.P.,"and after a few dates in variety returned to revue
again opening at Devonport on the 8th February.
Mr. Bass is the original singer of that big comedy
chorus number, " I've Never Wronged an Onion."
*

*

*

*

*

*

Possibly, Harry Marlow is better known thanany other man in the music hall, variety andtheatrical world. Whilst not actually appearing
on the halls himself, Mr. Marlow is known fromone end of the country to the other as the popularorganiser of the Variety Ball at Covent Garden
and at the Free Trade Hall, Manchester. It
is due to Mr. Marlow's tireless energy that Brinsworth, the home which is supported by the Variety
Artists, is enabled to carry on the good work year
after year and Mr. Marlow deserves credit for themanner in which he carries out his arduous duties.

DO NOT FORGET" BABETTE,""SUNNY HAVANA"& "ARABY"
ARE STILL

AS POPULAR AS EVER.

The famous Lester Bros., Harry and Burton,
appear as musicians and singers in their own
revue, " A Jazz Round Up," a big feature of which
are the ten cowboy syncopators. Upon a recent
visit to the Hammersmith Palace to see thisSing and play these excellent numbers
on every occasion.
You will please your audience.

show it was noticed that Harry Lester made awonderful success with " The Tin Can Fusiliers,"
his original conception ofthis number fairly

bringing the house down. Burton Lester is one of
the most accomplished musicians upon the variety
stage playing no less than six instruments, whilst
singing all types of numbers ranging from ballads
to comedy songs. He also plays the principal
comedy part in the show.

PIANO SOLO, ORCHESTRAL SCORE AND BRASSAND MILITARY BAND PARTS
From

THE LAWRENCE

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MUSIC

CO.,

DENMARK STREET, CHARING CROSS ROAD, LONDON, W.C. 2.

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THE MELODY MAKER.

9SYNCOPATION AND DANCE BAND NEWS.

PAUL WHITEMAN and his SYMPHONIC SYNCOPATED CONCERT ORCHESTRA.

Paul Whiteman for England.
We learn that arrangements are nearing completion for the visit to this country in the early
Spring of Paul Whiteman who, with his Symphonic
Syncopated Concert Orchestra, will give a numberof concerts, probably twenty in all, throughout
London and the provinces.
As will be seen from the above photograph,

which is of Whiteman's Orchestra as it will actuallyappear in England, the combination is twenty-

seven strong, not counting Whiteman himself, andvery different to that with which he appeared at
the London Hippodrome in 1923.
Whereas in London Paul Whiteman will be
represented by Messrs. Lionel Powell & Holt, in
America he is now, and has been since last season,

The Canadian Club Band.
Paul Specht's Canadian Club Orchestra, led

by Orville Johnson, which recently arrived from
Canada on the " Majestic," is now playing at
the Kit Cat Club, London, and proving a great
success.

A ten -piece combination, its members, who

are all Canadians, between them account for

thirty-five different instruments. There are three

vocalists in the outfit, and the leader can singand extemporize on the spur of the moment asong about anyone or anything he notices. Amongthem is also a good ballad singer and a very clever" rag " singer. Art Christmas, the first trumpet,

is also a red-hot " dirt " sax. player, and thewhole crowd is about as lively a bunch as one

under the direction of William Morris, who wasalso agent to Harry Lauder.

could wish for.

may have had some influence in Whiteman recently
refusing the offer of $1,000,000 (£200,000 approx.)

In Canada this band, which has been together
for four years, is the official orchestra for theGovernment House at Ottawa, being under the
distinguished patronage of Lord and Lady Byng

It is said that the agency contract is for five
years and that the prospect of the association
per annum, guaranteed for three years, to playat one of the large Cinema Theatres controlled
by the " Famous Players."

Other bands under Morris' management are

Vincent Lopez' (who recently appeared in England)
and Ben Bernie's, both " top liners " in theStates, and the common opinion is that all three
are now safeguarded from conflict through being
under one direction.
***

Jack Howard, the well-known Musical Director

for the dancing season at Covent Garden andOlympia Ballrooms, goes with his band to theVilla Marina, Douglas, where in June he opens
for the summer season.
***

Presented by Nat Hiamsohn, the popularof Vimy and the Duke and Duchess of Devonshire.

It played three times before the. Prince of Wales
during his visit to the Dominion and is the only
dance band which is, or has ever been, allowed
to use the Canadian Government Crest ; thisbeing equivalent to holding the Royal Warrant
in England.

" Clap Hands ! Here Comes Charley."
When this band opened at the Kit Cat Clubit made an over -night sensation with the newnumber, " Clap Hands ! Here Comes Charley " ;the song piano copy of which is given as the freenumber this month on pages 18 and 19. Its
members invited the audience to clap their hands

Shakespeare -Rutherford Symphonic Syncopatedin time with the music and soon had everyone
joining in the fun. Every band in town, when
it heard about this number, wanted it at once,

Palladium, London.

but on our enquiring of the publishers, the Lawrence
Wright Music Co., we were informed that although

Orchestra is appearing again this season at the
National Sunday League Concerts held at the

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THE MELODY MAKER.

10For Bona -Fide Professional Musicians ONLY.

MEMBERSHIP OF THE

LAWRENCE WRIGHTORCHESTRAL SUBSCRIPTION CLUBMEANS THATFIRSTISSUES OF NEARLY ALL OUR NUMBERS(UP TO 48 NUMBERS PER YEAR)ARE SENT DIRECT TO YOU

THE MOMENT THEY ARE PUBLISHED.
(Dance, Song and Entracte Successes Included).
INSTRUMENTATION.
SMALL ORCHESTRA (all parts fully "cued -in").
PIANO
1st and 2nd TRUMPET.
CELLO.

JOIN
TO -DAY.

TROMBONE.
DRUMS.
3 SAXOPHONES and BANJO.

BASS.
FLUTE.
CLARINET.

1st VIOLIN.
2nd
VIOLA.

FULL ORCHESTRA (all parts fully " cued -in").
SMALL ORCHESTRA AND IN ADDITIONEXTRA 1st VIOLINOBOEBASSOON and HORNS.

SUBSCRIPTION FOR TWELVE MONTHS' MEMBERSHIP.

*FULL ORCHESTRA (with small Orchestral Piano Part)*SMALL,,*TRIO (Piano, and any other Two Instruments)

...

...

...

111

JOIN
TO -DAY.

POST FREE

...
...

£2
1
1

8
16
4

0
8
0

12
6

0
0

EXTRA PARTS.

tEXTRA PIANO (Small Orchestral) to Orchestral Subscription Members only ...
... each instrument-fist VIOLIN, 2nd VIOLIN and all other Extra Parts do.
...
Foreign Subscribers 5s. extra for additional Postage.

Please fill in and return this SUBSCRIPTION FORM.
TO THE LAWRENCE WRIGHT MUSIC CO.,Denmark Street (Charing Cross Road), London, W.C.2.

Please enrol me as a member of your Orchestral Subscription Club for twelve months from date,
for which I enclose £I require* State the arrangement you requiretExtra Parte (if any)
I. State extra parts required

Name of Subscriber..
Pleasewrite in
Block
Capitals,

AddressIf you are already a subscriber kindly pass this form to one of your professional friends.

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THE MELODY MAKER.
they were rushing to get it through it would not
be ready until March, when it will immediately
be sent to their Orchestral Subscribers.
Meanwhile we learn that enterprising leaders
are arranging their own parts from the piano copy.
The Savoy Orpheans have recorded this number

for H.M.V., who propose to issue it probably intheir March catalogue.

Bill Mayerl leaves the Savoy.
Billy Mayerl, the famous young English Pianist,

who for so long has been such a favourite at the
Savoy Hotel, having been with the Savoy HavanaBand since its inception, has found it necessary
to give up his orchestral work. He intends todevote his attention to recording, broadcasting,the halls and, in particular, teaching. The Billy
Mayerl School of Modern Syncopation for the
Piano will be ready to open any day now, andcorrespondence courses have been arranged.

Three separate courses will be inaugurated.

Grade 1 for young amateurs, Grade 2 for amateurs
and the less experienced professionals, and Grade 3
We have been
for advanced professionals.

11

Another Jazz Theatre Orchestra.
Three Saxophones, a Banjo, and a complete
Jazz Brass Section, consisting of two Trumpets,
Trombone and Sousaphone, together with Drums

used on the modern rhythmic principle, havebeen introduced into the theatre orchestra at the
New Oxford Theatre, London, where " Turned
Up " was successfully produced by Wylie Tateon January 28th. Thus, one more producer
has realised the great advantages obtainable byusing the modern compromise between a Jazzand " straight " combination for Revue andMusical Comedy work.

Lupino Lane -Saxophonist.
During the interval the whole orchestra, whichis under the direction of Air. Joseph Tunbridge,
and of which he has cause to be proud, performs
under the baton of that drole comedian, Lupino
Lane, who in turn impersonates with not a little

humour, Jack Hylton, Paul Whiteman and Ted
Lewis. For the latter impersonation he haslearnt the Saxophone, having been taught theprivileged to peruse these courses and can only
say that we consider them indispensable to all

instrument in one month by the well-known

lucidly and thoroughly, and fills a long -felt wantThree Notes -and we make the Tune.

pianists, whether amateur or advanced professionals. The whole subject is treated mostwhich even the best musicians cannot afford to miss.
***

The Ambassadors' Club in Conduit Street,
London, W., is at last pan fait accompli, having
opened on the 28th of last month.
The band, which is led by Sam Raitz, has been

supplied by Mackey & Lowry, and is under the
personal supervision of Percival Mackey.

exponent, Jack Pearce, who is appearing as Tenor
Saxophonist with the orchestra.

Another of this excellent orchestra's feats is
to play a Fox-trot on any three notes, which theaudience is invited to select by calling them out
to the conductor. No matter what notes theaudience chooses-they might be C sharp, E flat,and A natural-a tune is immediately played ofwhich they are the melody. The secret of thisperformance is that every man in the orchestra

IF YOU WANT TO BE KEPT UP TO DATE
in all matters concerning Light Popular MusicFILL UP THIS FORM AND POST IT TO -DAYThe Melody Maker.

To

19, Denmark Street, Charing Cross Road, LONDON, W.C. 2.
Please enter my name as a yearly subscriber to the " Melody Maker," commencing with the(Insert month).

1926, issue.

lIalue 41- in payment of my subscription.

I enclose herewith(NamePleasewrite in
Block

Capitals.

II

etddress
IF YOU ARE ALREADY A SUBSCRIBER, YOU WILL BE DOING A FRIEND A FAVOURBY PASSING THIS FORM ON TO HIM.

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THE MELODY MAKER.

19

NO NEED TO DO THIS IF YOU OWN ALEWIN "NEW PERFECTION" SAXOPHONE(USED BY ALL THE LEADING BANDS).
WE,

LEWIN

BROS.

Are Britain's Largest Retail Dealers,
We have a Large Stock of BUESCHER, CONN,SELMER, MARTIN, BUFFET, and all othermakes of instruments, both High and Low Pitch.
We can supply both NEW and SECONDHAND
INSTRUMENTS and Specialise in REPAIRS TO
ALL MAKES.

WE WILL SEND CURRENT WEEKLY LIST
POST

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ON

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WE SPECIALISE IN WHATWE SELL.
ESTIMATES FREE AND ALL INSTRUMENTS
SUBJECT TO FIVE DAYS' APPROVAL

MAKERS OF SAXOPHONE STANDS.
AGENTS :CAMBRIDGE-

NEWCASTLE-

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55, New Bridge Street.

304, Mill Road.

Hours of Business : Weekdays, 10 a m till 8 p m

BIRMINGHAM-NORTHAMPTONF. COOPER & SON,
34, Cecil Square.

Saturdays 10 a.m till 1 o'clock.

M. ZAIDNER,
4S, Beaufort Road, Egbaston.

Clients who cannot call during

these hours can make an appointment any time at their own convenience, without any obligation to purchase
Ask for secondhand list, ready every Monday. New Lists weekly.

LEWIN BROTHERS,

17, MOOR STREET, CAMBRIDGE CIRCUS, LONDON, W. 1.
'Phone --RE- GENT 6058.

(MONO -MARK BCM/LB 17).

Telegrams: "Lewinsox, Westcent, London.,,..iIMMIL

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THE MELODY MAKER.
is an advanced student:of the theory of harmony,and has, by constant rehearsal, memorised every
possible combination of chords and their relation :ship to each other in the various keys.
Kel Keech, whose bandis creating such a successat the Criterion Res-

taurant, London, is now
busy rehearsing for a big
act on the Halls to open
probably the end of thisRecords is making a great feature of waltzes.

It is able to do so successfully since, owing to its
musicians doubling, the combination of threefiddles, 'Cello, Bass, with, of course, Piano, isobtained..

A New Band at Blanchards.
The place of the Mayfair Four, who, it is believed,month.
The combination is
being increased by a Brass
Section, which will be ledby the well-known trumpet player, Frank Wilson,late of the Palais deDanse, Hammersmith andare to go on the Halls under the name of the" Musical Gardeners," has been taken at theCarnival Club, London, by the New Carnival

Olympia Ballroom, andHotel, Richmond, in the old days, is on the drums.
This combination also plays at Blanchards,

Ben Davis, the saxoLionel Clapper, the Alto

Added toSaxophonist, " Titch " Poster, the Violinist andphonist.

probably including " slow-motion "-to be takenof Don Parker playing his Saxophone, which willshow what a perfect technique he displays whenmanipulating the keys.
This band, which records exclusively on Vocalion

iKel Keech's Band for the Halls.

KEL. KEECH.

13

Tenor Saxophonist and Kekeku, the exponent of
the Hawaiian Steel Guitar, who are already in-the combination, this should give Keech one of

The combination, which consists of
Piano, Saxophone, Trumpet and Drums, is led
by Harry Saville, who is, undoubtedly, one of
Quartet.

the best small dance band pianists we have,and Leo Ash, who was so popular at the Castle
formerly Murray's, Club, where it appears prior
to the opening of the Carnival Club at 11 p.m.
After 11 p.m. its place at Blanchards is takenby the Ginx Five, a versatile combination, whose-the finest bands in the country, and one may'expect " some " show.

Don Parker for the Halls.
The next of the big London bands to appear'on the Halls will probably be Don Parker's, which

is now playing at the Piccadilly Hotel for thedancing and the cabaret and which is at present
rehearsing ,a big act. This act will be practicallya complete Revue in itself inasmuch as the BandDRUM
SOUNDS &be supported by a number of first-classvariety artists and an ambitious setting is inwillcourse of preparation.
Recently, when broadcasting, Don Parker,
through the microphone, invited his invisible

audience to write to him and ask for the perform:ance of their favourite numbers. Seven hundred

SOUND DRUMS
beat of a drum is such a
THEprominent
feature that the

replies were received, and not only will Don
Parker try in turn to play every request, but'will also personally reply to a.11 letters.

quality of TONE has a very marked

It is interesting to note that the most frequently(requested numbers were " Babette " (Waltz) and'" Sunny Havana " (Fox-trot), other numbers

effect on the band's performance.
BE SURE that yours is unsurpassed-insist on Britain's besthigh up on the list being ".Naila," " Araby,""PREMIER DRUMS," and you

and " Paddlin' Madelin' Home."need not worry !

Lips and Hands Worth £10,000.
Nothing if not resourceful is ,lion Parker. He
has guarded against accident by insuring his

lips and hands for 0,000 each.

Opportunity
may shortly be given to the public to see what a_

Call at o3r Showrooms or write far Illustrated Catalogue.

THE PREMIER DRUM COMPANY,:t2,500 hand looks like as arrangements are in-

Z4, Berwick Street, LONDON, W. I.

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THE MELODY MAKER.

1-4

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Makers of the famous "NEW WONDER"

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The SOCKETS or TONE HOLES are drawn up from the body, thus preventing leakage ; they are
not soldered. The edges are rolled ; this prolongs life of pads and ensures airtight covering.
The NEW CONN-FOIL VACUUM PADS are the regular equipment ; seating and closing isguaranteed.
The KEY MECHANISM AND ACTION is easy and perfect.
The AUTOMATIC OCTAVE KEY is simple and instantaneous.
The IMPROVED HIGH " F " KEY facilitates playing in the high register. Very difficult

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More Conn instruments are in use, by the greatest Artistes and Bands, than any
other make.
100 per cent. CONN.
ISHAM JONES AND HIS BAND 100 per cent. CONN.
BERT FIRMAN'S BAND (Carlton Hotel) 100 per cent. CONN.
SOUSA AND HIS BAND AL STARITA, KIT KAT CLUB BAND, HAYMARKET, JOHN BIRMINGHAM'S

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BAND (on tour).
J. RIMMER (Trumpet), JACK PAYNES' (Hotel Cecil) BAND.
VERNON MAYALL (Trumpet), NEWCASTLE -ON -TYNE.
J. CURRAN (Trumpet), TILLEY'S DANCE BAND, NEWCASTLE -ON -TYNE.
H. STANLEY (Principal Cornet), CANTERBURY CATHEDRAL.
J. TILNEY (Trombone), PALACE DANCE ORCHESTRA, BLACKPOOL.

40, GERRARD STREET, LONDON, W. 1.

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Full particulars, illustrated catalogue and price list free on application to :SOLE ENGLISH AGENTS,

THE SAXOPHONE SHOP, LTD

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passages on many other makes are quite easy on the Conn " New Wonder " Saxophones. An
important factor in all instruments is weight. Conns are " just right "-not too heavy-not toolight, and the balance is all that can be desired.

$.,.

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be as perfect as it is possible for a Saxophone to be.

The PATENT TUNING DEVICE allows the mouthpiece a full-length bearing on the mouthpipe at all times ; no choking of tone-no leakage. Accurate tuning to a single vibration.

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The Conn " New Wonder " Saxophones are recognised throughout the World to

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TRUMPETS AND CORNETS,
TROMBONES,SOUSAPHONES.

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THE MELODY MAKER.

15

dance music is in keeping with the high standardsof the Club. This band will be remembered ashaving appeared under the name of the Ginx

Saxophone 'Quartet in " The Bamboula," atHis Majesty's Theatre, and also at the " Little
Club and Murray's Club, Maidenhead. Every
member of the combination, which is now fivestrong, doubles on the saxophone and banjo,

thus the many varied effects obtained give thediversity of tone colour usually only found inmuch larger combinations.

It is interesting to note that the name " Ginx "originated through the various members of theband paying the doubtful compliment of callingeach other a " Gink," which means much thesame thing as the American word " mutt," orEnglish equivalent " Blockhead.'
Welcome Home !

ALFRED VAN STRATEN.

Those who remember

Leon van Straten, theviolinist who led Rector's Capitol Orchestra,and prior to that played
at the Trocadero, London, in 1916, with
Murray Pilcer, later
opening at Murray's

Club and Ciros, andalso appearing at the
Savoy Hotel, will beinterested to learn thatafter a long absence heis returning to London,

being due back about
the middle
month.
LEON VAN STRATEN.

of

this

Early in 1923 vanStraten went to America

to seek his fortune, and was promptly given theleadership of Yerkes' Jazzarimba Orchestra, afamous fifteen piece combination which was thenplaying at the Amsterdam Theatre and Amsterdam
Roof in New York. After a very successful sojourn,

during which he wrote two Ballets for Pavlova,
van Straten took Yerkes' Flotilla Orchestra to the
Wattle Park Palais, St. Kilda, Melbourne, Australia,

where he had such success that he was eventually
made manager and musical director of the concern
at a very high salary.
Now his fortune is made he is returning to visit
the old country and his family.

It Must Run in the Family.
And very little less than that of Leon van Straten

is the success of his two younger brothers, Joe

and Alfred, who are both well-known in London.
Joe made a name for himself with the Continental
Five when at the Empress Rooms, being considered

one of the most up-to-date Saxophonists in the

He was quick to copy the modern

business.

American dance style and after leaving the Empress

Rooms formed his own band and opened at the
Regent Palace Hotel, Piccadilly Circus. He has
left that in charge of his youngest brother, Alfred
van Straten (who is following in his brothers'
footsteps in making a name as a Tenor Saxophonist)and joined that " red-hot " dance combination
with which, under the name of Jack Hylton's(Kettner's) Band, Jack Hylton has supplied
Kettner's famous Hotel.

The First Saxophone in London ?

Adjacent hereto will be found the portrait of Mr.
Victor Vorzanger, the conductor, solo violinist andcomposer who, playing with his band at the East
Ham Palais de Danse, has become so popular chiefly
on account of his very successful broadcasts.

The combination consists of Violin, played by

Mr. Vorzanger ; three Saxophones, Banjo, Trumpet,

Trombone and Tuba, Piano and Drums, thoughother instrumentation is sometimes used, manyof the musicians doubling.
Victor Vorzanger comes of a musical family. His
father was, and althoughover eighty years old,probably is to -day, oneof the finest " straight "saxophonists in theworld.
He will best be remem-

bered, as the MusicalDirector of the Maida
Vale Rink, Maida Vale,London, which opened
in 1908, and where, hisband, in which even in
those far off days saxophones were featured
Mr. Vorzanger personallyleading on that instru-

ment-was the greatfeature and attraction,

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JOE VAN STRATEN.

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Englisht L'i If

VICTOR VORZANGER.

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16

Military Bands.
Quite a stir was caused at a concert at the
Shoreditch Town Hall last month through the
non-appearance of the band of the Coldstream
Guards, who had been advertised to perform.

BESSONThe announcement of their non-appearance was

not made until the performance was about tocommence, and then the rumpus began in realearnest. It seems that the band of the Welsh
Guards, who had performed there earlier in themonth, had not received their fee, which seems
to have been the real root of the trouble.
***

The massed bands of the 92nd London Brigade
Royal Artillery, the City of London Police, and

FOR THE WORLD'S BESTSAXOPHONES,TRUMPETS,
NiedVaBov/MHZ.V=Vi-_DRUMS.

Lieut. Skepelhorn's Military Band gave a fineperformance at the Finsbury Park Empire on
Sunday, January 17th.
***

The band of the 1st and 2nd Life Guards will
perform at the National Pony Society's show at
the Royal Agricultural Hall on March 5th and 6th.
***

Each of the Guards' bands has already booked
several good engagements for the coming season.
***

Send for lists, new and second-hand.

Special terms and attention
to the Profession.
Prompt repairs to all makes.

BESSON

196-8, EUSTON ROAD,
N.W.1.
LONDONThe Hove Town Council has just announced
the engagement of the following bands for thedates stated :' June 7th to 20th. -2nd Battalion East Surreys.
June 21st to July 4th. -2nd Battalion Worcestershires.

July 5th to July 18th.-The Horwich R.M.I.
July 19th to August lst.-2nd Battalion Loyal

Lancs. Regiment.
August 2nd to 15th. -2nd Battalion East

: :Gorleston Beach Committee has engaged the
Yarmouth Municipal Military Band for theseason, commencing on July 5th.
*

*

the

August 30th to September 12th.-lst Battalion

The Musicians' Union has again approached

the Royal Sussex.
This will provide for a season of fourteen weeks(the same as, last year) at a total ccst of X1,910.
***

Whitley Bay, Northumberland, has engaged
the following bands :-H.M. Life Guards, Coldstream Guards, Grenadier Guards, Royal Air
Force and 6th Highland Light Infantry for various
dates, while Liverpool is arranging with the Coldstream and Grenadier Guards' Bands for festival
weeks in the summer, together with the Liverpool
Police Band.

*

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the War Office with a protest against the employment of Army Musicians. (This is a good old" Hardy Annual " that always crops up with thedaisies.)***

The fine band of the. Royal Marines' (Chatham)

played at the Leeds' Grocers' Exhibition fromthe 19th to 28th ult.
***

The band of the Gloucestershire Regimentgave a performance on the South Pier, Southsea,,
on 24th ult.

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Edinburgh Parks Committee will expend 9,000
on band music, and leading Military Bands willappear in the Princes Street Gardens.

Yorkshires.
August 16th to 29th. -2nd Battalion
Cheshires.

About(FAMOUS FORNEARLY A CENTURY>

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THE MELODY MAKER.

The 5th North Staffords (Prince of Wales')17

Bandmaster J. Rylance, on his retirement from
Pemberton Old Band, was the recipient of a hand-

Regimental Dance at Stoke was a brilliant function,and one of the successes of the year.

some presentation.

Oldham Military and Southport Military Bandseach held a successful concert last month.

Bandsmen Mr. Shaw Broadbent and Mr. Thomas
Maude have each been presented with gold watches

One of the very finest bands of the day is theNo. 1 Army Band of Dublin. Everywhere they
perform they have attracted universal admirationby their splendid interpretation of the classics.

* * *Norland Band.
The following bands held their annual meetings

The band is at present on a big tour ; the following

Shepshed,

*

*

*

*

*

*

towns having already been visited :-Kingstown,
Carlow, Enniscorthy, New Ross, and Bray. The
tour of Southern Ireland was a triumph, both inmusic and large audiences.
***

Brass Bands.
Our Brass Band News items are very extensive,
but we can merely mention a few of them. Oneof the most important appointments in recent
years is that of Mr. Willie Wood to the conductorship of the famous Horwich R.M.I. Band. (Congratulations, Willie.)
*

*

*

*

*

*

*

Besses' will be at Queen's Hall, and Finsbury
Park Empire on Saturday and Sunday next 13thand 14th inst.

*

*

*

Truro Town Band is not in a good financial
position at present, but they are enlisting much
public favour and hope soon to be all right again.
***

Groombridge Band will soon have several new

instruments as the band is receiving unstinted
public support.

*

*

*

Aylesbury Printing Works' Band has paid off
its debt on its new uniforms.
***

Mr. C. Denby has just celebrated his 25th year
as Secretary of Cobham Band.
***

During a Concert by the Felixstowe Band at
the Spa Pavilion the electric light suddenly disappeared !

What would you do in such a case ?
**during last month :-Crowborough, Ruskington,
Melton Mowbray, Ramsey, Romford, Cradley,

Hull
Town, Sowerby Bridge, and Dudley (Newcastle).
Blackpool Borough, Ashover,*

The following*

Kibworth Silver Band will hold a contest earlyin the summer.

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bands held concerts during

January :-Camborne Town, Harrow Green, Radstock, Stotfield Silver, Dalton Town, Fodens',
Colne Borough, Birstall Old, Horden Colliery,
Marsden, and Lofthouse and Middlesmoor Band.
***The following brass band contests may be added
to our January list :-Eccles, April 2nd ; Abbey
Lakes (Wigan), April 3rd ; Slaithwaite, April 5th ;Many other coming

and Chepstow, May 24th.

brass band contests will be announced next month.
*This completes our Brass Band Budget for thisissue.

mutes which were then enjoying a great vogue in
America. Feeling guilty of having wasted both
his time and money in buying them, Mr. Hawkes

finally decided to place one in his showrooms.
The mute attracted the attention of a musician
that morning, and, wonder of wonders, every oneof the twelve was sold within two hours andinstructions had to be cabled for more !

Seeing that so many mutes have their origin
in America, it is pleasant to reflect that in Mr.
Herbert Godfrey, we have an Englishman who has
invented some really novel effects. Mr. Godfrey,

for 'over twenty years conductor of the Crystal
Palace Band, has indeed a most fertile mind,
and has produced a series of novelty singing mutes.

Some idea of their variety can be gathered fromtheir name : Pierrot, Sambo, the " Peke " Dog,the Long Clothes Baby, the Toy Soldier, the Blush
Rose and the Yawning Pair.

The Yawning Pair (Man and Woman) consistof an attachment which is easily fixed to a wow wow mute (the only mute to which it is applicable)

producing an unique variation of the wow -wow
effect. While it is purely a " stunt " effect, it isobviously one which cannot fail to create roars oflaughter wherever it may be used.
Mutes for brass instruments have evidently
become firmly established for we have just beenshown an illustrated list of thirty different kinds.
STACCATO.

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,out

*

(Continued from page 23).

during the winter months in Quartet and Solo
Competitions, winning all along the line, andBesses' are both engaged for Liverpool Festive**

for long and faithful service of 36 years with*

Fodens', which has been particularly successful

Weeks.

**

Buxton Borough Council is inviting tenders
for Brass Band Performances in Ashwood Parkfor the coming season.

*

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International Copyright Secured .
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For all Countries (excepting U. S.A. Canada,Australasia)the property of THE LAWRENCE WRIGHT MUSIC r.t, DENMARK STREET.
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Orchestral Parts of this Number are in Press and will be sent to Members of the Lawrence Wright
Orchestral Club in March.

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THE MELODY MAKER.

20

THE SAVOY ORPHEANS IN THE PROVINCES.

WHAT THE AUDIENCE DID NOT KNOW.
An interview with Mr. Debroy Somers.

the drip, drip, drip of the rain Ivhich had now
found a receptacle in his fiddle, didn't fit withthe rhythm of the tunes we were playing, so I
sacrificed him to the audience and hauled him
back. It didn't sound so bad on his soft skin,
but I eventually had to heave him out just as hewas going down for the third time.

" At Leeds, nothing much happened, but at

Bradford some prominent citizens with whom I
lunched, not wisely, but.
.
well, you candraw your own conclusions (I just love Bradford,
and hope to return soon), tried to get one overon me. As far as I remember, they wagered me.

I wouldn't play an old Yorkshire song called,' On Ilkla Moor 'baht 'at,' which they hummed
to me, and which, they informed me, the whole

Fordshanz & Bonfield.

Mr. DEBROY SOMERS and his Son TONY.

" Yes," said Mr. Debroy Somers, after he had
let me in, mistaking my name, as he afterwards
admitted, for that of a rich relation, " many

little incidents which may interest and amuse
your readers occurred during the tour of theProvinces by the Savoy Orpheans.

" Our first concert was held at the Dome,'
Brighton, on January 1st. It was originallyarranged that a fleet of aeroplanes should carry
the band and instruments from place to placethroughout the tour, but the weather was so
terrible that the idea was abandoned, and wetravelled by motor and train.

At the r Dome,'

Brighton, we experienced a little difficulty, which,while it did not seem to damp the ardour of theaudience, soaked some of the Orpheans and theirinstruments. As a result, I am expecting theRoyal Humane Society's Medal for rescuing
Batten, the violinist, who, as he cannot swim,
was having a particularly trying time from therain which persisted in steadily leaking througha number of holes in the roof, one of which was,unfortunately, directly over his left ear. As amatter of fact, Batten did attempt to move but

audience would sing-if they recognised it. Not
being exactly in a state to rise and bow unaided,
I ignored the ccmpliment and proceeded to takedown the air which late in the afternoon (having
sufficiently recovered) I was able to score and thatnight, after explaining to the audience that it wasdone for a wager, the Orpheans played it.
Apparently, the audience must have recognised
the tune, as their singing nearly raised the roof.
I had avenged my honour."" But," I asked, " what does that mean, ' On

Ilkla Moor 'baht 'at ? ' Mr. Somers looked puzzled.

" Really, I'm not quite certain myself," he said," I think we'd better ask Norman." With whichremark he disappeared to return in a second withMr.

Norman

Long,

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announcer at the Orpheans' concerts, is so wellknown to all.
" Translated from the Ancient Greek, Hebrew,
and original Latin from whence .
" beganNorman.

" Excuse me," I interrupted, " I would like to

know

.

.

.

" Yes, I know you would, and if you will giveme a minute I'll tell you," answered Norman.
" Now, where was I . . . Oh ! Yes. Inter-

preted, r On Ilkla Moor 'baht 'at,' means that acertain gentleman, or gentlemen-it is immaterial
to the discussion on hand, which-was, or were,as the case may be, standing on a certain wellknown moor in Yorkshire called. Ilkley,' andfurther, this gentleman, or gentlemen-again

it doesn't matter which,-was, or were-also as
the case may be-minus his or their headgear.
You see it's quite simple."al Looking for the HTML code and photo file link? Check out this FAO.

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THE MELODY MAKER.

my wife-every seat was sold. In fact, it was.
just as I was coming away from Sir Herbert.

"Yes-s-s," I answered.

And to show I under-

Marshall's shop and booking office that I ran into,stood I opened the door
and pushed him outside.
Mr.

Somersmy old friend, Horatio Nicholls, who, noting, I
suppose, my glum look, agreed he couldn't see
anything to laugh at either.'" I suggested we should go and have a . .

laughed.

" Norman is irrepressi-

ble," he said, " but hemeans well, and, except
on certain occasions, isharmless. But let me
continue."" It says a good deal forthe popularity of the

I should say, go for a stroll round and, over a glassof . . . I mean, whilst looking in the shop windows, I told him we were rather short ofOrpheans that in

It was then that Horatio Nicholls rose to
the occasion, and between us we did what I thinkmust constitute a record. It was then about

immediately on myturned out. Nicholls and I returned to the hotel:
and he sat down and composed me a new number there and then."tunes.

S. Georges.

NORMAN LONG.

-

three o'clock-I know because we'd just been.

Manchester, although I
went to the agent's
Photo by.

arrival, I was unable tobook a seat at eitheroftheconcerts(Continued overleaf).

for

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NO MAN'S MAMMA.
OH ! HOW I'VE WAITED

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HITS OF THE SEASONARABY.

ONE STOLEN KISS
(Valse & Fox-trot).

041
4140

00
4141
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(Issued to Orchestral Subscription Club Member)

WHICH WILL BE THE FOX-TROT

Issued in December,
1925.

00
00
00
00
00
00
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THIS MONTH'SFOR YOU.
PRETENDING.
MOONLIGHT.
ROW ! ROW ! ROSIE.

THE TIN CAN FUSILIERS

By the World Fatuous HORATIO NICHOLLS who has composed a worthy
successor to " Toy DRUM MAJOR."
Arr. by ARTHUR LANGE.
1111091.1311=_

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Issued in November,
1925.

400

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SUNNY HAVANA.

041
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UKULELE BABY.
NO ONE.

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UKULELE LULLABY (Fox -Trot)
By GENE WILLIAMS composer of WvomiNt (Walt::).
Arr. by LEIGHTON LUCAS (Arranger to I Aci: I iv!.r,>>:).
fa0a=0Miii

BABETTE (Waltz).
STEPPIN' IN SOCIETY.

WHAT DID I TELL YA ?

CUDDLES AND KISSES.

By WALTER DLNALDSON.

and

011

00
00
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Issued in October,
1925.

410
410

00
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Arr. by ARTHUR LANGE.

DOUBLE NUMBERI

andHEADIN' FOR LOUISVILLE
By JOSEPH MEYER.

Arr. by ARTITVR LANGE.

SAVE YOUR SORROW.
PADDLIN' MADELIN'
HOME.

O 0
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HIGH ST. AFRICA.
PANGO PANGO MAID.
EVERYTHING IS HOTSYTOTSY NOW.
MAYBE YOU WILL.

410
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1041
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Issued in September,
1925.

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CHEATIN' ON ME.
YOU'RE SO NEAR.
AWAY FROM YOU (Waltz).
THE PRISONER'S SONG
Waltz).
WHAT A LIFE.
I LIKE YOU BEST OF ALL.

00
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WAIT 'TILL TO -MORROW NIGHT
By LESLIE, PALMER & WOODS.
andArr. by ARTHUR LANGE.

DOUBLE NUMBERI

andI'M ON MY WAY TO DREAMLAND
By AB. GREEN.

Issued in August,
1925.
SALLY'S COME BACK.
WHEN THE GOLD TURNSTO GREY.
HAY ! HAY ! FARMERGREY.

I WANT TO SEE MYTENNESSEE.

Full Orchestra 3/6.
Small 3/- per set.
Extra parts :-Pno. Cndr. 1 6. Other parts 6d. each.
OF ALL MUSIC DEALERS or direct fromTHE LAWRENCE WRIGHT MUSIC COMPANY,
19, DENMARK STREET, LONDON, W.C. 2.

00
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Issued in July, 1925.
I LOVE THE SUNSHINE
Waltz ).

RAIN OR SHINE (Wa:tz).
THE KING ISN'T KINGANY MORE.
I CAN'T REALISE.

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Issued in June, 1925.
BOUQUET.

MAGGIE McGHEE (Waltz).
WHY DON'T MY DREAMSCOME TRUE ? 'Waltz).
MEET ME IN THE SPRING.
BEAUTIFUL PAY DAY.

41044

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410
00
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00
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410

00

Issued in May, 1925.

00
00
Se
00
00
O 44

TOY DRUM MAJOR.
SWEET LITTLE YOU.
THE ONLY, ONLY ONE.
BIG BAD BILL.
NOBODY KNOWS WHAT

A RED HEAD MAMMA
CAN DO.
WHEN MY SUGAR WALKSDOWN THE STREET.

Arr. by ARTHUR LANGE.

O 0

00
00

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04
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440

011
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041
00
041
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410
00
00
410
040

Issued in April, 1925.

00
00
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1140

SHANGHAI.
IT'S A MAN EVERY TIME.

ANY OLD TIME AT ALL(Waltz).
SAN FRANCISCO.
DADDY'S DREAMTIME
LULLABY.

00
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THE MELODY MAKER.

22" Quick work," I suggested.
" Yes," said Somers, " but you know Nicholls-is a hustler, and he just bubbles over with melodies.
That chap can give you on the spur of the moment

the right kind of music for anything, no -matter'what it is. I never knew such a fellow. Well !
to continue, he wrote me this melody, and on any"WRIGHT".odd bits of paper we could find we orchestrated it.
Of course, Norman had to have a finger in the pie,

PIANOFORTE.and write some words. You know Norman always-said that Nicholls had written about every place

TUTOR

so to keep him quiet we made him find a title

in the world except Chorlton-cum-Hardy and

Ashton-under-Lyne, and when he'd made tunes

for these two places he'd retire.

Apparently,

Norman felt Nicholls was due for retirement so---7

he put him one stage nearer it by calling the;number, Chorlton-cum-Hardy.' Here it is, and':-..ii.-.11:s.f.-:.r.Z..v.-A...,7..rz;-2,grr.

WRIGlir

P174NOFORTE

Am%

-

-

.

TI1E

here are Norman's words," and he wrote for me :icktvit-'4,47V

4 Aez...41., t".n.r

PRICE

2/6

I TUTOR-

atr

By
ALBERTOSWALD

4.)

NET.
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spew .

Chorlton-cum-Hardy, I love you so,
Always it's raining we know,With fog, hail and thunder and snow.
The sun shines so seldom,
Fine days are few,
Yet my dreary Chorlton-cum-Hardy
I'm coming back to you.

Introduced by-

WILHELM BACKHAUS'Tne Renowned Pianist).

FOREWORD" Well, we worked like niggers, the three of us,"

HORATIO NICHOLLS-went on Somers, " 4nd at 5.30 that afternoon
the number was broadcast from the Manchester

station by Norman Long to the accompaniment of
the Orpheans. A number written and composed,
orchestrated and played to about 1,000,000
persons in little over two hours.
E. J.

ZEZ CONFREY'S

'4:4

II

?1\.FIR_LcAN SUITE

F.:-.oris Composer'.

The Easiest and Best Pianoforte.
Tutor in the World
Scientifically compiled on the latest
approved method of instruction.

for PIANO.

3/ POST FREEKINDA CARELESS :: HIGH HATTIN'MISSISSIPPI SHIVERS
Three vivid and characteristic " On the Levee "oddities in this famous Composer's most brilliant
style.

3!2
Obtainable from--BLUESCONTAINS MANY NEW FEATURESFROM ALL MUSIC DEALERS,
Or direct from --THE LAWRENCE WRIGHT MUSIC CO.,ALL MUSIC DEALERS,

Or direct from-19, DENMARK STREET C'lcring C-:1,
LONDON. W.C.2.

THE LAWRENCE WRIGHT MUSIC CO
DENMARK STREET .Charing Cross RoadLONDON, W.C.2.

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THE MELODY MAKER.

THE
PROGRESS OF THE

MUTE.

Muting brass

instruments was nota general custom be fore the War, though
Wagner has fre-quently used themas comic effects in"Siegfried" and the"Meistersingers."

Special Offer toDance Bands
SPECIAL OFFER of
the famous FT. & S.

The influence of themodern dance band
has, however, amarked effect on

Wow -WOW Muteiscertain other music-

made

of

the mute, as withTHE YAWNING MAN
Attachment for Trombone.

toreaders" The Melody Maker "for the period of one month only.

al instruments andappliances.

According to the estimable Grove, brass instru-

ments can be muted in three ways. The firstand most effective is the introduction of theTHEto the manufacture of the present-day mutes

H. & S. WOW -WOW
MUTE for TRUMPET

closed hand or a rolled -up handkerchief into thebell. The other two methods are those that led

as we know them.
Though mutes have been used in most American
dance bands for some years past, it is only lately(ALSO SUPPLIED

they have been taken up here in great numbers.
Not so very long ago, I remember a well-known
British dance band which had a long engagement

FOR TROMBONE).

The WOW -WOW MUTE is made of spunaluminium, extremely light and marvellously
effective. Unlike other mutes it has the great

at a west -end theatre, using about a score ofdifferent mutes.

Everyone of these was, I believe,advantage of being well in tune and further canbe played as an ordinary mute by simply detaching the cap, and is even then still in perfect tune.

especially made or devised by the players themselves. For instance, one of the most effective
was an ordinary bowler hat, and this ready-mademute is now used very considerably.

Every up-to-date player of dance band instruments must possess a number of mutes in addition
to his instrument. Simply one or two mutes will
not do nowadays. The modern player must be
prepared to use every kind of mute, and novelties

SPECIAL OFFER PRICE.
Nett.
10
Wow -Wow Mute for Trumpet
Wow -Wow Mute for Trombone 17:6 Nett
POSTAGE FREE IF YOU USE COUPON.

are constantly being produced.

Most of the latter provide " stunt " or- comic
effects as against the " straight " mute, whichmerely softens the tone of the instrument. As
nearly all these mutes come from America, it
would appear that the American public cannot
bear to listen to the pure tone of an instrument
for long ; their restlessness demands constantchanges in the way of " stunt " effects !

There is an interesting story about the WowWow Mute-perhaps the most popular of all justnow. The wow -wow was first introduced into
this country by Mr. Ralph Hawkes, of Hawkes &Son, a little over two years ago. On his returnfrom New York, Mr. Hawkes tells us, he brought

Name of Dance Band
Name and Address of
Leader or Secretary

Trombone 'Trumpet

Wow -Wow Mute
(Cross out instrument not required).

I require a

Name of actual purchaser
Address

To HAWKES & SON, Denman Street, LONDON, W.1.

with him with great trepidation twelve of these(Continued on page 17).

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THE MELODY MAKER.

GRAMOPHONE RECORD MAKING.
By PERCIVAL MACKEY.
Scoring for the Gramophone.
Although probably it is not generally recognised,

it is nevertheless a fact that the majority of thework necessary to make a successful record has
to be done long before the artiste, or artistes,
reach the recording room.
In the case of a dance record the arrangement.of the number has to be undertaken. This is
usually done by, or under the personal supervision.of, the leader of the band who .merely receives
the name of the composition and-if he is lucky-

the ordinary published band parts from thegramophone company. for whom he is to record.

Now these ordinary published parts are, ofcourse, quite all right in themselves, but thegramophone companies naturally prefer to have.an - arrangement differing to that which is-universally played so that their. record may have.a distinctiveness, and, even if this were not the.case, most Dance Band Directors not only like-to have something different to their competitors,
but also, by re -arranging a number, can score it
to suit best their instrumentation and also allow
each of the various members of their combination
to shine in his especial manner. Practically every
jazz musician has an individuality of his own whichscan be used to best advantage when his part,

particularly where he has a solo to take, is scoredto suit his special style.
The modern methods of recording, at any rate
those employed by the Columbia Co. for whom,
as you know, I record exclusively, are now so
perfect that it is quite unnecessary to remember
when arranging that the score is for the gramophone. Any arrangement that is satisfactory-for ordinary purposes may be taken as equally:so for the gramophone.

In earlier days, however-and not so long ago.either-this, unfortunately, was not the case,one 'reason being that whereas now the processof making a record is performed before a microphone similar in its relative position to the bandto that through which one broadcasts and so
allows the musicians to be seated at their easewith plenty of space, until recently the instruments
were played into. trumpets. There were usually

only two or, at the most, three of these roundwhich all the members of the band had closely
to group themselves, and this often resulted, whena large combination was playing, in such overcrowding as to make playing almost impossible
and certainly there Was no room for musicians tohurriedly change their instruments, or to- movea Looking for the HTML code and photo file link? Check out Ibis FAQ.

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Report abusenearer to, or recede from, the trumpets without
knocking into each other, as was then necessary
to bring out with desired prominence the solo

parts from the accompaniment.

An Oversight and Some Trouble.

I remember that in one arrangement I made, I

overlooked this with most unpleasant consequences,though not to myself. I had so arranged the scorethat my three Saxophonists had to change, overto Clarinets, and had only two bars in which to
do it. In their hurried movements, being too
close together, they bumped each others' heads

and the recording had to be stopped, while afree fight ensued. As one of those involved happened

to be an ex -prize-fighter the m glee did not longcontinue, and I won a fiver off the Banjoist
because I knew the form of the combatants.
(Continued overleaf ).

LEARN TO PLAY THE"BANJULELE" BANJOAND

UKULELE.

Lessons given in cur Studios byWorld Famous Teachers on the" Banjulele " Banjo, Ukulele andHawaiian Steel Guitar, etc., etc.
INSTRUCTION SUPERVISED PERSONALLY BY

ALVIN

D.

KEECH.

WRITE FOR PARTICULARSKEECH STUDIOS,

ii

42, OLD BOND STREET, W.1.
Telephone : REGENT 4110.

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THE MELODY MAKER.

Another reason why in the olden days thegramophone had to be remembered when arranging

parts was that the balance of tone was often distorted and it was sometimes quite a difficult
matter to get exactly the right proportion. Close
harmony in middle parts would sometimes completely overshadow the melody in the finishedrecord, although it sounded all right when listening
to the actual playing.

Selecting the Musicians.
'Whilst, then, the fact that the arrangement

is for a gramophone need not now -a -days worry
anyone, the selection of musicians for a recording
band has to be most carefully considered. It is an
extraordinary fact for which I can really give no
definite reason, that a musician who may soundexcellent when you hear him play personallyvery often records extraordinarily badly. Thisapplies particularly to Saxophonists and only ina slightly lesser degree to Trumpet players andTrombonists. As a rough guess I should say thatreally it is because some of these musicians do notblow into their instruments properly and consequently get an incorrect vibrato which, owing
to the fact that the gramophone is not so misledby overtone as is the human ear, causes a sustained
note, when reproduced through the mica, to comeout as it really happened to be played, namely,
almost broken or very nearly a series of short25

notes instead of the one long one. Anyway, I
have found that the saxophonist who records
best is one who can sustain a note perfectly in tune

with the minimum of vibrato and this remark
applies almost equally to trumpet players andtrombonists.

Drums are the one set of instruments whichcannot be used in recording in anything like thesame manner as they are when playing to an
audience. This is because the notes of these

instruments induce a sound wave, the vibrationsof which are so long that they have little or noeffect on the sensitive diaphragm which is the earof the recorder.
The Bass Drum does not record at all-at least,
it merely gives a dull rumbling sound nothing likeit really is, and the side -drum, although recordable
for solo work (such as is found in such numbers as" Toy Drum Major ") only succeeds in blurring

the general rhythm when used in conjunction withother instruments. When recording all the
drummer has to do is fill in the cymbal beats andnow and again perhaps add a few effects such as
clog -box, chimes and such like. I know of adrummer who drew his recording fee-five guineas
in this case-for playing just one beat on a cymbal,
and if ever they stop using pianos in syncopatedbands I shall try to be a drummer-at least when
the band is playing for the discs.
PERCIVAL MACKEY.

I

yanrschrg.

SAXOPHONES
EASIEST TO

THE

PLAY.

PERFECT IN EVERY DETAIL.

USED BY ALL DISCRIMINATING PLAYERS

IN THE BEST DANCE ORCHESTRAS.
Write for Illustrated Lists and Prices of

Buescher
SAXOPHONES, TRUMPETS and TROMBONES,
To the London Agents

CLIFFORD ESSEX & SON,
15A, GRAFTON STREET, BOND STREET, LONDON. \Ata Looking for the HTML code and photo file link? Check out this FAQ.

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75)

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Thumbnail 77

"'

7 in

.

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Large 1024 (747 1024)

500)

Medium 640 (467.640)
Medium 800 (583.800).

Large 1600 (1166

X -Large 3K (2123 2912)

1600)

Large 2048 (1493 2048)

26

EchoesTHIS IS ONE OF
THE " WRIGHT" SERIES OF
RHYTHMIC PARAPHRASESOF THE CLASSICS.
Arr. by ARTHUR LANGE.

Prices :Of Ireland

PIANO SOLO
FULL ORCHESTRA -2- 5 -SMALL-

1st Violin

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(Charing Cross Road) London W. C. 2. Telegrams "Vocahie Westcent London'? Cables"Vocable London?

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THE MELODY MAKER.

'28

I

swit
demaltds
BERT
RALTONand his famous

When you play a" Boosey " Instrument

HAVANA BAND

you play the besta fact easily provenare equipped with a set of

BOOSEY'S
INSTRUMENTS.

by comparison.

Read Mr. Ralton's expression of appreciation :LONDON, 14TH JANUARY, 1926.
I

take great pleasure in informing you that the set of

Boosey instruments with which my entire Havana Band has
just been equipped have more than met with my expectations.

DRUMS

TRUMPETSTROMBONESSAXOPHONES
CLARIONETS

They are without a doubt one of the finest sets of instruments
I have ever seen besides being most satisfactory especially inworkmanship and intonation which is such a valuable asset

in our Music -Hall and gramophone work.
Personally, I have used your Saxophones for the past several
years and have found them splendid instruments.
Thanking you for your promptness and courtesies extended
in all our dealings and wishing you continued success."BANJOS.

Bert Ralton,
Director,

Havana Band.

14/rite to " A" Dept.
for Illustrated Lists.
Please state Instru-

ment in which you
are interested.

FOLLOW THE LEAD OF THIS FAMOUS BAND AND MAKE
YOUR CHOICE FROM THE INCOMPARABLE RANGE OF" BOOSEY " INSTRUMENTS.

00SEY&C?
295 Re era S-

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THE MELODY MAKER.

29

THE ORIGINAL HAVANA BAND.
It's inception and some experiences with it.

By

BERT R ALTON.
the first large dance band to fea tore saxophone
and the banjo.

This band had recorded for the Columbia

Graphophone Co. (of America), and it was at their

instigation that it went east-that is to say, to

New York, where, at the Hotel Biltmore Roof,as a novelty, it created a sensation. Can you

imagine it-a Jazz Band as a novelty in New York !
Nevertheless, it is true.

About this time I was beginning to realise to
the full the enormous possibilities and greatneed for more dance bands of this type, and in
1919 I left Hickman's Band in New York andwent to Havana, Cuba, where I organised a bandof my own, and spent a short, albeit very successful,season.
BERT RALTON.

The Evolution of Jazz and a Saxophonist.
Although there have been dance bands, orLondon Calls Me.
But the " wanderlust " again came upon me(I'm afraid I shall never settle down), and I

almost since the world began-certainly since

first port of call.

perhaps I should say, some form of dance music,

decided to make a world tour, London being themusic in any form originated-the " Jazz " ormembers of my band for companions, a letter ofsyncopated dance band really originated in
New Orleans, one of the southern of the,United States of America, where small outfits,comprising usually three or four instruments
manipulated more or less successfully by negroes,
were becoming increasingly popular on accountof the excellence of the rhythm they produced,
even though other qualities were lacking. But
rhythm alone, as we all know, is insufficient tosatisfy the educated ear, and the advent of thewhite man into Jazz marked the commencementof the struggle to perpetuate the spirit of thenegro rhythm and at the same time introduce
and maintain the many other qualities which
the great classical masters have shown us to bemusic. Each day we get nearer perfection, and I
hope I may say I am doing my best to help " rear
the baby.'
Born in Minnesota, U.S.A., educated in Chicago,and later in California, I was always a lover ofmusic, and after a boyhood in which it was mychief hobby, I joined, in 1918, Art Hickman's
Formed in San Francisco, California,Band.
this combination was then quite a novelty, being
the first to be organised as a full size ten -piece
jazz band as we understand it to -day and possibly

introduction to Columbia's London Manager,

who I was told would show me round, and no
idea of doing any work-my sole object being to
see the world and pick up new ideas on music.
However, " Man proposes, and (in this case)Columbia disposes." On my arrival here I was
asked to form a band for the purpose of recording

and waslintroduced to the management of the
Savoy with a view to starting a modern danceband for that famous Hotel as well. Perhaps you
remember the result. With six instrumentalists,
the Savoy Havana Band was inaugurated, finally
It wasn't an easy fob.
becoming ten strong.

There were few English musicians at that time

whom jazz had really reached, and I had toselect those whom I considered would be capableof handling music of this type, purely on
their straight musical abilities. All I can say
is they picked it up wonderfully quickly and all

still in this country are to -day at the top of theladder. Thanks to the way all the English boys
worked, the Havana Band became most popularand was the very first syncopated orchestra, since,

the original Dixieland Band appeared here in
1917, to appear on the music halls, obtaining amost enthusiastic reception at the Coliseum,London at the end of 1921.

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THE MELODY MAKER.

30

Photo re, ro face I hi kind p, mission%Ic:rs. B5:;c11 a &e,CO.

BERT RALTON and his " ORI :ANAL HAVANAFor two years I played, or rather worked, atthe Savoy Hotel, providing dance music for its
patrons, playing the music halls, recording andbroadcasting, at the end of which time most of
the band and myself went over to the Continent,
appearing at various theatres and clubs, including
the Kursaal, Ostend, and the Alhambra, Paris,

BAND.

ARTHUR LANGE'S
Rhytl!mic Par7pbrases of the Classics-7 7_

at which latter place I stayed five weeks.

AND INTERMEZZOS

FOX-TROTS

The Band arrives in Australia.

;ed aswas destined to continue my wanderings,
however, and towards the end of 1923 signedI

icontracts to go to Australia, arriving at Melbourne
on the 23rd of November.

It was originally intended that The Havanarant, Sydney, and also play Musgrove's Tivoli
Circuit, but the former was not quite ready on
our arrival so we filled in time at various musichalls, including the Tivoli, our stay in Sydney
extending over a year, after which I signed con-the band and myself, had the longest and mostsuccessful season any band has ever had there.

From Australia we went on to New Zealand

where

we

were

most

enthusiasticallyhailedand certainly had a wonderful season. A roadshow was organised called " The Havana BandShow " which consisted of eight other turns,
with the Havana Band as the big feature. Originally
we intended to remain in New Zealand six weeks,

but we finally stayed sixteen-this speaks wellfor the show. No band had ever been able tocontinue for longer than eight weeks, and I wasafterwards told that we were a source of greater
profit to the management than any of our pre-IL TROVATORE "I"ECHOES OF IRELAND"
These perfect exampies of modern scoring
SATISFY THE PUBLIC DEMAND FOR
RHYTHM WHILE ENHANCING THE
BEAUTYOF

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COMPOSITION.

PIANO SOLO
FULL ORCHESTRA

SMALL

Do.

-

-

-

-

2/5/-

-

-

3/4

Postage Extra.

FROM ALL MUSIC DEALERS OR
THE

LAWRENCE

WRIGHT MUSICCO.,

DENMARK STREET, CHARING CROSS ROAD, LONDON, W.C. z.

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Suitable for Dance Bands and Large and Small Orchestrasof all kinds. 1A11 parts fully "cued in").

decessors.

About'-iUSER.

"NAIIA" HJUNE" "FAUST"

Band should open the New Ambassadors' Restau-

tracts for an extended tour of Australasia.
It is worthy of note that only one syncopatedband had previously visited Australia-this hailingfrom America, and, as mine was the first to comefrom London, you may guess it was most enthusiastically welcomed. Records which it had madehad preceded it and this seemed to increase
everybody's keenness to see it personally, theresult being that we, and when I say we, I meanh. T

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THE MELODY MAKER.

The Mysteries of New Zealand.

To strike a less material note and to appeal tothose readers who appreciate, as I do, the wonders

and mysteries of the universe-it was while wewere in New Zealand that we were fortunate

enough to be able to book engagements at Rot aruaand so visit the centre of the New Zealand thermal

regions, an object of much interest to tourists.
Being the centre of a volcanic belt, the earth inmany places there is just a thin crust and an
uncanny experience is listening to one's footfalls

strike a hollow, reverberant note, owing to theemptiness underneath. At intervals are to befound large openings in the earth called " Geysers,"
which belch forth hot water and steam and a strong

odour of sulphur permeates the atmospherea truly wonderful and awe-inspiring spectacle,
and the nearest thing to'I

31

Whaka Whaka Rewa Rewa.
The day following the first concert we weretaken with much state to the ancient village ofWhaka Whaka Rewa Rewa-a very famous

historical spot-which is still surrounded by theold palisades, and inside which are the Maorigods-huge grotesque wooden figures, havingeyes of mother of pearl with centres of New
Zealand greenstone. Here amulets and charms
were given us to ,ward off evil spirits, and I received

a " poi poi," or grass skirt, which is worn by themen as well as the womenfolk. The natives sangold folk songs and danced for our benefit, andfinally invited us to the Maori Meeting House.
This Meeting House was a place which no white
man had ever entered, and I afterwards learned

that the only reason we were admitted was because
there were a few old Maori

Hades I ever expect (orchiefs who wanted to hear

are what are known as

to the theatre owing to theirsenility-some of them being

the band, but could not comehope) to visit ! Then there" blow - holes," which atregular intervals - sometwenty - four hourly andover 100 years old, so wewere told, and it being a casesome every five minutes-

of Mahomet and the moun-high.

squatted round the floor,
there being no seats. At
the conclusion of the per-

We Meet the Maoils.

formance it was all we could

tain.
These old chiefs,
dressed in their best regalia,

also emit high columns ofboiling hot water, some asmuch as one hundred feet

do to prevent the women

In these regions, too, arefrom violently embracing us
in testimony of their appreciation. One charming belle
even went so far as to informEskdale, my trumpet player,that she loved him, and poor
Georgecontinually hadnightmares about the di-

to be found the famous

tribes-natives of
New Zealand. They are avery charming race, quite
Maori

civilised, well educated, andvery keen about English,

which 'most of them speakwell.
peopleThey are a similar

vorce court, until he dis
covered, that she had learnt

to the Hawaiians,brown skinned and absothe sentence parrot -like and
THE TIVOLI THEATRE. MELBOURNE.
lutely crazy about music
didn't know what it really meant.
and dancing. Although most of them are darkhaired and brown eyed, yet I did see one of thedancing girls with a brown skin, fair hair, and blue
The Maori Fox -Trot.
eyes ; a most striking and unusual combination.
These Maoris had somehow heard our records,
and on our arrival at their native village in Rotarua
we were given a right royal reception. Dancing
girls with Ukuleles welcomed us, decked in theirgala attire, grass skirts and other native dress ;presents of all kinds were showered upon us,

and we were duly bedecked with " leys " orgarlands of flowers, which honours weblushingly. (Don't laugh.)bore

During our stay we gave a series of three concerts. Originally only one was intended, but sogreat was the enthusiasm of the populace that at
the first performance more people were left outside

the theatre than were able to get inside, and only
the promise of further appearances prevented a riot.

Next night we were again invited to the Meeting

House, this time so that the Maoris might show

us how well versed they were in modern ballroom

dancing-fox-trots, one-steps and valses. The
dusky flappers of the village were in full force
appearing in their most wonderful raiment. Theirfrocks of radiant hues were quite A la mode,sleeveless, and extremely décolleté, and they,at any rate, were quite confident that their appearance was everything that could be desired. Myband was not required to play as these Maori
ladies especially wanted to dance with my boys,

and furnished their own music, using guitars,
mandolines and violins, and in their own way
trying to emulate modern type dance music,

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THE MELODY MAKER.

32

which, considering their limited instrumentation,etc., they did very well. All of us were in great

Red Hot Dance Numbers

demand -as dancing partners, and as the ladies
far outnumbered the men a novel idea was hit
upon, namely a " Tag Dance." Each dusky

maiden had a slip of paper and as the music
started she presented this to the partner of her
choice with whom she danced until a partnerless
maid became impatient, and, with more force thangrace, took her place. We probably danced with
two hundred different brown belles in about
two hours-most strenuous enjoyment.
A fact which particularly surprised me was thatthe natives could dance modern dances extremely
well, being quite up-to-date in the latest steps andstyle. As they had never been out of their own
country I can only suppose that they learned the
fox-trots, etc., from dance instruction books,
which in some way filtered through to their outlandish part of the world.
During a trip across the desert from Melbourne

to Perth we encountered a tribe of aboriginestotally opposite in all respects to the Maoris.
A low type of savage, they are as uncivilised as

the Maoris are cultivated, and some are even too
lazy to construct mud huts for dwellings, simply
using saplings which they bend over and coverwith old robes and skins. While in this region I
managed to get a most interesting collection ofphotographs (cinematography is my hobby, andI never move without my camera) for which,however, I had to pay most dearly, chiefly intobacco as all these people, men, women and

WE CAN SUPPLYA Limited Number of Sets Onlyof the following American Fox -Trot Successes :Arranged by the Famous Orchestrator-

ELMER SCHOEBEL.

'' ECCENTRIC " ...
by J. Russell Robinson
STOMP OFF. LET'S GO "HOT AIRE "PICCADILLY "66

44

SOUTH SIDE BLUES " by Elmer Schoebel
SOUTH BOUND "by Elmer Schoebel and Billy Meyers

64

BREAKIN' THE LEG "by Creamer and Layton" LOTS OF MAMMA "" COTTON PICKERS' BALL "
64
66
66

SCARECROW

INDIANA STOMP "MILITARY MIKE

66

'TAIN'T COLD "RIVERBOAT SHUFFLE "by Elmer Schoebel

F. HENRI KLICKMANN.
",DIZZY FINGERSLEE TERRY.

improved when we passed an engine balanced

44

half -way over a high cliff, it having been derailed
by running into a fall of rock which had blocked
the permanent way, and which, we were told by
the guard, was quite an ordinary occurrence.
After the tour of New Zealand we all returned
again to Australia, playing in Brisbane, Sydney,and once more in Melbourne, this time at Carlyon's
Esplanade Hotel, where we stopped five months.

4

by Zez Confrey
MISSISSIPPI SHIVERS
WHAT DO WE GET FROM BOSTON ? "by Willie Ruskin and Frank Silver(Writers of " Yes ! W. have no Bananas.")All Full Orchestra - 3/- per Set(Except " Dog on the Piano," which, beinga Concert Edition, is charged 5/- per Set.)
Postage Extra.

The Lawrence Wright Music Co.,
19, DENMARK STREET ThPrirg Cress Read), LONDON. W.C.

enjoyable " globe -trot."

BERT RALTON.

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by Zez Confrey
by Ted Shapiro

Arranged byserious accident. Incidentally, our morale was not

About

'

" DOG ON THE PI \NO "eventually reached our destination without astrike, and finally, after staying three weeks in
Perth, where we played at the Prince of Wales
Theatre, I was forced to abandon the African
visit, and end what was a most interesting and

by Harry Barris.

Arranged by-Concerning travelling, one of the most thrillingtrain journeys I have ever experienced was fromEngland, and to make the tour complete I decided
to travel with the band via South Africa. Unfortunately, this was made impossible by the seamen's

by Elmer Schoebel... by Elmer Schoebelby The Indiana Fiveby Elmer -.21int-.1).-1 and Frank Ouartelle

66

The Crazy Railroad.

Eventually the time came for us to return toby Esther Weber,Billy Meyers and Elmer Schoebel

children, are inveterate smokers.

Auckland to Wellington, a distance of approximately 800 miles. Although the narrow gauge
track was more like a switchback than a railroad, the train rushed ahead at breakneck speed,
and no one was more surprised than I when weby. Elmer Schoebel... by Elmer Schoebel
by Elmer Schoebel

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33

THE BANJO AND TENOR -BAN JO
IN THE MODERN DANCE ORCHESTRA,
By

EMILE GRIMSHAW.

II.

banjo, which provided with comparative ease,

THE USE OF THE TENOR -BANJO.

not only melody, but also harmony and rhythm.
As bands here increased in size by the addition

A popular fallacy in this country is that thestandard banjo is a sort of national instrumentin America. It may surprise many to learn thatthe mandoline is a far more popular instrumentin America than the banjo, and it is this mandoline
popularity that is partly responsible for the
introduction of the tenor -banjo.

When the Americans realised the rhythmic
advantages of the banjo's quaint staccato tone,
they found at the same time a great scarcity ofplayers who could fulfil the requirements of thedance orchestra leaders. Few banjoists at thattime understood the plectrum method of playing,and no banjo parts were included in theorchestrations. There were scarcely any players
who could read from the piano part or second
violin part, because in America the banjo was atransposing instrument ; if the music was actuallyin the key of " C " major, for example, the banjoist

would have to play from a part written in the
key of " A " major (three sharps). Sight reading
was almost impossible, because a banjoist had
not only to transpose the music, but he had also
to invert or re -arrange most of the chords in orderto make them suitable for the fingering of theleft hand.

To overcome this difficulty, an instrument
looking like a banjo, but tuned like a mandoline

or violin, was introduced so that mandolinists

and violinists could readily adapt themselves tothe instrument, which was called a " Banjolin,"and became very popular in dance orchestras fora time.
The banjolin, however, is essentially a melody
instrument, and is pitched much higher than thebanjo, so in order to approach more nearly tothe banjo both in tone and appearance, thehandle of the instrument was lengthened in orderthat viola tuning could be adopted, and so thetenor -banjo was introduced.

To -day in America the tenor -banjo is far more

popular than ever was the banjolin-it is evenmore popular than the standard banjo, and thisis probably because the tenor -banjo happens tobe the instrument that is in general use in American
dance bands, and is consequently seen and heard
by the millions who dance.

When the tenor -banjo was first featured in
American bands, it was used just as a melody

instrument, and the player read from the first
violin part, but the resultant 'effect;,was still along way behind what could be produced by aof trumpets and saxophones, banjo and tenor -banjo melody was, of course, no longer necessary ;that was the beginning of rhythmic chord playing
as we know it to -day.
In America only tenor -banjo parts are included
in dance orchestrations. Some years ago most of

the London publishers of dance music began toissue parts for tenor -banjo, under the impressionthat what was done in America must be the rightthing to do here. Almost all the English dancebands, however, included a banjo-not a tenor banjo, and when London publishers first began
to issue parts for the latter instrument there
were probably not half -a -dozen tenor -banjos inthis country !

Although all the best London dance orchestras
now include the tenor -banjo in their instrumenta-tion and not the banjo, the latter instrument
remains by far the more popular of the two.
There are probably at least five hundred enthu-

siastic players of the banjo in this country toevery single player of the tenor -banjo.

Now a few words about the respective meritsof the two instruments. In the bigger orchestras

the sweet, penetrating tone of the tenor banjo
is certainly more effective than is the quaintand more mellow tone of the banjo. In smaller
combinations, however, the banjo is the better
instrument of the two, for it gives a fuller tone tothe ensemble, adds a greater number of interesting
effects, and can readily take the lead in occasional
choruses by supplying simultaneous melody,harmony and rhythm.

At many private dances, and at some of thesmaller dance clubs, the music is provided by but two or three players ; piano and banjo ;piano, banjo and drums ; or piano, banjo andI wonder how many tenor-banjoists
who have played only in a big orchestra could
saxophone.

adapt themselves to so small a combination ? The Lawrence Wright Music Co. was the first-firm of publishers to include parts for both banjo
and tenor -banjo in all their dance orchestrations. Many banjoists are now playing the tenor -banjo
in addition to the banjo. Professional players,
who do this, are acting very wisely. There is a
big enough difference between the two instruments
to justify the learning of both and the exigencies
of to -day may not be those of to -morrow.

Next month : GOOD AND BAD METHODSOF WRITING TENOR -BANJO PARTS.

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34

FATHER GRAMOPHONE THE
ADVISER.
There can be no doubt but that the Gramophone,
as well as being a constant source of amusement,is the finest tutor the present day musician canhave.

This solo does not appear in the printed parts
as issued by the publishers (The Lawrence WrightMusic Co.), it having been scored by Rignold,

the Violinist of the combination, especially forhimself. It can be played, however, in place ofthe violin solo chorus therein as, of course, itfits with the harmony.
Chorus Violist Solo.

Whether it be in straight or jazz music, therecords give an opportunity of studying the finest
artistes of the day at one's leisure, and not only can
their various styles be copied, but, from the ideasof others, so is one often inspired to invent new

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and original forms of renderings.
There is, however, a trap into which many havefallen and care should be taken to guard against
it. One performer cannot be a whole band, yet
a number of the younger dance musicians seemto think theirs is the one instrument on which
every single effect can, and must, be produced.
They seem to gain this idea because-and here is
the snag-they listen to the gramophone records
from which they got these ideas as a whole andS.
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1199VSnot just for the one instrument with which they are
personally concerned.
Picking out one's own instrument from amongst

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all the others in the record is an art and needs acertain amount of practice, but it can, and should,A

be done because it is a mistake to try to playother people's parts and obtain effects £whichrightly should be produced by someone else's

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instrument.

If the player next to you is a rotter"musician
that is not your fault, but it is just as impossible

for you to make his rhythm, and fill in the effects
he misses out, as it is for you to play his notes aswell as your own.
Musicians should study exactly what their own

instrument can do, do that just as proficiently
as their favourite record artist, and they will
have done their full share to make their combination as excellent as is possible.

Last month particular mention was made inthese columns of the Violin Solo in H.M.V. Record
No. B2167 of " Riverboat Shuffle," played by the
Kit -Cat Band. In response to the many requests
since received, we publish herewith the part.

are advised to listen to the record andReaders are
study Rignold's rendering. It is a work of art

as far as jazz fiddle " dirt " is concerned, andillustrates a style which can be portrayed in many'V

compositions.

INSTRUCTIVE RECORDS.
The following recent recordings are particularly
worthy of study by the musician :-The Gramophone Co. (H.M.V.).
" Nobody Knows What a Red Headed Mamma
Can Do " (B2223), sung by Sophie Tucker, whomakes her debut with this Company, is full up
with interest. The syncopation introduced in

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English s -t r tOV1.1

IF. MELODY MAKER.

the phrasing of the melody is in Miss Tucker's

33

Chappell & Co., Ltd.

inimitable style and well worthy of study by singers

Ray Miller's Orchestra, which is world famous
for the irresistible dance lilt it instils into its
renderings, worthily lives up to its reputation inaccompaniment as played by Ted Shapiro, whose
solo chorus is a masterpiece. Shapiro, who hasbrought the introduction of modern harmony into
this class of music to a fine art, has excelled anything he has previously accomplished in this way,
and those musicians who delight in the modern
school cannot have a more interesting or instructive

Record No. 2935A of " Save Your Sorrow."of these modern American numbers. But therecord is made by the really wonderful piano

Abe Lyman's Californians, who are also noted
for excellence of rhythm and novelty of effect,
show to best advantage in " Ukulele Baby "(No. 2903B) and " Pretending " (No. 2980A),

while " The King Isn't King Any More " and" The Farmer Took Another Load of Hay, Hay "" Babette " (B2224) played by De Grout, kind
" One Stolen Kiss " (B2228) as featured by the(which, in this country, is published under thetitle of " Hay I Hay ! Farmer Gray ") with vocal
chorus is of interest to those who care for thistwo different styles of rendering modern waltzes.
" En tus Brazos " (In Your Arms), played by the

It should be noted that only American Bandsand the best American Bands at that-record forHotel, a fine example of up-to-date Tango rhythm.
The Kit -Cat Band has again scored with " The

POOR PUBLISHERS !

performance.

Savoy Havana Band, are perfect examples ofclass of composition.

Rio Grande Tango Band, late of the Piccadilly

this Company.

Camel Walk," which gives the lie to those who
say that a " big " band is unwieldy and not suitablefor " dirt " arrangements.
Records of " The Revellers " (Male Voicemissed. They are
Quartet) should notb

It is an established fact that, for all its probablebvnetit in the exploitation of a single number,
Bro.i.lcasting has had a disastrous effect on thesale of sheet music.
It is, therefore, surprising to learn that theperfect specimens of the best use to which harmonised voices can be put in modern syncopatedmusic, and quite a novelty in this country. We
predict an early endeavour to copy this style

B.B.C. has suggested to the publishers that they-houlil submit to a reduction in the fees hitherto
paid to them for the broadcasting rights of their

The Columbia Graphophone Co.
The first novelty we find in a catalogue ofextraordinary interest is the waltz " Pearl of
Hawaii " (No. 3820) played by the Americanis published, but we also understand that in theevent of a breakdown in the negotiations by a
failure to effect a compromise, then after a given

by British artistes. but it will need care and practice
to obtain such perfection.

Xylo-rimba Orchestra, wherein the sweet tone of
the Xylo-marimbaphone---an instrument in pitch
the same as the xylophone, but in tone like themarimbaphone, and to which too little attention

this country-is most excellently
portrayed, particularly ire the 5th, 6th, 7th andis given in

8th measures of the record.
Additional interest is lent to records by Percival'Mackey's Band and Bert Ralton's Original HavanaBand in view of their articles appearing in this,and other, issues of " The Melody Maker." Onecan almost gauge the personalities of these famous
artistes from their records each of which literally
breathes " character." Percy Mackey's " Natla 'and " Echoes of Ireland " (No. 3821) are fineexamples of symphonised syncopation, whilst insDog on the Piano " (No. 3822) the pianoforte
olo parts prove Mackey s technical abilities.

tousle so featured. We understand that negotiations
arc quite amicably proceeding between the B.B.C.
and the big national publishers and that afavourable decision is expected before this journaldate, the music publishers will withdraw from theB.B.C. the necessary performing rights under

the protection afforded by the internationallyaccepted Copyright Act. Should such an unlikely
contretemps develop, which one and all would

deplore, there is no knowing how great a legal
battle might ensue. It seems highly probablethat the B.B.C. in such a case, faced with anembargo on practically every British musicalcomposition, would have to breach the copyrightlaws in order to get the question adjudicated in
the law courts, and as might be quite possible,
over the floor of the House, too.

Miss WINIFRED WYNNF,
Has Vacancies
for

few

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Pianoforte(vekunramor

The best American band features are foundin " Are You Sorry " (No. 3852) by Paul Specht,
and " The Camel Walk " (No. 3829) by Ted Lewis,both of which have the American under -currentof syncopated rhythm well portrayed, while"The Camel Walk" has the additional merit ofbeing particularly short and dean as regards
intonation.

pupils in-

Is also open to accept a few engagements as
Solo Pianiste and .1ccompaniste.
full I.., thaw-, to r

THE STUDIOS,
Vt

14, Hanover Street, W. 1.

t

IIIS.

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THE MELODY MAKER.

WHO'S WHERE?
AND HISKEL KEECH ORCHESTRAJACK HYLTON
42, Cranbourn Street, London, W.C. 2.
REGENT 4654.

Now at The illhambra, London.

Now at the Criterion Restaurant, London
All Comms. :42, Old Bond Street, London, W. 1.

JIMMY SALE,

THE ORIGINAL GERRACS

37, Hyde Park Gate, London, S.W. 7.

JACK GEARY (Leader).

5391 WESTERN.

Now at :-ilrdwick Empire, Manchester.

February

THE ASTORIANS
Private Engagements only.

DB AANNIC) E" The Melody Maker.

11

6 Monthly Insertions f1 ls. Od.

BARGAINS FOR ALL.
PER LINE PER INSERTI( )N.
(prepaid).
(7 words go to a line).

Matter ana remittances should be addressed to :-THE MELODY MAKER, (Dept. BFA)
19, DENMARK STREET,LONDON, W.C. 2.

FOR SALE.

GRAMOPHONE RECORDS-about 100, little

used, good condition, mostly H.M.V. Dance, 12/. per assorted dozen, carriage paid, Boi No. BFA/1,
c/o The Melody Maker.

BANJO. Long neck, open back, 24 clamps,

complete with case, 15 and worth it (carriage free),seen .in London by appointment. Box No. BFA/2,
c/o The Melody Maker.

DRUM. Double headed 32i in. portmanteau
bass drum with waterproof canvas case. Fitted
electric light 15.
Melody Maker.

Box

VACANT.

3-8 Performers.

All Comms.

1 /-The Pedals de Danse, Hammersmith, London.

No. BFA/3, c/o The

YOUR
ADVERTISEMENTSHOULD BE IN THIS SPACE.
SEND IT NOW TO"THE MELODY MAKER.'

12 Monthly Insertions 0£1 17s. 6d.

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12:30ralawr.....even
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INDEX.

EDITORIAL
Fight between Leading Record Makers ...
More Work for Musical Directors
A Treatise on Arranging. ....

I

2
2
3

A Tonic Talk
Saxophone Queries
Huge Fees for an Arranger
What is a Saxophone ?
....
The Charleston

4

OVER THE FOOTLIGHTSSYNCOPATION AND DANCE BAND NEWSMILITARY AND BRASS BAND NEWS6916

CLAP HANDS ! CHARLEY (SoNG)
The Savoy Orpheans in the Provinces ....
The Progress of the Mute
GRAMOPHONE RECORD MAKINGTHE ORIGINAL HAVANA BAND...THE TENOR BANJOTHE GRAMOPHONE REVIEW
Poor Publishers

18

:

4
4

.24

29
33
34

EDITORIAL TELEPHONE - REGENT 4147.
Members of the Profession and all others are Cordially
Invited to submit MSS. Information and Photographs
for Publication.
*** Whereas every care is taken, we cannot be responsible
for the loss of any matter submitted.
Stamped and addressed envelope should be enclosed
return of any matter submitted is desired.

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