JACK PAYNE
CREATESBLUEPACIFICMOONLIGHT(The Lan .. rou, ~ , crn Va lte!"-i

THE HIT OF THE YEAR!

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$0 mel-a.n -~hol - y ,The Melody Ma.leer. J"ne, 1930.

HIT UPON HIT!

**GO TO BEDWALTZAM l BLUE?
FOX TROTIIF YOU F!!;~E MINE
WHAT CAN I DO?
( I'M BROKENHEARTED)

FOX TROT-SINGIN' IN THE BATHTUB
FOX TROT

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The Melo4Y Maker. June, 1930.

THE WORLD'S FINEST MUSIC FOR CINEMA & LIGHT ORCHESTRA !
BIG SUCCESS OF THE FAMOUS

STRAUSS WALTZES!
NOTE:

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T he following Nine Titles are published for Salon Orchestra only at 2 /.--per set.

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The M~loefy Maker.

]H11e, 1930.

Melody M aker Dance Band Contests

ONE! TWO! THREE! FOUR! FIVE!
Contestor' s Five Successes
HE contesting season has wound
up on a most exciting note.
Firstly. a l\'lELoov MAKER
championship was inaugurated for Yo rkshire. anc.l after a twonights· battle a decision was reachedin the Majestic Da nce lla ll, Leeds.
Secondly, the last event or all, organised by the Folkestone Police, re3ulted
in three Londvn Bands securing first,
second and third places in the South
Eastern Counties Championship. The
winners, Freel Anderson's Cab:uet
Band, scored their fifth success. andnow possess four MELODY l\L\KER
bannerettes, their first win having
been gained before the bannerettes
had been conceived.
The band has e,·ery reason tocongratulate itself. It was one or the
first to l'nte r MELODY ;\l.\KER contests a nd its first efforts resulted in a
succession of second and t hirct places ina r.1ost aggra,·ating manner. Then it~truck a win ning ,·ein, and for the last
three yi:-ars has ctevelopcd with thechanging styles of dance music tosuch purpose t hat it has carried all
before it i n these contests.
This is the spirit which animatesother bands. many showing the same
progress and determination to win.
F red Anderson's Cabaret Band will
not always remain undefeated but theleader says he is willing and ready tochallenge t he best that can be produced, a nd, when next season comes,
he will be confining himself to contests where the known standard isparticularly high.

T

•

•

•

Messrs. Potter and Rush of thel 1 niversal service of Harrogate, whoorganised the Yorkshire Dance Band
Championship, decided to hold apreliminary round at Doncaster forthe convenience of local bands, theidea being that the first and second he reshould qualify to play off a final
against the two best of the competitorson the following night at the Leeds
Majestic Ballroom.
Their pluck and enterprise was notaltogether rewarded, for though eightbands competed, the large Corn
Exchange hall which was booked forthe purpose did not draw an attendance commensurate with the importance of t he ev;:nt.
Nevertheless, the bands played up
well and, if the standard was not high,the utmost keenness and intelligence
were displayed, while the awards werereceived sportingly by all present.
A local band successfully upheld

Doncaster musicianship by beating achallenger from Xottingham, Fredll edley's Band, and one whic h is to becongratulated on its enterprise incoming so far, and on the show it put
up. As runner up it qualified tojourney to Leeds for the followingnight's final, but ano ther engagement
prevented it accepting the opportunity and its consequent retirement
presented the band placed third withthe privilege.
At the Leeds :\[ajestic, a magnificent,lttendance compensaterl the organisers
for the Doncaster disappointment, anda;; thirteen new competitors had to beheard, the adjudicators ha,t over five
hours' work to get through.
Again the standard was not high.
despite the fact that the individual
musicianship suggests that modern
dance mus ic ic; well rlppreciated in
the county. The decisions were very
close, and the results might easily betotallv difTerent on the next occasion .
At both venues Ben Davis was
enthus iastically received for somesaxophone solos played with hie: usual
perfection of tone and technique.
•*•
The Folkestone champion~hip provedt he most successful and one of the bestorganised contests of the year. The
Leas Cliff Hall in which the proceedings
too k place is a beautiful ballroom withfine atmosphere and acoustics, and it
was literally crowded with a very
smart attendance.
The contes t was organised by the
Folkestone Police Socia l Club, :P.C.
Richard Butcher, with the assistanceof several colleagues, succeeding in
getting through the programme like aprofessional organiser.
A really magnificent Challenge Cup
had been put up by the club, qu ite the,:nost imposing trophy yet awarded, if
one excludes the Graham Yooll GoldCup which goes with t he Scottish
Championship.
It is, in a sense, a pity that the three
London competitors should have swept
the boa.rel of all a wards, as the local
bands put up a worthy show.
Kevertheless they seemed pleased
at the opportunity of hearing andstudying better bands, and are promising themselves more success next
yea r.
The Chief Cons table presented theprizes, and after the show, some of the
London musicians, while waiting for
the " milk" train back, were offered
the hospitality of the Police Station !

Result of the

ALL YORKSHIRE (Official) SEMI,PRO DANCEBAND CHAMPIONSHIP
at theD oncaster Town H all & Majestic Dance H all, Leeds,on April 23rd and 24th respectively
DONCASTER.

T II IRD .

\\'1 :-1:--ERS.

The Georgians.

H. Thompson's Rhythm Boys.

(Seven : 1st trumpet, 1st alto andtenor sax., violin, piano, banjo andbass)(.\ll coms., JI . Hoobotlom, Leopold
Street, Barnsley)(l?ive: 1st alto sax .• tenor sax., piano,banjo and d r ums)
(All coms., H. Thompson, 20, Highfield
Road, Doncaster)This band was awarded a Silver Shieldas District \\"inners.
Sm:·o:--o .

Fred Hedley's Dance Band.
(Seven : 1st alto sax., tenor sax.,
violin, piano, banjo, drums and 2nd
violin)(Allcoms., F. Hedley~l2, Auburn Terrace,Goldsmith Street, );ollingham)This band qualified for the final atl .eeds but retired in favour of the Georgians,
not being able to travel.
- 509 -LEEDS.
\\'1:-;:--ERS.

Eddie Mack's New Broadway Band.
(Seven : 1st trumpet, trombone, 1stalto sax., tenor sax., piano, banjo anddrums)(All corns.. E. Mack, 63, C lover Street,~Ieanwood Road, Leeds)
who received the Sir Ronald Gunter,Uart., Challenge Cup and THE i\foLoov
l\lAKER Banneretlc, whiie each member

The Me/Qd_;, M.1ker. ]1me, 1930.
Drummers Month by Month.-No. 6

A "LITTLE BIT EXTRA''- Showmanshipby STICKO RY HICKS
11 E p~rcnssion instruments art
v-.:n· much in the limelight
at JJI'B3en t ,rnd ,;cvcral people
are earning a lot. s)f moneyby playing· drums anc.l xyl:)phoncs.
Not only are they just playing
them, however, they am adding a"little bit extra." The difference
between being a member of a bandand being a solo act, with the correspondi ng big increase in your income tax returns, is-Showmanship.
Amongst the people who are getting
wealthy because they have foundthis 011t are Jack Powell, whom I
mentioned last month ; l\Iichel, these,·enteen-year-old xylophone prodigy,
who is a star tum in the Trocaclero
Cabaret and who also fil led in several~uccessful weeks at the Pa,·ilion
during Ada :\lay's temporary absencefrom the 1930 Revue; Hany Robbins;
Bob :\Janning and Bill Airey-Smith.

T

Hands and Feet !

i\lichcl plays the xylopho:1e as itshould he played- as a musical in-strument. Beginning his show withan excerpt from :\lcndelssohn's" Rondo
Capriccioso," he then exhibits somestartling six-hammer technique.
To finish the act, he gives us someYery cle,·er rhythmic playing, stillwith six hammers, and does an -intricate
step-dance at the same time I

This idea of combining showmanship with musical art goes a long way
towac(IS the solution o f that everpresent question ; "\Vhat does the
public want ? ":\Iichel realised this, and so hebegan by ma~tering his instrument.
The step-dancing was added afterward<,, and the result was an uniqueand successful act.
l f he did the dance first , and finished
his tum by playing the xylophone
moderately well, the show would .
lose a great part of its snap. As itis, he first of all shows that he isa xylophone Yirtuoso, and then adds
that element of surprise, the dance.
Art plus showmanship ~*A Dark Horse*

Band went on the Halls ,,·e ha,·ediscovered him to be an actor as wE-11.
Between the drums, pedal tympani,
xylophone, vibraphone, chimes, vocal" bits " and comedy stuff, he is kept
busy right through the show.
His real chance comes when heplays a xylophone solo, and this iswhere I got a big surprise. For Bob
stood up and " put it over " in sucha ·way that J could not recognise
the quiet, unassnming fellow that
he really is.
Beginning with some real playing,
he graclually gets more and moreenthusiastic until he is apparel'ltly
rncking those notes like a nan·y witha sledgehammer.
Not being content with that, hepresently lifts the bars clean ofT the
instrument with one hand, and withhis last two hammers (the otherfour having meanwhile been scattered
all over the stage} he just manages
to finish the solo !
In spite of all the energy which heseems to be putting into the "walloping " part of the performance, Bob
tells me (touching wood!} that hehasn't split a single bar of his xylophone yet.
So here's another man who realises
that, to catch the public eye, one has
to add that '' little bit extra. "- Showmanship"Six-Foor-Six Bill "That's Bill J\irey-Smith.

He always felt that dance playing rather
cramped his style, in spite of the•
A Renaissance ?

*N ews from New York

Michel-50 1 -•Is it possible that the inhabitantsof Switzerland will shortly have togive up yodelling in order to devotetheir time to the export of cow-bells ?
In Louis Armstrong·s record of"No One Else Hut You" (Parlophone R. 540) the drummer uses
them, and I have heard them on a
Jot more super-hot American records.
Why shouldn't they " come back"?
They arc qu ite different from anyother traps and, if they are slightly"damped " by having a piece cf
cloth pushed inside, give a very pleasing effect.
Some time ago, :Max Bacon told
me he was thinking about using
them again, so perhaps we shall bP,
hearing their milky tones 0:1 an
Ambrose record soon.

•*

Somehow, none of us e,·er looked
upon Bob :\fanning as a showman.
\\'e all knew him to be a first-rate
drummer and xylophonist, and knewthat he could play a swelteringchorus on the harpaphone as andll"hen required.
But since Jack Payne's B.13.C.

fact that he held some good en~agements at the Piccadilly Hotel andPrince's Restaurant.
So he joined the Three Happy
Roys and has now left them in orderto run his own act. He and his wife
are touring as " Hansen and Belairey"
and one of the chief features or lhe
turn is the comedy which he has
introduced into his xylophone playing.
But there is no need to go on thestage if you want to be a showman.
People are anxious to be entertainedin the dance hall as well as at thetheatre. Then' is a growing demandfor dance bands which can supply
that " little bit extra" to make theaudience laugh as well as dance.
'\Ve drummers have an excellent
opportunity. Just at present we are
more than ever "fashionable." Allwe have to clo is to learn how to" sell " our skill, to persuade people
that we play as well as we do p!ay,
and to add a touch of comedy to ourwork.
Perhaps it isn't quite as easy as
it sounds, but a lot of people arefinding it worth while.

•

Apparently, Vic Berton has almost
gi,·en up drumming. H e is "out'vVest," developing a very big teachingconnection.
This must be a lucrative sort ofjob, because you wiJI remember thatl Iarold McDonald, late of PaulWhiteman's Band, is doing the samething.

The Me/orfy Maker.

~JAY.
llelancl1oly.
Wliat Do I Catt.
Good For Xothlng Bnt
Lo~ r.
We'll BuildII

LittleWorld of Our Own.
Dream Lowr.
,l ly Lore Parade.
APRIL,~Iona.
I'm On Cl Dirt of Low.
A Nli:bt of Happiness.

The )(a n f rom 1£10 South.

The Wedding In the Ark.
Finesse.
1UAltCII.
Beside Ao OpenPlrolatt.

Lonely Troubadour.
It's An Old Spanish{lnstom.

Ai T111llj!;bt.
PEBUUARl'.
1Iy Jlate is In Your

June, 1930.

c~rr::::::::::::;-----------JACK
PAYNE

Is~q~NG!!~fs fo!£ER!'t~L~~!~,9i~T

7

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II HAVE TO HAVE YOU
THE FOX-TROT HIT F.ROM " PARAMOUNT'S " ALL TALK~l:;E_ _ _ __"POINT.ED H EELS."

Hands.
l,ittlo by Little.
AU That I'm Asklng is
Sympathy.

When ihe Organ Pla)edat T111ligbt,.
Sweeter than Sweet.

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A/4

The M elody Maker.

June, 1930.

WHO'S WHERE
London .ind · Abroad

Whidden, J ay, and bis Orchest,ra-Cal'lton

Aaronson, Abe, and Orchestras. The Embassy
Club (lead~r, A. Aaronson ), · Gro·sv.en,) r
House (leader, . B. Gerhardi), Hotel Splendido (leader, T iny Mait), The Ritz Hotel(leader, J oe Burns).
· .
Ambrose, Bert, and bis May Fair Orchest1-aMay Fair Hotel, London.
Baker, Howard, and bis Bands- Private
Engagements.
··
Bright, Sid, and The Piccadilly Players-Piccadilly Rot-el, London.
Brown, '!'eddy-Vaudeville.
Chandler, Percy, and his Band-Quaglino's
Restaurant, Bury Street, London.
Collins, Al, and bis Band-Savoy Hotel, London.
Cotton, Billy, and his Savannah Band- T.he
Locamo Dance Hall, Streatham H!II,
London.
.
Daniels, Len, and bis Band- Salon Bal, Harringay, London.
De Courcy, Raymond, and Bands-Frascati's-{leader, W . Greenborough); Holbom ncstaurant (leader, L. Paulus).
Erard, Clive, and his New Astorians- Tbe
Astoria Danse Salon, London .
Fi11nan, Bert, and his Band-The .Contip.cnt,.
Finnan's (Syd) Radio Dance . OrcbestraVaudeville.
Ginx, The-Regent Palace Hotel, London.
Grossbart, F,ddie, and bis Band- 1' he Ambassa•
dors Club, London.
Harford, Maurice-with Bert Fi1man on t,heContinent.
Hetherington, Artbur, and Band- '.l'he Bat Club,
London.
Hoey, Jerry, and his Band-Piccadilly Hotel,
London.
Humphreys, Bert-, and his Band- Palais de
Dan te, Ilfo1tl.
H:ylto~, Jack, aud bis Orches tra- Vaudeville.
Johnson, Lal, and bis ,Band-'-'l ' he Empress
Rooms, London.
Kay4;, _Joe, and his Band- Claridge's Ho~el,
LOndon .
Kemp, Hal, and his Caeolina Orcbestrn- Carede Paris, London, and Vaudeville.
K unz,' Charles, and Tfand-Chez Henri Club.
London.
Kyte, Sydney, and his Band- Ciro's Club,
London.
Lally, Ar thur, and his New Berkeley Hot-el
Band-Berkeley Hotel, London.
Langsman, Harry, and his Band (leader, Maurico
Kasket) -Sovrani's Restaurant, London.
Lever, Al, and his Band-Wimbledon Palais.
Lewis, 1'ed, and his Band-Kit-Cat Restaurant,,
London.
Mackey, Percival, and his Band-'l'be Savoy
Hotel, London, also Princt>s 'l'l1e3tre
Entr'actl> Band (leader, Charlie ?llilnc).
Moonan, D ., and his Band- Cafe de Paris,
London.
i\Io1·gan , F,ddie, and his Revels- Indian Vaudeville Tour.

White, Harry, and his Band-Queen's Hot el,
Leicester ·Square, London.
Winter, "'l arius B.- Private engagements.

Murray's Music i\Iakcrs (i\h1$. Dir., Vic Filmer)-

Murray's Club, London .
Padbury, Jack, and bi_s Orchestra-The Cosmo
Club. London.
Payne, Jack, and his B.B.C. Orchestra- Vaude,i!le, and B.D.C., London.
Probst, Bob, and bis Band - 1'aglioni's Restaurant, London .
·Ralfini, Jan, and bis Band-Lccarno Dance
Hall, Streatbam, London .
Ritte, Ernest, and bis Band-Toby's Club,
London.
·Romany Band, The (leader, Oscar Rabin)'L'be Astoria Danse Salon, London.
Rosebery, Arthur, and his Band-Nunky's Club,
London.
Selma Five, The-Cafe Anglais, London.
Seymour, Syd, and bis Mad Hatte1-s-Vandeville,
Shakespeare, Lloycl, and his Band-:-Rehea1-sing.
Some1-s, Debroy, and his Band-Vaudeville.
'l'oubas, Maurice, and his Band-Kit-Cat Restauran t, London.
Van Strat('n, Alf, and bis Band- Care Anglais(tbe "Not" Restaurant) London.
Waddling, Al, and bis Band-Cricklewood
Palais, London.

Hotel, London .

.

P,·ovinces
Alexander, Archie, and his Commande1-s,. alsoh.is "l\Ielody Seven "-The Regent Dance
Hall , Brighton.
Alfredo an<l his Hanel- On tour.
Bell, Jimmy, and his Band- Ritz Palais deDanse, Glasgow.
Bertini, B., and bis Band- Tower Ballroom,.
Blackpoo l.
Bower, Miss R. l\l. , and her " Gran.ville" 01·chestra- Booti.' Restaurant, Brighton.
Bwman, Maurice, and bis Band- Dreamland
Ballroom, .Margate.
Daniels, Benny, and bi~ Lion's Band- Palais
De Danse, Hull.
Davi:son, .:.\1, a.11d his Baml-Yil la ~1arina,
Douglas, 1.0.M.

Dykes, Syrl, and his Band- Rialto Ballroom,
Church Street; Stoke-on-T1·ent.
Embassy Boys, The (leader, Fred Mack)- Westover Ball room, Bournemout h.
Embassy Six, Tbe- ThP- Plaza, Dublin.
Farrell, Tony. and bis London Piccadilly BandThe Palace Hotel, Southport.
Flo1ida Five, The- Edin~urgh Caft< Jlnllroom,
Lord Street, Liverpool.
·
Freitag, 1'ed, and b.is Band- Royal Hall, Bridlington Spa.
Go,tlon, Eddie, and his Band- Norwood Ballroom, Charing Cross, Glasgow.
·
Gray, AJbert., and bis Band- The Red Barn,
Shawlanrls, Glasgow .
•Green, Alan, and his Band-SheITy's Dance Hall,
Brighton.
Gregory, Art, and his Band- Sherry's Dance
Hall, Brighton .
T-r,i.rris, Geo,-ge, i\nn t,he 'V•.rs it,y Band- Empire
Dance Hall, Neath.
Hurst, Will, and his Band- Palace Ballroom,
Blackpool.
Rendall, Albert, and his Savannah Band- 1'heOxfo1tl Galleries, Newcastle-on -Tvne.
Kerr, Jack, and his ·uand-lliajestic Ballroom
Leeds.
Mason , Ernie, and his Band- Piccadilly Cluh,
Glasgow.
Metronomes, The-Shanklin Pier, I.0. \r.
New Broadway Dance Band-Shaftesbury
Balb·oom, Leeds
i\"ew Embassy Band, 'l'he-New Beach Dane<'Hall, Aberdeen.
New Metro Five-Bat,hs Ballroom, Torqua.y.
Pilcer,- Murray, and his Orchestra-Cafe
Normandie, Margate.
Randell, Sid,i_ and bis Rialto Band- Fort Lodge
Hotel, uliftonvill.,.
Ritz Players,'l'he-Palais de Danse, Nottingham.
Smead, Harry, and his Band-The " New"
Palais de Danse, Dundee.
Stun[o, Symon, and his Band- Alfresco Cafe,
Rd inburgh.
Swain, Hal, and his Band- 1'he North Pier,
Blackpool.
' Woodwa1tl, W., and his Royal Bath Hotel Band(a J ack Hylton unit)- Royal Bath Hotel,
Bournemouth.
Wynn and Allan's Band-Schofield's Cafe,
Leeds.

PIANO SOLOS.
. - Kerb Step; The, ,by Artliur Y.oung. (l\l;iy
issue, p . 455.)
t Piccolo Pete, by Ar thur Young. (Feb. issue,
p. 168.)·t Sweetheart, W:e Need Each Other, by Qe1-ald
Moore.

(March tssue, p. 258.) ,TRUMPET SOLOS.

t Just You ! Just Me! by . l'l'orman Payne.
(Ap ril issue, p . 360.)

TROMBONE SOLOS.

t Riding on a Camel, by Fran k Coughlan •(Jan . issue, p . 62.)BRASS TRIOS.

•t mondy, by Do uglas Bastin . (May issue,
p. 451.)•t I May be Wrong, by Leo Vaucbant. (Marchissue, p . 261.)•t Orange Blossom Time, by Paul Fenoulhet.
(Jan. issue, p . 61.)
• t Pattin' on the Ritz, by Leo Vauchant.
(This issu~, p . 538.)

VIOLIN SOLOS.

t Painting the Clouds with Sunshine, by Eric
Siday.

(Jan. issue, p . 63.)t ·Shady Lady, by E1-ic Siday. (Feb. issue,
p. 167.)t What Will I Do Without You ? by Be1\
Frnnkel. (Ma rch issue, p. 257.)
VIOLIN TRIOS.

•t High and Low, by Harry Perritt.. (Mayissue, p . 454.)·•t Take Your Hands Out of Your Pockets, by
Ren F rankel. (April issue, p . 358.).
•t Why Do You Suppose? by Eric Siday.
(T his issue, p. 536.)·
VOCAL.
(Jan.
issue, p. 67.) ·t 'Tain't No Sin, by Eddie Kolis. ('i\Jay is' u~,p. 453.)t Ain't Misbebavin', by Eddie Kolis.

.

CLARINET TRIO.

• t Singin' in the Bathtub, by Hany Rines.

•t(May issue, p. 452.)'Tain't No Sin, by Harry R ines.
issue, p . 163.)(Feb.

SAXOPHONE TRIOS.
(May issuo,
p. 450.)•t By the Bend of the River, by Hany Perrit.t,.
(Th is issue, p . 535.)• t Figaro, by Douglas Bastin. (April issue,
p. 359.),• t I May Be Wrong, by Leo Vauchant . (Marchissue, p. 260.)• t She's Such a Comfort to Me, by Douglas
Basti n. (Jan. issue, p . 59.)

•t 'Blondy, by Douglas Bastin.

MARIMBA or XYLOPHONE.

t Doll's House, The, by Dan S. Ingman. (Jan.
issue, p . 60 . )t Fairy on the Clock, by Hany Robbins.
(May issue, p . 456.)

t I've Never Seen a Smile Like Yours, by Bob
Manning. (Feb. issue, p. 166.)t Sunshine of Marseilles, by Han y Ro bbi ns.
(April issue, p. 362.)

t The Punch and Judy Show, by Dan S. Ingman.
(March issue, p. 259.)

VIBRAPHONE.

t Fairy on the Clock, by Hany Robbins.
(May issue, p. 456.)

t 'Tain't No Sin, by Rudy Starita. (April

INDEX to HOT CHORUSES
and other T raneriptions published in the1930 numbers of the "Melody Maker."BANJO SOLOS.
t I Need a Good Kind Man, by Len Fillis andEdgar Adeler. (Feb. issue, p. 164.)
t 'Leven-Thirty Saturday Night, by Frankie
Coropt.on. (This issue, p. 537.)

-

482 -

issue, p . 361.)
MIXED TRIOS.

•t Since I Found You, by Douglas Bastin.

(Violi r,, t rumpet and clarinet,) (Tbis issue,
p . 539.)
NoTE. -Cboruses ma..l'ked t are written for
use with t he commercial orchestrations, andwhere necessary conform to the harmoniestl\ereof.
·• The lead line of these concerted chor uses
· ?an satjsfactorily be featured as t1- solo.

Tl:e Melody Maker. ]mrr, 1930,

THE

CLIFFORD ESSEX"PROFESSIONAL"FIVE POINTSTO LOOK FOR WHEN
BUYING A GUITAR.

GUITAR
I.

2.
3.
4.

5.

A MUSICAL AND POWERFUL TONE.
A CORRBCTLY PRBTTBO:FINGERBOARD.
CORRECT SPACING OF THE STRINGSAT THE NUT.
RELIABLE CONSTRUCTION TO WITHST AND THE ENORMOUS STR AI N OFSTEEL STRINGS.
VALUE FOR MONEY.

All these qualit ies are to be found in the new Clifford Essex,, PROFESSI ONAL" Guitar. This instrument has a real ebony
fingerboard, inlaid at positions with mother-of-pearl ; the body is of
Rosewood with the front soundboard of pine; purfiing round the outsideedge of the body and purfling and inlaid mother-of-pearl designs round thetone hole. These qualities combine to make this instrument ideal for p rofessional use both as regards to tone and appearance.
Send for Folder M.P.G.3 which gives full particulars and price of this new guitar

CLIFFORD ESSEX & SON

SAXOPllONES
by

BUESCHERCONNSELMERKING
MARTINBUFFETLYRIST

PIERRETADOLPH SAX
SIOMA

ETC.,

ETC.

INSTALMENT
TERMS
ARRANGED

ISa, GRA FTON STREET,
NEW BOND ST., LONDON, W.1.

SAXOPHONES and all
BAND INSTRUMENTS
New and Secondhand
By the World's Greatest Makers.

Largest Stock and ~realest Bargains in England.

~---·---------7
1 ' ' The Service·
1
1
that___
Satisfies.
L _______ _ _ '_1'I' 'Every Accessory supplied. Expert Repairs at low
rates by leading craftsmen. Plating a speciality5 years' GUARANTEE.
Your present SAXOPHONE II INSTRUMENTS on 5 DAYS
taken in
APPROVAL. Cash returned if not
PART EXCHANGE.
MORE than Satisfied.

SAVE TIME, MONEY AND ALL REGRETS
and obtain satisfaction fromALEX BURNS LIMITED,'Phone : Gerrard 3796. PALACE HOUSE (opposite Palace Theatre), 128-132, SHAFTESBURY AV., W.1-483-

BARGAINS FOR ALL
RATES.- Advertisements under this$:tclicm arecharged a l 2$. per /i110,

and must be prepaid. Matter andremittances should be addressed to
The Advertisement Manager, "TheMelody Maker," Odhams Press Ltd.,93, Long Acre, London, W.C.2.
}IOOTE 'S llAltGA l NS.
If you. nrc looking for a "snip," run your eye
down tb1s lot.
\\"e can't put in hair what we' ve
got, so drop a postcard ror complete schedules.

SAXOPII ON~)S: All r,errect order, complete i nt'ases. Bl, Sopranos: Foote, £8 ; Hawkes, plated.
£ 12 ; REF, S.P.G.B., £ 14. E~ Altos : French, plated,£9 ; Guenot, plated, £ 1%; Jedson, plated , £ 12 ;Savanna, plated,£ 13 ; REF. S.P.G.B., £1:i ;Buescher, S.P.G.B., £2 1. C Melocly, Com1, S.P.G.B.,£1 ◄ . Bl, Tenors: l,amy, lo w, plated £11 · l'ucillct
ditto, £1 :i. E!, Baritone, low, plated, t i8. ::lla11);others.

.BASS SAXOPIIOXE : Super: REF full Artists

moclcl, low J)itch. Silver-plated, gold bell. Complete in filled Case. £40. Wonderful value.

STltl .\G BASSES : Secondhand. Pi11e orchestrol
models, machine head, 4 string, straight bock,slopi ng shoulders, tl and £8. Dillo, s well back,t l Oand £ 12.
Tl'!ll'A.\I : p,.; , Rymphony moclcl, 24 ins. and 27~in". Deep copper shells, nickel fittings, as new.
complete with sticks and covers, £16.
" REF," 3 oct, resonated, low.
Shop-soiled, £ 10. Also Harpaphones, Marimbas,
Bells, Vi braphones, Glock,, etc.
S UPER REF I TUE BE T.
Sen,! for Poole's Bargai n S<-hcdnle a nd JJlustratcd
Colour t'alulogne of the .. Super lief " Band l ns tru •meuts. C.:l111s. E. Foote, Ltd., 218 /232, llornscy
ltoud, Loudon, N.r. Phono : Norlh 4680. 'Grums :x, lore!, Hoh1 ay, London .

C)OLLAl'Sllll,t: onm 1s (IN CASE). NEW At\' D
trnCONDl'flONED piano nccordions, instruments,
megnphont"I, stnnds, all accessories.
18, N°Of'l Strc"t, London, W.1.

Thompsons,l)INNEl t SUl1'S, DRt:ss SUITS, 3:-, /- to r,5 ,-.
Dinner Jackets, Dress Coats, t;; /- to 2;; /-. Also
White Vests, Dress Shirts, second-bond, high quality
P.nquirit"S pl~o.sc. Cnrt"'"~ gvenin~ \\"ear Specialist .
35, Thompson's Lane, Cambridge.

llA~S DIHi.H, new, 28 by IS, light walnut, nick<'lfittings, trnp door, selcct<J vellums, etc. t4 I 0s.
Wonder ful value.

u :wL~ ALT() and SOI'. SAXES, £ 1 ◄ and £II. Bodell, 136, Allison Road, Harringay, ::S.8.

Cl '~IBAJJS : Turk ish," extra thi u" for u hot" work.
!~rns., 11 /6 ; 13 ins., 20 /- ; 14i11s., %2 /6 ; 15i11s.,

SF;U lil t:~ ALTO and llllSSON U~ Soprano Saxo 1>houes, both silver-plated, goocl cases, stands nr.d5 doz. reeds, £39 or near, would sepamte.-Dmper,
230, High Street, Berkbamsted.

C_l.AUL~ETS: ~ndhaud. E~, Hawkes, 3:i /-,<htto, Booscy, 4., /-. n~. Hawkes, 14 keys, 50 /- ·d itto, Dooscy, 60 /-, d itto, Foote, low, 70 /-.
'JIETAL CLAIIINETS. Secondhand. REF, 14 keys,
plated, t_O/-; ditto, IS keys, rollers, S.. ; Kohler,.Boehm, 'II: ct\Se, £1 ; Gue11ot, Boehm, in case, J:8.
All low pitch.

Y RICS & SONGSWANTEDby t he ONLY OROAN·ISATIONe~LuulitilJcd Lo
g ive the Amateur Song

8 .\ SS CLAII I .\ET : Perteet conditio11, r,s new
wonderful tone. Complete in Case, £6. Well
worth double.

TUUMP};TS : Kew, tested a nd approved model
high a nd low, n ~ and A, rotary q uick change silver'.
plated, t:i. Secondhand bargains: T. Lamy, r.c.q.
G~ I-: Coucsnou, 60 /- ; Foote, 65 /-.

PIAXO A('COIIDIO.\ : Double up 011 one or these
lovely ins truments. I,arge range by the leadiug
makers. Prices aud professiona l quotatio11s ou
application.

Writer a real chance orrecognition: LYRICS
set to music by wellknown Composers and

•

..

..

..

24

0

0

lntest moclel

..

..

..

..

ment!': as nbovc). .

..

..

..

II UESCUErt, S.P., G.D., nearly uew,

hnrdl y used..
..
..
. . 21 0 0
II CESCIIErt. S.P., G.B., nearlr new
19 0 0JICESCBER, S.P., G.B., nearly new
18 0 C>ll il WKES, XX th Century, S .l'., G.JJ.,

latest model..
..
..
. . 18 I ~ 0
HAW~
XXtb Century (three instruments as nbo,·e)
..
..
· ..
CONN, S.P., ~.B ., latest u: cdcl, newcondition..
..
..
..
. . 18 I ~ O
SELHER, S. l'., G.B., :>toclel 22, perfectcondition..
..
..
..
. . JS O O
SF:M I ER, S.P., G.B., moclcJ 2z, perfectcondition. .
..
..
..
. . 11 10 O
Lt;\VIX, S.P., G.D., true perr<-ction,
latest moclcl..
..
11 0 0
ALBEllT, S.P., J.atest moclel
13 10 0Jf;osox JU 111'ONl, S.P., G.B., J.inc
conditjon ..
..
II 10 0ltOMEO OUSI, S.P., G.B., perfect condition
9 10 0A llllA.\'D, plated, nearly new . .
10 0 I)l' IU O:NU I, pluleu . .

1 IO

E l, ALTO (hig h plfr h).
CO.\'X, S.P., G.B., latest moclcl . .

16

ii

0 0

c ,rn,.001·.

(Dept. N.1.).
M itr e H o use, Fleet Street, E .C.4.

8 ;, TENOltS (Low pltrh).
Lf: Wli\', true perfection, S.P., G.B., lates t
model
..
..
..
..
..
E VERITE !.\llElU<'ANJ.
S.P., G.B.,
latest model, fine condition . .
..

1s To

ADD BEAUTY ..

IU:SSON

11!, TENOR (high pitch).
S. P., G.B., perfect condilion

20 0

I)

19

O 0

I~

0

11

t~ 0

0

E ~ BAIIITOXF..

S,•roudband Selmer Ba rito ne, only useda few weeks, latest moclcl.••.

CLARL~ETS (low pitch).
Sf:LlU!J!, shop-soiled, Woocl, Boehm .. 13 0 0
Sf:J, )IER, ehop-soiled , Metal Boehm
MOdel, wilh micrometer tuning barrel I ~ 0 (>BUFFET, Wood, Al bert System, Patent
Csbarp
4 0 0

E( Londo n L imited)

years' guarantee . .

JI,\_WKES, XX th Century, Gold Plated,

S ELllElt, shop-soiled, S.P., G.D., lowpitch (with 15 years' gnarant<.>e)2' I ~ 0

VE RY Banjoist should
send for the lavishly
illustr a ted brochure of the
new John Grey C ologr avure Banjos, made by
the famous house of JOHN
GREY. They strike .a newnote in banjo design- adelight to play, to hear andto see. For a copy you need
only send a postcard to

J OHN GREY a JCMJ

E1 Al,TO (low pitch).
Sf:LllElt, shop-soiled, S.P., G.B., with 15

Published FREE OF CHARGEWRITE for PROSPECTUS to :THE BRITISH SONG SO CIETY

11..oo ,01.ouR

10 . .

II!, SOPRANOS (low pitch),~IAICTI .\, Gold P lated, in new condition
HAWKES, XXtb Century, S.P., C.R.,
only a few weeks old ..
II.\ WKF.S, S.P., perfect ..
Al, llEUT, S.P., perfect conditionIIAWKES, XX th Century (three iustnt•

INTf:rtLUDt, llUUUJSQUES ror Dance .Bands, etc.,'"OesertSon,g/' 11 Painted Doll,"'" \*olga Boatmen,"ti Toreador."
Scenario, Gs. each.-Ricardo, 1, Her•
beton Road, Bournemouth.

,-.

REMARKABLE B ARGAINS

x 1·LOPHOX1':II EF SAXO~' IIOXES : Jiigh class Outfits, embodyim:
nil 1:itest 11nprovements. Sandblast silver-plated,bunnshed keys, gold bell. Complde in Cases.
Bl, Sopranos, £ 11 ; E:, Altos, £18 I Os. ; Bi, Tenors
t·t~ ; El, Baritones, £30.
'......

SAXOPHONE
CLEARANCE SAL E .

..

CLAlll~ F.T (high pllrh).
llf:SStN, Wood, Alber t System ..

2 I ~ II)lay he purcl,ased on deferred payments pion.

All the above instmments include cases, and h:we
specification incJuding automatic octave.
F.ach im;trmn ent is overllauled, after which it istested by 13cn On vis beCorc handing over to customer.

HENRI SELM E R& CO., LTD.,JONN fi, " n' f, IONI

32, WORSHIP STREET, E .C,2

106, CHARING CROSS RD.,LONDON, W.C.2.
'Phone: T emple Bar 3643

-484 -

The Melot/)• Maker. J"nt, 1930.

BARGAINS FOR ALL
RATES.-Special reduction£ made if two

vr mun; iu ~l, uments arc purchased at thosame time. Every instrument offered
has been thoroughly overhaulE'd a n-! isguaranteed to be in excellent playing
condition.
HAWKES' BARGAINS.

Secondhand Instruments at Reduced Prices.
SAXOPHONES.- All in perfect order .
B!, Soprano, Lyrist, silver-plated, lowpitch, as new, £10. Hawkes', bent model
silver-plated, complete with case, highpitch, as new, £4. Buffet, bent model,
brass, low pitch, complete with case,practically new, 75/-. Alto Saxophone,
Grey, low pitch, silver-plated, as new,complete with case, £11. Laflt:ur, in
excellen t ccndition, silver-plated, lowpitch, in case, £15. Adolph Sax, plated,
low pitch, with case, £15. Pierret, £14.
Besson, artist's model, silver-plated, lowpitch, conditio1,. equal to new, £18 18s.
French, artist's model, brass, low pitch, £9.
Tenor Saxophone, Hawkes, artist's model,
silver-plated, low pitch, £23. Albert,
artist's model, silver-plated and engraved,
low pitch, a bargain, £21.

- -- -- - -TRUMPETii,- .1:looscy, rapid cha nge toA, silver-plated, high a nd low pitch, condition as new, £i 17s. 6d. Bess:>n, Class A,
rapid change, with low pitch slide, complete with case, £8 Ss. Hawkes" Clippertone," rotary quick change t o A, high andlow pitch, silver-plateJ, complete withcase, £12 12s.
TROMBO~.-}Iartin, silver - plated,
dance model, with gold bell, high andlow pitch, complete with case, practicallynew, £12 12s. Hawkes, Class A, silverplated and engraved, high and low pitcha bargain, £8 17s. 6d. Besson, Class A,
silver-plated and engraved, £5 5s. Writefor comp lete list.
THE IDEAL XYLOPHONE BEATERS
are made by Hawkes. They are l '3
inches long and arc fitted with whiteivorine ball-shaped heads, also a 6 in.
rubber sleeve mi.king them non-slip.
Get a pair now and play in comfort.
Price 5s, net.
SOUSAPHONE.- L:fleur Ei,, brass, higha nd low pitch, very little used, as new£18 10s.
BOEHM CLARINETS.-A Boehm system
Clarinet, Hawkes', first-class, wood, lowpitch, £5 5s. French, metal, full Boehm
system, low pitch, £6. i\letal, A, Boehm
Clarinet, Cabart, with low B!, key, lowpitch, as new, £6. B!, Boehm Clarinet by
i\fartin, wood, low pitch, practicallynew, £7.
A CLARINETS.-Cabart, Barret acti.on,
metal Clarinet, low pitch, phenomena lvalue, £5 ll,11. 6d. J\fartin, Barret ac tion,wood, low pitch, as new, £5 12s. 6d.
Hawkes, simple system, 13 keys, andpatent C:lf, wovJ, low pitch, !6.
Hawkes, ·· l:.xcelsior" model, 14 keys,
wood, low pitch, £3 6s.

B~ CLARINETS.- Simple system, 14
keys, wood, low pitch, French make, £3.
Another at £2 10s. Hawkes, " Sonorous," Class A, 13 keys and patent C sharp,wood, low pitch, only slightly store soiled,£9. Buffet, 14 keys, wood, low pitch, goodcondition, £3 5s. Another at £4.
Hawkes, 13 keys, wood, low pitch, new,
£6. Cabart, 14 keys, wood, low pitch,
little used, £8 10s. Bl, Clari net, 14 keys,
ebonite, low pitch, by Cabart, £5 5s.·
Metal Clarinet, Bettoney, Boston Wonder,
15 keys, low pitch, complete with case,new, £8 10s. B!, Clarinets, British make,40s., 45s., and 50s.

OBOES. - Selmer, fu!J Conservatoircmodel, low pitch, complete in case, costoriginally £30, accept £19 19s. Simple
system Oboes, from 30s. upwa rd s.

SIDE-DRUM HEADS. - 19 in.. best
quality, 6s. 6d. each. Grade B quality,
4s. 10d. each .

•BASS DRUM HEADS.-38 in. diameter,
grade B quality, 14s. Write for complete
list. Drum repairs a ~peciality.

OVER 1,000
INSTRUMENTS
FOR SALE

DEMONSTRATION BANJO SALE.
Every Instrument by Famous American
Makers.
VECA -PARAMOUNT -LUDWTG-

EPIPHONE .
TENOR BANJOS.-Vega "Style F,"
soiled only, complete with fitted case, £6.
Vega "Style N," complete in case, £7.
Vega, second-hand, " Little Wonder"
Tenor Banj o, complete with resonatorand case, in exceptionally good cond ition,£10. Ludwig" Kingston " model, nickelplated flanges, etc., geared pegs, walnu t
resonator, complete in fitted case, £15.
Paramount "Banner Blue" model, ingood condition, equal to new, complete incase, £5. Paramount " Tenor Harp,"
four string No. I model, played andtuned similar to t enor banjo, £12.
Epiphone" Super Wonder" Tenor Banjo,
all metal parts nickel-plated, completewith resonator and case, £16.
PLECTRUM BANJOS.- Vega No. 3 Tubaphone four-string model, with case, as
new, ' £15.
Vegaphone, second-hand" Professional " model, with resonatorand nickel-plated flanges, in shaped case,excellent condition, £24, Ludwig " Kenmore," all metal part. nickel-plated,planet geared pegs, walnut r~nator,
complete in fitted case, £15. Ep1phone" Super Wonder," all metal parts heavily
nickel-plated, complete with resonatorand case, £14. Paramount four-string
Plt-ctrum G, " Langstyle " No. 4 model,
nickel-plated, complete with resonator andlined case, £14.

Write for Catalo11ue.

EASY PAYMENTS ARRANGED
Evt,y In1tr11m1r.t Guarantu d to be
ill Pint l/1111 Ptaying ordtr.

REGULAR BANJOS.-Vega shop-soiled" R<-gcnt " model, 5-stringed, in case, £10.
Vegaphone "De Luxe" model, goldplated a nd engraved, with magnatone
resonator, plush-lined case, demonstration soiled, 145.
Vega " R egent"
special model, five-stringed, nickel-plated
flanges, resonator and case, £14.

=

VIBRAPHONE.- Hawkes · Leedy model,
3 octaves, chromatic, low pitch, resonated,
fitted with Universal electric motor,
patent pedal damper, cash £30.

BANJO.- Clifford Essex " Paragon "Tenor, nickel-plated, geared pegs, equal
to new, complete with resonator andcase ...
...
...
...
. .. £16

TYMPANI.- Hawkes', 24 in. and 27½ in.
dia., white enamelled copper shells, goldplated tuning handles, £19 19s.

GUITARS.- Second-hand, G-string, goodcondition £4. G Guitar, 4-string, plectrum, o~ly shop-soiled, £4.
SpanishGuitar, 6-string, demonstration soiled, £2.
Write for complete list.

DRUMS.- Bass I:rum, Ajax, size 28 in.
x 15! in., separate tension, mahoganyfinished ash shell, light hoops, nickelplated rods, fitted with trap-door forelectric light, perfectly new, £7 10s. Ludwig Supertone Siae-drum, metal shell andflanged hoops, nickel-plated and polishedfinish, new, £6. 14 in. Super Ludwig,
Side-drum, with patent snare device£8. 14 in. Multi model Side-drum, store
soiled, £5. 14 in. Snapper Side-drum,
nickel-plated, as new, £3. 14 in. Kinimo
all wood Side-d rur,~, £2 10s.

!:·_ --~~~t~~E~?i~~:~-£~i: : i_:.

Violin, branded D. Nicolas Ainc,excellent tone, a bargain ... £ 1 S
Violin, labelled Giovanni Carressi,:
two-piece back, gold red varnish, ::fine tone...
...
.. . £ 1 S :: Violin with old Italian label £20 :1

H~WKES & SON (LONDON), LTD.,
Denman Street, London, W.l .
Manchester : 179, Oxford Road.
Glasgow : 60, St. George's Road.
Aldershot : 45, Station Road.
- 485-

Approval willingly.

i:....:.............................. .............·------~THIS MONTH'S SPECIAL BARGAIN
Hand-made Oil-varnished Violin, Stradmodel, excellent tone, suit.ahle for solo ororchestra. use£8
Cannot be repeated. A snip.

The Melody Maker.

June, 1930.

CURR.E NT · ORCHESTRATIONSDance Orchestrations of popular numbers issued during the past month or to be issued during
the current month are listed regularly under the above heading
FOX-TROTS.
After the Clouds Roll By : Levant; arr.
Paul. Chappell.
Barmaid's Song, The : K ennedy ; arr·
Griffiths. Feldman.
Bench in the Park, A : Yellen and Ager ;arr. Ager. Law. Wright.
Blue is the Night: Fisher; arr. Skinner·
Francis Day.
Checkawgo Babe : Shields ; arr. Wendt.
International.
Cottage for Sale, A : Conley and Robinson;arr. Skinner. Victoria.
Jourtin' Time : Stoddard, Coburn and
Burtnett; arr. Burtnett. Victoria.
Crowning of the Cotton Queen, The : Long ;arr. Bowsher. Law. Wright.
Cryin' for the Carolines : Warren; arr.
Haring. Francis Day.
Gay Love : Levant; arr. Levant. Chappell.
Gypsy Dream Rose : Kendis, Samuel andGusman ; arr. Polla. Feldman.
Harmony Heaven : Vincent, Pola and
Brandt ; arr. Ursell. C. & C.
I Don't Want Your Kisses : Fisher andBroomes; arr. Skinner. F rancis Day.
I Have to Have You : Robin and Whiting ;a rr. Skinner. C. &. C.
I Like to Do Things for You : Yellen andAger; arr. Ager. Law. Wright.
Mysterious Mose : Doyle; arr. Skinner.
Feldman.
Oh-oh-oh-oh-oh-OH ; What a Silly Placeto Kiss a Girl : Gilbert ; arr. Bowsher.
Law. Wright.
Raspberries : Hulbert and Leslie ; arr.
Ursell. C. Lennox.
Ro-Ro-Rollin' Along : Moll, Richman
and Mencher ; arr. Brewster-Raph.
Law. Wright.
Searching for You in My Dreams : Voll,
Cameron and Bontsema ; arr. Blade.
Keith Prowse.
Should I P Brown ; arr. Skinner. Francis
Day.

Someone :Chappell.

Levant;arr.

Grossman.

Song of the Dawn : Yell en and Ager ;arr. Ager. Law. Wright.
Three Words : De Kers; arr. Wendt.
International.
Washing Dishes : Dickson ; Neeley andRingle ; arr. Grossman. Victoria.
Week-End : Hamy ; arr. Wendt. International.

BRON'SNOW STOCKSAXOPHONE REEDS
SOP. &
CLAR. ALTO TENORSELMERper doz. 3 / - 4 / VANDOREN ., ., 3 1- 4 / 6
VOCALTON~ ., ., 5/ - 6 / -

5/ -

5/ 6
7 /-

also

"Cathedral" VIOLIN Stringsand" Black Diamond " and " Bell "brand BANJO Strings.
Ag.,nts for SELMER SAXOPHONES
and CLARINETS
Send for Detailed Lists.

BRONiS47, GERRARD ST., LONDON, W.1.
T elephone : Rege11t 4195.

We're Uncomfortable :Wallace andButler; arr. Thorne. C. & C.
What Can I Do ? (I 'm Brokenhearted) :Wyn and Wilton; arr. Griffiths. Feldman.
With You- With Me : Levant; arr. Paul.
Chappell.
Worryin' Over You : Tobias and De
Rose; arr. Grossman. Victoria.
WALTZES.
Blue Pacific Moonlight :Payne and
Herbert ; arr. Klenner. C. & C.
Bundle of Old Love Letters, A : Brown ;arr. Skinner. Fra.ncis Day.
When It's Springtime in the Rockies :Woolsey, Sauer and Taggart;arr.
Plumstead. Francis Day.
TANGO.
You'll Forget My Kiss To-morrow :Aivaz ; arr. Lenoir. Chappell.
6/ 8 ONE-STEPS.
Silvio : Reel; arr. Wendt. International.
Stein Song : Colcord and Fenstad ; arr.
Vallee. Keith P rowse.
We're All Happy : Leslie; arr. Mackey.
Keith Prowse.
T be following are the addresses of t he publishers
concerned :C. & C. .
Campbell, Connelly & Co., Ltd. ,IO· ll, Denmark Street , W.C.2 .
Chappell . . .
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Bond Street, W . 1.
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Francis, Day & Hur1ter, Ltd .,Francis Day
138-140, Charing Cross Road,\ V.C.2.

FREE Book of Pointers
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Tht Mel<,d) Maktr.

jt,ne, 1930.

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-488-

The Melody Mak.tr. J11ne, 1930.

THE only In tcpmdent 1\1 aga-e111e for all.
wflo are dir~ctly or indirectly interested,n ths production of .Popular Music

Vol. V

No.; 54

JUNE, 1930

Editorial Offices
93, LONG ACRE,LONDON, W.C.
T<Jepkone • Te:nple Rar 2488
Proprietors-Odhams Press LcJ.

Managing Editor
JOHN DUNBAR(for Odbams Press Ltd.;
Editor •••P. MATHISON BROOKS
Teehnical Editor •••DAN S. JNGMA N
Adi¥rll><111ull M11Mgtr •FRANK J , TAYLOR

BACK
BEATS
I
6y .
Th e /Jusk er ..

RIE::'.\'D " Detector " went " tobed " with his contribution
this month on the very eveofawirelessbombshell.
Accordingly he has asked me to tell
you all about it, although, I expect, by
the time you read this, you will haveheard about it elsewhere.
Ted Lewis, after a single broadcast,
was withdrawn from the air, and on:\lay 19th, instead of his band relaying
from the Kit-Cat, Bert Ambrose andhis May Fair Hotel Orchestra werefeatured and will continue to be forthe period involver].
Apparently the B.B.C. did not think
the American's methods of presentation were acceptable. The number
and style of Ted's recitative vocals
rendered the programme unsuitable for
dancing, and apparently in this direction he departed from the instructions
laid down by the B.B.C. for the guidance of outside broadcasting dancebands generally.

F

*

*

*

It may be that Ted Lewis, comingfrom a country where broadcasting issubjected to no such control, hardly
realised how thorny a subject is songplugging in English radio. Or, perhaps, he thought that already so muchof it is done sub-rosa, while being
winked at by the authorities, that he-himself could hardly go wrong; orperhaps, not being paid for his services
by the B.B.C., he decided, like a lotof other artistes have done, that if
the corporation didn't like his methods,
it could do the other thing.
These are just surmises, but one fact
is evident, and that is the B.B.C.
did do the other thing, and now no
more will Ted sob into our headphones.

*

*

•

I think the B.B.C. did right intaking this quick and uncompromising
attitude, even if such circumspection
is not generally practised in thismatter of song p lugging.

In any case, the fact that the action
made it possible to give us Bert
Ambrose's band hr a second night in
the week was the happiest of sequels.
Vve can't have too much of Ambrosethese days, and really Ted Lewis'
offerings were not of such quality thatthey will be seriously missed.
Unfortunately, it deprives us ofhearing occasional snatches from
Jimmy Dorsey, but he was p retty well
starved of opportunity, anyway.

*

*

*

Back to the Voice

There has, for a year or two now,
~cen o. tendency on the part of West.

end establishments to do without brasssections in their dance bands, in orderto keep the music soft and refined.
-489-

Such bands, and others which cannot
afford to employ brass players, may beinterested in a little device I heard
employed recently at Nnnky's Club,
by Lou Stevenson, the fine modern
drummer in Arthur
Rosebery's
Molten Five.
•
By placing a wow-wow mute in theend of a megaphone, and singing
falsetto scat into it, he produces atone ident ical with a muter.I t rumpet.
Such a device should be useful as an
extra tone colour for bands of limited
instrumentation.
Arthur Rosebery, who has a wonderful " nose" for h idden talent, has unearthed a new J1i...nistic discovery, torelieve him at the Club. His name is
Leonard Goodwin, and he is said
. o be after the style of Billy Munn
of Jack Hylton's Band.
*•*

Three Brothers' LuckThe Starita Brothers, after a longand prosperous run, have received acheck to their activities latelv, and Al
has returned to America, where, as I
hear, he has already fixed up an engagement at The Weirs, Kew Hampshire.
Prior to Al's coming to thiscountry he played at this summer
mso r t for several seasons. and has,returned, I understand, to take over t hesame job again.
Ray and Rudy are staying on,

The Meloefy Maker. ]11ne, 1930.
bouring the illusion. that the roads of
London are still paved with gold, andthat jobs for dance musicians are asapparently, but .though both could
probably carry on doing quite wellout of recording, the recent restrictions may affect them, and I take:: itt hat, unless suitable engagements cometheir way, they may follow Al's
example. The West-End is already:rather unfamiliar without them taking
a good share of the limelight.
***

abundant as showers in Mancheste r.

One Gain One Loss

It was reported in the Stop Press
news, in last month's issue of THE:MELODY MAKER, that Danny Pola,
Ambrose's first alto saxophonist, wasprobably returning to America. Fortu nately, this has been avoided andDanny stays.
He is a great performer, even bettersome say, than Perly Breed, his predecessor, and no one wants to see
Ambrose's orchestra impaired at thisstage of its brilliant development. Butt hough Danny is not going, Johnny
Helfer, the American saxophonist fromthe Savoy, is definitely leaving.
He has been with us for three years,
and says he has had a great time. " I
hope to come back in a year or two,"
he told me, "but, gee, boy, I shall beglad to see home again for a while."
Johnny must be one of the mostpopular of all the " star " Americanmusicians who have visited us. J, forone, shall be glad· to see him back.
***Household Breaks

Jack Powell, the black-faced drumact, who created such a sensation in~ochran's 1930 Revue, occnpies alittle first-floor flat in Lpwer Regent
Street, facmg the Capitol.
I understand that before he rented
it he tried out all
the chairs, ornaments and furnishings, to see ifthey would respond to his drum
sticks, and when
J visited h i mt here, recently,
during the course
vf some hours the

only time thesticks left his
hands was when
he d i s p e n s e d
hospitality.
I have neverknown a fellow to
be so full of enJack Powellthusiasm for his
work, and yet so thoroughly entertaining with it all. He not only gets rhythm
from all inanimate objects, but from)if~, too. He will probably have many
1m1tators on the boards, but I don't
think he'll ever have a rival.
***

Johnny Helfer

Dann'.)! Pola

one of the " First Five Thousand "to join the Coda Club, the new" National Society of Dance Musicians."
It will be a godsend to me, as wellas to every dance musician in the
country. No more will I have tododge the showers and slops in Archer
Street in search of the latest scandal ·in future all I'll have to do will be t~
take a comfortable pew in the club andsee all the luminaries of the profession
roll m for post prandial and ante
matutinal recreation.
***

One of our Family

Three years ago, THE MELODY
MAKER ran a competition for British
dance band arranger.s. It was conducted in five " spasms," each montha song being submitted for competitors
to arrange in full score.
In due course, the first prize wasshared between Ronnie Munro and
Ray Noble.
Although Ronnie could not at thattime be called a discovery, Ray, on
the other hand, was quite an unknown.
His success, however, brought him
immediate fame and recognition, andnow he is in charge of H.M.V.'s dancemusic programme.

*

*

*

All that is ancient history, but itbrings me to the point that anotherheat winner in this competition foundhis success the open sesame to opportunity.
·
This was Percival Osborne, a musician of the " straight " school, who is,however, quite a student of dancemusic as well.
Percy has not been idle. When theopportunities came his way, hegrasped them, and, as a result, forthe last three years he has been doing
dance orchestrations ::or several of theleading publishing houses.
Now he is also solo organist at theRoyalty Kinema, Richmond, and he is
not ungrateful to the old MELODY
MAKER for the chance it gave him.

*

*

*

Meet the Bo,ys !

D isillusionment

Having a little advantage over myreiders, I have made sure of being

Twelve thousand miles " down
under," the Aussies seem to be har-

490--

Quite a number of Australian dancemusicians have arrived in London
during the last three weeks, some ofthem bearing excellent qualifications
and introductions.
, Alas, none to my knowledge has
found a job, and I am afraid that somewill be returning home heart-sick andpocket-sorry.
Australians are h ereby warned thatjobs are very scarce in England at
this time of the year.
During the season, really first-rate
men can usually fix up advantageously
in the West-End of London, but inthe summer- phew ! everybody sits
tight to the chair he holds and thanks

the Lord for it.

*

*

*

Entertaining R oyalty

I see Jack Payne and his Orchestra
have had the lucky break to be
included in theRoyal Command
performanceatthe Palladium.
Jack Pay n ehasn't had to waitlong to achieve sosignal a distinction, b u t , as
" every man jackof the band is
British," I suppose he was anatural choice inview of the precedent set up by
Jack Hyltou's
an d De b r o y
Bob Manning
Somers' bands.
The last time I saw the act was atthe Hoiborn Empire, when very little in·the programme had been altered fromthe original Palladium debut. I giveit as my humble opinion that the bestindividual feature was the fine modern
drumming by Bob Manning, but not
his stunt chorus with a leek.
***
Representing Hylton

Jack Hylton is, at the time ofwriting, without a manager, Edgar
J acksou having left his service earlyin May.
Now that the band is back in townwith a particularly busy programme
before it, I take it somebody is in therunning for the job. As an insightto the art of doing a good day's work,
I should think this job wants a lotof beating, but worth its weight -ingold for sheer experience alone.

*

.*

*

Parts Without T ears

The Victoria Music Co. has alreadydone so well with its De Sylva, Brown

The Melody Maker.
feature article, which he called " How
Talkies Call the Dance Tunes,"
Atkinson made orn~ or two astounding
statements.
For instance he refers to " .
. .
the grace or the spirituality of the work
turned out by Ralph B entalzky inGermany or Jose Padilla in France,"
while adding " The Blanket of medioc11ity lies heavily on American dance
numbers. Their poverty of imagination
and resource is appalling."*

Darby Eastman

Jack Beechingand Henderson material, that many
recent additions have been made Lo
the staff.
For instance, there is now installed
the Radio Rascal, otherwise Jack
Beeching, late of the Lawrence WrightMusic Co., and Francis, Day andHunter, Ltd., whose circle of professional friends rings Land's End andJohn o' Groats. A very fine songdemonstrator and a knowledgeable
bloke, to wit.
Then there is Darby Eastman, theson of Walter Eastman, of ChappellHarms. He starts with every advantage, for his father is one of themost popular and influential men in
the business.
Many a conductor of a muskal
comedy or revue owes his job to a
recommendation from Walter Eastman,
but this is forthcoming only if he isreally worth it.

*

*

*

By the way, I · notice that theVictoria Music Co. are including fullyscored solo piano parts with theirorchestrations.
It is a policy advocated by THE
MEI.ODY MAKER for a long time, andI'm glad to see it started. It caters
for the good sight reader who is notable to extemporise himself, of which
many _hundreds have had occasion to
deplore the emptiness of many P.C.
parts. · I see also that the firm caters for
Quintet, Quartet, Trio, and Duo sets,
an economical arrangement whichsaves money for subscribers, andavoids waste of unnecessary parts inthe usual S.O.s.
***
Off the Mark !

I have noticed time and time againthat when Press critics depart fromtheir own field of activities to discuss
other matters, particularly popular
music, they often enough seem to put
their feet right in it, and show what alittle they know about it all.
Hannen Swafier has the habit, but
G. A. Atkinson, t he Daily Express film
critic, recently took Swaff's biscuitfor the same proclivity. In a big**

This fantastic comparison is really
too laughable to warrant contradiction, but the following is a grave
insult to musicians:" There are scores of good British
dance and talkie tunes, but they aresuppressed b'.)'the dance band con.-ductors, or, when played, are carefullyassassinated."
Then Mr. Atkinson, with marvellous
complacency, insists that "This article
will cause many dance band conductors
to play British talkie tunes for a weekor two," as though this profession ofours hangs breathlessly on every wordthat Mr. Atkinson writes. I don't
suppose one in a hundred of the boys
noticed the article, in point of fact.

*

*

*

Here is one assertion which displays
unique ignorance of the trade.
" British and Continental song writers,
composers and talkie producers simply
cannot compete with America. in themoney paid for " plugging " and advertising dance tunes."***

It is the old fallacy. These scribes
seem to think that American publishers ladle out graft money to British
bands to push American numberswith British audiences.
It is an absurd suggestion.
All the interest that an American
publisher has in t his market is to sellout the rights of his catalogue to the
British firm which will pay the greatest
advance, and after that the Yanks
sit back and do nothing.
Granted the songs are plugged, butevery penny spent comes out of thepocket of the British publisher, and it
therefore stands to reason that a
British song, of equal possibilities toan American, would be given as muchbacking.
**

Leslie, the American lyric writer ?
Not for convenience, obviously, andnot hP.C'.ansP. hP. wants to send his money
to the States, but apparently because
this writer can deliver the goods.

*

*

*

Here's a picture of Arthur Schwartz,
an American song writer who is having
a great success in this country at the
moment. Are weto suppose that
British producers
are using him
because of his
nationality or because Schwartz isable to compose
numbers which
are wanted by thet h e a tr e-g o i n gpublic in thiscountry ? I ' v eseen Arthur
Schwartz rehearsing English orchestras in theaccompaniments
A rthur Schwart:i;to his songs
and he has justthe flair for getting the best out of them.
It's sheer bosh to suggest that there
is a deep laid conspiracy to surrender
our sheet music trade to the Yanks.
G. A. Atkinson is an excellent criticof films, and he is on safe ground when
he discusses them. Music is a peculiar
business which he would do well to
study carefully before he makes rashallegations.

*

A Leviathantine Job.

*

Most readers will recognise " Collie "in the accompanying photograph, andjust a few will remember who his" pal " is.
Yes, it is none other than Emile
Christian, the trombonist of theoriginal° Dixieland Jazz Band, which
opened the Hammersmith Palais.
As " Collie " rightly points out,
Christian was one of the first musicians
to start the· high-pay era which madethe dance game what it once waso.nd now is, to a lesser extent.
The picture was taken in the pine
woods round Stettin in Germany.
" Collie " is with Lud Gluskin'i*

The truth of the matter is that
British songs have done very well oflate, particularly comedy and novelty
numbers. There bas bP.en no overwhelming victory by American talkie
tunes, only the best of which, andquite a small percentage at that,having succeeded beyond the average.
The best dance tunes still do comefrom America, especially those withreally rhythmic quality and possibilities .
. Again, why does Horatio Nicholls,
for instan,ce, use the services of Edgar-491- .

June, 193c,.

" Collie " and Emile ChristianThe Melody Ma.ker.

June, 1930

Orchestra, recently at Dusseldorf, but
now officiating in the " Leviathan "Night Club, p laying its way over tothe States for a holiday in New York.
It will also play its way back toGermany in the same floating club, apicture of which, with Ben Bernie's. Band on "the stand," is published in
the news section on page 521.
**'*
Ho t Cho1uies ly Air
On page 53~ will be found a hot
chorus for trumpets and trombone
by Leo .;vauchant. This is surely themost unique chorus ever published inthese pages, for it was written by
Leo in a trans-Channel airplane.
J u s t recently
T .eo h::i5< heen fly-ing over to Paris
with Marius
Winter for thelatter's Sunday
oroadcasts frcm
Radio Paris, andthis chorus wasdone on a return
trip : that it iswell up to thehigh standard of
Leo's work showsthat to him, atleast, flying is no
nerve - sh a k i n g
novelty.
,

Leo Vauc hant

Which reminds me that a lot of
people have been asking what has
happened to this briJKmt Frenchmanlately.
, Well,rapart from orchestrating, hehas been' doing this Radio Paris stunt,
and generally amusing himself.
His latest venture is to join Gregor'sband for a fortnight's vaudevilleappearance in Paris.
Gregor, although unknown in thiscountry, is the big noise in France, andpractically controls all the dancebusiness over there.
Leo told me that he had some reallysuper-hot men in his band, and if Leosays they're hot-and his eyes positively glistened when he spoke ofthem-you can take it that they areand how I
In particular, he mentioned Mougin,
pianist and arranger, who appeared
over here for a short while as accompanist to Ann Suter; Roger Fisbach,sax ; Lapeyronnie, trumpet; andPaquinet, trombone.

*

peace with the world and probably
inclined to do himself well, he paid his£1 and went into Tattersall's Ring,which is, of course, the enclosure
reserved not only for the more prosperous patrons of horse racing, but
for those interested in the sport from.a breeding and training point of _view.

*

*

*

Bet~ een races, horses were being?.uctioned and Harry listened to thebidding ~ ith con:::iderable interest,
jndging po.ints, meanwhile, with tl1e
eye of an expert.
The first horse to be put up started
at a purely nominal figurP- of ten
guineas, and, as quick ·as lightning,
the bidding rose to twenty, thirty, fifty,
one hundred, two hundred, two-fifty
and so on, ultimately being knocked
down for four hundred guineas.
The next one to come up started
at twenty five guineas, and off went
the auctioneer in fine style : " Now,
sir, can I say thirty guineas ?- just to
give it a start- shall I say thirty
guineas ? "As he spake thus, his eye roved
over the crowd, and, for no particularreason except that be appeared to be aninterested listener, lighted on Harry.
Partly through a somewhat peculiar
sense of humour, partly because hewas slightly ~tartled . through being
thus directly ~ddressed, Harry, safein the memory· ofthe lightning bidding
fur the last hors<!, fli(;kere<.l an eyelid,
and the auctioneer said " Thank you,sir. This gentleman offers thirty
guineas. ·who'll say thirty-five ? "But, to H.H's alarm, nobody did,and the longer the auctioneer went on
haranguing the crowd, the less did anyone seem inclined to better Ha1Ty's bid.
Then, just as Harry was apprehensively wondering what Mrs. H. would*

Nearly a Race-horse Owner

Lend me your auricular appendages,
friends, and let me tell you the taleof bow Harry Hines, first alto of Joe
Kaye's Claridge's Hotel Band, nearlybought a r::i.ce horse.
Finding himself with a spare afternoon and nothing to do, he hied himself off to Kempton Park. Feeling at-492-

say when he brought a race-horseback to the flat; just as the auctioneer
had reached " Going, going-now,
gentlemen, surely you're not going to
let this fine animal go at thirty
guineas ? "-for about the fifth time.
somebody sneezed or something andhad the horse knocked down to him
for th i r t y - fi v eguineas.

*

*

*

*

*

*

As Harry said
afterwards, " It
wasn't even thea c t u a l expensethat was troublingme so much, what
was worrying me
was how I wasgoing to get iton the 'bus goinghome!"
Moral: Don'tcatch the eye ofan auctioneer !
Harry Hines

Actor Musicians

On this page you will see a photograph of a very peculiar-looking band.
Although the atmosphere of Montmartre seems to pervade it, really thathas nothing to do with it. The scene
depicted is from Betty Balfour's new
film-now in course of preparation.
Betty herself is, of course, playing
drums ;
the other " actors " areGeorge Hurley, playing violin, Don
Thorne, piano, and Lew Stone, arranger to Bert Ambrose, on pianoaccordion.
Betty Balfour was specially taught•'drumming" by Bill Harty (wh? isnot shown in the photograph) in a few
hours.
I do admire George's waistcoat,
don't you?

The Melody Maker.

June, 1930.

Through the Mouthpiece

JOIN "THE CODA CLUB''
Launching of the " National Society of Dance Musicians."
FTERalltoomany years of aimless drifting, the past month
has seen the first effort made by
the profession of dance music
to organise itself and provide itself
with a society and club, constituted
on such generous lines as to do justice
to its obvious scope and importance.
On May 8th a meeting of the le::1.ding\Vest End dance band leaders andrepresentatives of the foremost music
publishing houses, gathered together
at Pop's Club, 9, Golden Square, toconsider the preliminary details of the
proposed enterprise.
The atmosphere of the meeting wasboth enthusiastic and businesslike,and the programme adopted is suchthat an overwhelming reception isassured throughout the British Isles.
Bert Ambrose, who was prevented
by a recording session from attendingin person, sent his mana,ger, Mr. K. P .
Hunt, to represent him· and to assure
the meeting of his unqualified support.
Jack Hylton, unfortunately abroad,authorised a delegate to pledge hisutmost assistance in t h e furtheranceof the scheme.
The following were also_ present :Percival Mackey (Savoy) ; J erry Hoey
(Piccadilly) ; Hal Swain (Variety) ;Charlie Kunz (Chez Henri) ; Eddie
Gross-Bart (Amj)assadors' Club) ; Vic
F ilmer(Murray'sClub); JackPadbury(Cosmos Club) ; Billie Cotton and J a n
Ralfini (Locarno, Streatham) ; Percy
Bush (Newcastle);
Lionel Paulus(representing Raymond de Courcy! ;Bert Lucas and Bert Chant (Francis,
Day and Hunter) ; Jimmy Phillips(Lawrence Wright) ; Leslie Holmes(C:ampbell, Connelly) ; Archie Trotter(Victoria); Jimmy Green (Chappell's);Phil Thomas (Feldman's) ; Vic Thomas(Cavendish) ; Geoffrey Clayton (representing Billy Mayer!) ; Dan S. Ingman
and P. Mathison Brooks (THE MELODYA

MAKER) .

Al Collins (Savoy) and Marius B.
\,\Tinter both sent letters regretting
their inability to attend, but enthusiastically supporting the venture.
The Presidents
It was first explained to the meetingthat the original suggestion had
resulted from • conversations between
Eddie Gross-Bart and THE MELODY
MAKER, as a result of which it had been
decided to convene this meeting in,order to $Ound the opinion of theprofession and to make a definite
start.
Fortunately, the necessary leadfrom the two . paterfamilias of theprofession was immediately forthcoming, both Jack Hylton and Bert
Ambrose giving the utmost encouragement to the suggestion. As a result,it was the unanimous vote of · themeeting that they should be invited
to become Joint Presidents, and in
this respect the new society is under
the finest possible patronage
Arising from this it was also decided
unanimously that the following should
be invited to accept Vice-Presidencies
and already a number of the nominations have accepted their appointmentswith h earty expressions of good will.
Messrs. Debroy Somers, Jack Payne,
Percival Mackey, Al Collins, Alfredo,
Jerry Hoey, Van Phillips, Carroll
Gibbons, Billy Mayer], Hal -Swain,
Arthur Lally, Jay Whidden, Ray
Starita, Eddie Gross-Bart, Billy Cotton,
Jan Ralfini, Fred Day, Lawrence
Wright, Bert Feldman, Reg Connelly,
Jimmy Campbell, Walter Eastman,
E . Van Lier, Ralph Hawkes, Ralph
Boosey, Reggie Tabbush, Archie
Trotter, Geoffrey Clayton and P . M.
Brooks.
This list may be added to from time
to time.
Raising the Wind

The financing of the enterprise is•of course, the biggest problem, but it
proved the wish and belief of themeeting that the club should be selfsupporting, raising its own funds by
way .of membership subscriptions andacquiring its own premises out of theproceeds.
It so happened that suitable premises had already come before theattention of the organisers, while amonth's option on them has since
been obtained, so that, subject tos 4tisfactory settlement of t erms, theestablishment may be acquired withvery little delay.
It is situated . in a convenient\Vest Encl centre, offers ample dining
and kitchen accommodation and equipment, with space for billiards, cardand dressing rooms, bars, cloal.{rooms,
lounge, offices and store rooms.
These matters were earnestly considered at t he preliminary meeting,and it was decided that an organisingcommittee should be appointed to-493 -

enter into negotiations and settle all
outstanding details and busine3s
matters.
The Organising Committee

The committee, which has power toco-opt other workers, is under thechairmanship of Eddie Gross-Bart,and includes Marius B. \Vinter andJ erry Hoey as Joint Hon. Treasurers,
K. P. Hunt, Jimmy Green, Vic Thomas,
Jimmy Phillips and P. Mathison 1
Brooks, the latter as Hon. Secretary.
These committee men will act only
until the Club is properly constituted
to elect its permanent officers, and are
already engrossed in their pioneer
duties.
This is their first message to you,and upon the response to it depends
the accomplishment cf this vital
proposition.
" Join the National Society of Dance
Musicians (The Coda Club) at once."
Membership fees are :T.ondon /tllembers, a:1.nual subscription
30/ Registration Fee (inclusive ofClub Badge)
5 /Country Member.:;, annual sub•scription
1.5 / Registration Fee as above . .
5/Not only join it yourself, naw, butcanvass your colleagues and friends
and make them enrol at once. Application Form~ are to be found on page 49.5.
Your money will be received by the
Hon. Treasurers and paid into an
account opened for the purpose. Onlyin the event of sufficient money being
raised to acquire suitable premises andto make a proper start will your subscriptions be used . Tf t.he stheme
fails, and this is fortunately a mostunlikely contingency, all subscriptions
will be returned in full.
Membership Qualifications

The following are eligible for membership:(r) All ithose who earn some partor the whole of their income from thepractice or trade of danc~ music.
(2) All others who play for ballroom
dancing. •(3) Those who have a l·ona-fide
intention of performing dance music,
subject to the discretion of the Club
Committee.
(,1.) Any other applicants who, at thediscretion of the Club Committee,
are deemed to have a · beneficial

The Melody Maker.

June, 1930.

influence in the trade or profession ofdance music.
Thus amateur, semi-professional andfull professional dance musiciaus,
straight musicians who double dancemusic, and all ,those connected with thetrade of. dance music are invited toapply for membership. Such applications must be accompanied by thesubscription and registration fees as
set out previously, all money being· promptly acknowledged.

the description, '' Member of the
National Society of Dance Musicians,"
the ball-mark of all those who havethe welfare of the profession and.

highest quality. These and countlessdevelopment of dance music a t heart

other benefits will bring to t he dancemusician something which he had
needed for a full decade.
Such a Society can be built up as
to compete with the great est organisations of the world. T he first five
thousand members will be able tolook back with pride in after years ont he practical share t hey t ook inbringing such an institution · int obeing.

Immediate Benefits

At the Club premises members will
be able to meet each other on comfortable common ground.
Instead of disengaged musicians
having t o hang about in the unedifying

T he First Five T housand

Five thousand pounds are required,thus five thousand immediate members
are the first objective of t he organisingcommitt ee.
Money m ust not be sent t o THE
MELODY MAKER, but to the Hon.
Treasurers at the address shown on
the Application Forms.
Every band leader in the count ryshould urge, nay insist, that a ll hisboys join at once.
To be a member of '' The Coda
Club" will be t o acquire ar;i. immediatestatus, and to ensure a future of wise
control over t he practice and development of dance music for the good of
all concerned.
A Club Badge is now b eing designed,and each accepted applicant will
receive his badge at th e earliest
possible moment.
Memb ers will be entit led to add totheir names on t heir visiting cards

restrictions of the Licensing L aws
will always be available at the lowest
possible tariff consist ent with t he

f:ill in the form on
page 4 9 5
AT ONCEatmosphere of Archer Street, harriedby the weather and hounded by thepolice, they will find the Club a
convenient centre at which t o foregather, while those who have engagements to offer will find the writing
rooms of the Coda Club a more dignified
rendezvous than the Archer Street
kerbside.
Members will be well and cheaplycatered for.
Lectures and demonstrations will be arranged. Visitingb ands will be given official receptions.
A sports side to th e Club activit ies
will be opened as soon. as practicable.
The Club will never be shut day ornight.
Refreshments within theFounder M embers

There ar e a few of t h e better circum stanced dance musicians and wellwishers who mav like t o h ave theirnames permanently recorded on t helist of Founder Members.
The
qualification for this is an initialsubscr iption of not less than £5 5s.
(Five Guineas) to include a full year's
membership and registration .
Ah undred or two such members are
confidently expected t o enrol.
Remember, _the option on the p remises expires at t he end of this month.
T hose who wish to help can best do
so by sending in t heir application
forms and subscriptions without aday's delay.
The sooner you do your b it t he sooner
will the Official Opening of the Clubb e celebrat ed.
•

==

r

school I
The only Pianoforte.
10

the world

producing a steaay stream of Prize- Winners.
Still two more ! In April-

Harry Geenty,
Individual P iano Prize, Yorkshire Dance Band Contest, 1930.

and now -Claude Bampton
South Eastern Counties '' Semi~P ro.'' Contest, Folkestone, 1930.

•

also a student of this School.

Learn from the man who knows how to '' deliver the goods."
Entire system endorsed by all the leaders of the profession-the men who know
Pros. and Semi-Pros.!
Watch for part iculars of the new BILLY MAYERL

Modern Rhythm Course for the Pianoforte.
P repared by a real exp ert in recording, broadcasting, composing, and the pianoforte I

THE BILLY MAYERL SCHOOL
29, Oxford Street, London, W.1.
BRANCHES :. .....

P .O. Box 58 28. Johan nesbu rg, South Africa. 17 5-177, Hereford St., Christchurch, N ew Zea land. P. O .Box8 1. Bombay, India. And G ermany.

~ , . Jib,,WWWWWW-

494- ·

The Melody Maker.

June, 1930.

APPLICATION FOR MEMBERSHIPTO THENATIONAL SOCIETY OF DANCE · MUSICIAN S(The C oda C lu b).
To the Hon. Treasurers,

I d,sire to becom9 a Town/ Country• Member of the above.
( •Delete word which does not apply. A Town Mem_ber is one working or residing within a radius of 20 miles from Charing Cross,)

I enclose herewith remittance value•£ ..•.. . ..s ... . .....d ... . . . . . .
(•Town Members insert £1 1 5s.
Country Members. £1. Both the amounts include registration fee
10 include cost of club badge, and represel).t One Year's Membership Fees ,in advance to date from the o01cial
inauguration of the Club. )All Subscriptions will be returned in full if the scheme is abandoned .
Surname .. ..... ....... . .. .. ... ...... ... ' . . .............. . .. . . ' . ......... ... .. .. ... .... ... .. .. .... .. .
Christian Na.m es (in full) .. .'. ..... .. . . .. : ...... . ... . ·.. . . ... .... ........ . .... .. .... . ......... . . . ...... .
Permanent Postal Address ... . ..... • ... . . . . .. .. .... .. . ... . .. . . ..... . . . .... . .. . ..... . , ...... . ... . . • ..•.

. .. . . .. .. . . .. .. . . . . . . . . . ·...... .. .. .. . .. ' ..... ... ... .... .......... ' ........... .
Instrument/s Played •....•... .-. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Status• .. . .. ....... . . ...•..•..•••.
·( •Insert here Amateur, Semi- professional, Professional. )•·Band· to which attached (if any) . ... . . . .. . . . . . ....... .. ..... . . .. . .. .. . . . . . . . . .. .. .
Address of Present Resident Engagement (if any) .. . . , ........ : ..... . . . .... . .... . .. ..
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . .~Age . . ..... . .. . ..•If applicant is not a musician, he should state here, brjefly, wl:at connection be bas with dan ce music, either trade or professional.

··· ········ ······ ........ .. ... . ......... ... . . ····· ..... .......... . .. .... ... ... .. ..... . .......... ..... .. ....... ..... .. . .
'... .. . . . . . . ................. . ... ....... ......... ..... . . .... ...... , .. . .... . ..... .: ............ . .... .. .. ......... ... .
'~Usual Signature .... . .. . .... . . . ....... . ........ . ....... ·... . . ... . .. . .. , .... . . ... . ..

Date ..... . .... , .. . . .... . ....•.•. 1930.

Cheques, Money Orders and Postal Orders must be m!\de payable to National Society of Dance Musicians A/C Payee only .
Add,·ess your envelopes to Messrs. 'Winter and Hoey, National Society of Da-n ce Musicians, c/o Marius B . Winter , Carlton House,
J,owcr Regent St., London, S .W . l .
- -- - - - - - CU T

H ER EAN D

RECRU I T

ANOTHER M EM B ER ON T H E

FOR M

BELOW- - - - - - - -APPLICATION FOR MEMBERSHIPTO THENATIONAL ·s ocIETY OF -DANCE MUSICIANS(T he C oda C iub):T o the H on. Treasurers,

1 dssire to become a Town/ Country • Member of t he above.
(•D elete word which does not apply. A T own Member is one working or residing withm a radius of 20 miles from Charing Cross.)

I . enclose herewith remittance value•£ . ..... ..s .. . .. ....d ....... ..
(•Town Members insert £1 15s.
Country Members, £1. Both the amounts include registration fee
to include cost of club badge, and represent One Year's Membership Fees in advance to date from the official
inauguration of the Club.)All Subscriptions will be returned in t-ull if the scheme is abandoned.
Surname.... >:· • •••••••••••• , •••••• • •••••••••••• • •••••••• , •• .•••••••. • • • • • • • • • •••• • • • • • • •• , • , , , • • • •. Christian Names (in full) . . . . ••• ; •.. .. . . .. , .. -~ . .. : . .• ..•• , • .. . .. ... •. . .. ..• . . .. .•. ·: . ... ..... . ... .. . ..
Permanent Postal Ai;l.dress . .. . ........ . .. . ..... . .. . .. ... ... . .. . .. . : .......... . ..... . •... : .....• . ..• .. .

. .. .. .... . ... .. . ....... . . . . . .. . . .. . .. . . . . . . . .. . . .. . .. . .. . . . . . . . .. . . . . .. ... . .

' ': . • . . . . . . . . . . . . . . . . .. . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Instrument/a Played •••• •• ••••.

Status • .....••.•... . .• .•• • ••• ~- ••( *Insert here Amateur, Semi-professional, Professional.)

Band t o which attached (if any) ... .. ........... . .. . . .. .•...••••.•.•..•. , .•.•• : ...
Address o-'r Present Resident Engagement (if-ap.y). •.( .,. ... . ....•..... • ••. ·: ..••... . ..
. • • •• . . • • • . . • . . • • . . • . : ••... . . .. .••• : • ••• : •••• . •• . • . ... Age •... : •• ::·••••••

If applicant is not a m u sician , he should state here, briefly, what con neet~on he ha.s with_dance music, eit her trade or.. p rofessional.

···· ················································ ······ .... ·· ······ ......., . . ··· ··············· .. ... ... .......... ... ... .
····· . ···· · .... ········ ··················· ...... . ···· ······ ······ ······ · ......... ... ................................ .
~

l

~

,

..'

.,

Usual Signaturo . . .•....... .. . . . ...... . .... . .... .... . . . .... . ..... . •. , • • • . . • . . . . . . .

•

:

:

•

•

Date . . .. ........ ... . ..... .. ..••. 1930.

Cheques, Mon ey Orders and Postal Orders must be made payable to National Society of Dance Musiciaus A /C Pa.yce only.
Address your envelopes to Messrs. Winter and Hoey, National Society of D an ce Musicians, c/o Marius B . Winter, Carlton House,
Lower Regent St. , L.o ndon, S.W.l.

-

495-

The Meloc!,v Maker. June, 19 30.

WRITE FOR FREE BAND PARTS OF AN ENTIRELY NEW ARRANGEMENT
OF THE BIG RADIO SUCCESS" IN THE STILL OF THE NIGHT'·
Slow Fox -T rot
ISSUED TO
SUBSCRIBERS
DURING
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A nother •• Mean to Me"

WRITE FOR PARTICULARS OF OURNEW SCHEME
Orchestral ClubJOIN IMMEDIATELY !

· Plion~Tempie Bar
3n7-8.

THE

VICTORIA MUSIC PUBLISHING COMPANY LTD.
Representing D e Sylva, Brown & Hendereon Inc. New York.

V ictoria House, 142, Charing Cross Road, Lo ndon, W .C.2 .

Vic,nusro, London.

✓PRETENDING
The Great
Melody Fox-Trot
specially fe atured by

JACK PAYNE
and hisB.B.C. ORCHESTRATHE CAVENDISH MUSIC Co.
(Boosey & Co., Ltd.)295, REGENT STREET, LONDON, W.1.
-

496 -

The Meloc!,J Maker. Jt1ne, 1930.
1

FTER reading the letter once or
twice, I thought the bestthing I could do would be toring the Editor up.
Sohaving managed to borrow twopence- I proceeded to the local call-box
and in due course pressed button A.
" You see," I explained after theusual dose of wrong numbers, " Yourletter was rather brief. It merely said
that you wanted me urgently.""Well," came back the editorial
voice, " I only had time for a hastynote. Spent half the afternoon trying
to get your number.""Er-yes," I explained.
" Pity.
I should have warned you really.
Matter of fact, most of my otherfriends know already. I've been
having a spot of bother with the telephone blokes over the question of myaccount. ''"Oh well, never mind that now.
Listen : are you doing anything to-Anight ?

11

" Not particularly, I wasn't.
Is
there any money in it ? ""Yes, if you do what I tell you andlisten to me."" In that case," I responded, " I am
one large ear. Carry on, oh sergeantof mine.""Don't start d rivelling at thisstage." The voice sounded a bit
terse even for the Editor. " Tell me,
have you ever adjudicated ? ""Yes, but I don't think my people
ever found out. You see it was at
the sea-side and I only met the girlthe day before."" I mean a contest, you fool ! "" Yes, I know." I replied ; " thiswas a contest. But I hadn't met theother fellow then.
It was only
after--"" I always said you were a co.igenital idiot," snapped the Editor.
" 'Adjudicated ' was what I said.
Have you ever j udged a dance bandcontest, or helped to judge one ? "" Oh, I get you ! Well, no, as a

the Editor again. I had therefore
decided on what I thought was a fairly
gooJ compromise.
\¥e;:i.ring a dinner jacket and a whitematter of fact. Or, putting it anotherway, I never have."" You haven't ? ""That's right: You've got thewhole idea of the thing correct. I
have not."" I see " .
The Editor
he-,itated " Well, I'm in a bit ofa hole," he continued at length.
"You're the only man I can get at the
moment with any experience and I
don't think that even you could messup this business."" Well, you never can tell," I
responded non-committally.
"That's just the trouble. You nevercan. Still, I'll have to risk it. Here's
the position briefly. I want you tocome to the Eastwood Palais de Danseto-night to be one of the i udges at thedance band contest. \.Ve must havefour, and Dan Vvaterman is away ill."" Who are the others ? "" \¥ell, I shall be there ; and theother two are Eric Large and Ben
Nevis. Although they both know you,they don't seem to mind overmuch.
Anyway, can you come ? ""Yes, I'll be there all right. What
do I do? ''"You be there at 7.15 sharp and I'll
explain everything to you. It's quite
straightforward and onl y needs alittle care and concentration, coupledwith common sense."" That sounds exactly like a talking
picture of me," I responded, " Countme in! "AJ\D thus it was that a quarter pastseven that nig ht saw me strolling

into the judges' roo:n at the palatial
Eastwood Palais de Danse.
One question had not been settled
and that was the problem of dress.
I had not had the necessary t,,·opennies at the time, so couldn't ring-

497-

tie,!I had figured it out that if itshould be a " tails " evening, I would
be all right so long as I remained seated.
On the other hand, I had donned asoft shirt, in case the event should
turn out to be a non-dress one. lnthat light, people might easily think
I had a lounge suit on and put the tie
down to some new club, or religion,or what not.
The Editor eyed me critically.
"Take those spats off," he said," and come over here."
I hastened to comply.
'' Now," continued Mr. Percy Rivers," here are sixteen sheets-one for ea'.'.:hband."And he thereupon h anded me abundle of enormous forms with innumerable blank columns and spaces
to be filled in.
"You have a pencil ? " he asked.
" Have I? " I responded ; " I
didn't bring one with me."" You wouldn't!
. Anyway,
here's a pencil. Now look. In thesecolumns you enter the individual
merits or otherwise of each instrumentalist, as indicated by the requirements shown i n the headings. Is
that clear ? "" Yes. Can I have a drink ? ""No, you can not have a drink!
Just pay attention. Now here you add
or deduct marks for such things as
tempo, light and shade, style, pitch- "" Pitch ? ""Yes, pitch. You know what p itchis ? ""Yes, I know what pitch is. Rl:;ickstuff like treacle. I say, can I have adrink now ? "" And pitch," went on the Editor,
ignoring the interruption. "You will
see ample directions concerning maximum and minimum markings. Now
B

The M1tloc/y Maker.

June, 1930.

'' <RYIN' FOR THE(AR.OLIN
El"~
.
um "
'Jkem.e ,Song rom. the. INC.I~tvtMf,~,E- 498 -SPRING r 5 HtFl.t'

The Melotfy Maker.
here, at the top, place the name of any
solo instr-ument you think might bein the running for an individual prize.
I suggest you go and study these
forms _care.fully until the contest
opens."" I could study them better over a
drink," I explained earnestly.
" Oh well, go and have a drink !
But mind you, don't be long."
I grabbed my sheaf of papers andbeat it for the tall timbers, as represented by the adjacent hostelry.
vVhen I returned, the first band
was well under way. I tried to slip
unobtrusively into my place, but
received a united glare from my fellowjudges. So I concentrated on theform immediately in front of me.
After a little while, I turned to Ben
Nevis, who was writing hard.
"Tell me, Ben," I remarked p laintively, " hew can I tell if this bandis going to be better than the rest
when I haven't heard the rest yet, if
you- see what I mean ? ""You'll have to use your common
sense and your memory. Strike anaverage to begin with," explained
Ben, " and then make your necessary
adjustments later.""Yes, but I can't strike an averageout of nothing," I explained.
" Oh, hit him, somebody," remarked
Eric Large.
" Shut up ! " contributed Percy
Rivers.
The contest continued.
I made sundry remarks upon mypapers as band followed band in quick
succession. From time to time mycolleagues conferred, but they did notseem to worry much about me. I
tried to overhear anything whichmight have been helpful ; but they
kept most of it to themselves. I beganI• : a spot more fortification

to wonder.
Snobbish lot,these regular judges, I thought.
Probably belong to a club or a unionor something and resent a nonmember sitting on the bench.
"I say," I remarked;"I wishyou'd explain how a saxophone-"" Don't interrupt,'; said E ric.
Oh well, I thought ; and waiting
until nobody was looking, I slipped

quickly out -for a spot more fortification. On my return, I did a little rapid
writing to make up for it. By the t ime
the tenth band was under weigh, I
began to see the sense in not talking
but listening.
Moreover, the force of Ben's opening
remarks came home to me fully . I
had got a very clear comparison
between the bands in my mind.
Furthermore I was quite definite,after having heard the greater part ofa dozen, as to which were shaping thebest up to now. I went quickly over
all my sheets and put the various
points into something like order.
I think it was whilst the thirteenthband was playing that I managed tospill the cup of coffee over Eric Large's
judging sheets.
But then, as I explained, I wasn't
there when they brought the coffee.
Furthermore, I didn't notice that thecup was so near the edge of the table.
And anyway, I didn't do it on
purpose. Moreover, how was I toknow that a place the size of the Eastwood Palais de Dause would only
have one small piece of blotting paper ?
Still, the contest continued to theend, as contests have a knack of doing:

AT last we found ourselves in thej udges' room ; and Percy Rivers,
clearing his throat, took charge of themeeting.
" Well, boys," he remarkerl, " let's
take the ban9-s first and the individuals afterwards.
Has anybody
marked up Syd Lewis's Band as thefirst ? ""Yes, I've got that all right,"
agreed Eric .
.
" Easily," echoed Ben.
"Good, ~.so have I," announced
Percy.
"What about you, Geoffrey ? ""Well, as a matter of fact. I've
got 'Kay Jones' first," I replied,
shuffling my papers. Three pairs ofeyes opened incredulously,
andglanced hurriedly through theirowners' marking-sheets.""Kay Jones comes last with me."" And n1e."" Me too." The.re was a pause.
" Funny," I remarked ; " And I
was sure, from what little I could hear,that you were all tickled to deathwith Kay Jones."" Let's leave that a moment," said
Percy Rivers; "now how about
Ben Bright for second ? ""Yes.''"O.K.""I've got Mark Brown asmysecond,"
I said ; "and I could have sworn--""Just one moment," remarked the
Chairman. " Who, in your opinion,
was .the worst band ? "

I

waded

through the forms again.
"Well, don't you know, that's most
extraordinary.
I've marked Syd
Lewis down as the worst."-499-

June, 1930.

" Our best !-" came from the three
at once.
Percy Rivers stret ch ed out his arm,and an ominous gleam came into hiseye. "Pass me your forms," herequested.
.
Without a word, I banded over the
documentary evidence. Percy studied
them carefully, what time completesilence reigned in the room.

I left" By the way," he remarked atlast," we do not usually admit theadjective ' lousy ' as being a technicaldescription. Nor the word ' tripe '",he added as an afterthought.
" I see," I replied, gazing at thefloor.
" So do I ! " suddenly exclaimed
the Editor. "Might I ask in whatorder you filled in these forms ? "" Sure," I responded brightly, "Justas you had marked them up : I, 2, 3,
4- and so on."" In fact, in the order of the programme?"" Exactly ! "" But are you aware that the bands
did not play in the order of the programme?"
I sat up as though I had been shot.
"What! " I exclaimed.
"No," said 'Percy. "The numberof each band was clearly marked at
the side of the stage."" Then Syd Lewis--? ""Which you have marked as thethird band--""Because he was number three
on the programme-""Actually played tenth," finished
Mr. Rivers.
I looked up with despair marked
clear:ly all over the old features. All
the work of the past five hours had
been wasted. All my abstruse calculations were of no value. All myfigures referred to the wrong bands.
" Boys," remarked the Editor, waving my sheets before him, " I don't. think that we can take these papers
as having any value whatsoever."
Eric and Ben had the decency tolook the other way.
Percy Rivers turned to me.
" We needn't keep you any longer,"he said.
I left.

T he Melody Maker. ]11ne, 1930 .

A.

DANCE

WHAT
A SMASH!

NUMBERThe Outstanding Song of To-day

STIRRING-TUNEFUL-UNIQUE.

STEIRECORDED-Dance-Vocal-Band by
H IS MASTER'S VOICE.
ZONOPHONE.
EDISON BELL.
REGAL.
METRO POLE.

PARLOPH ONE.
WORLD ECHO.
GOODSON.
DECCA.
VOCALION.

COLUMBIADOMI NION.
HOMOCHORD.
IMPERIAL.
etc,

ALL PARTS NOW READY.
S.O. and P.C., 2s. net. Military Band, 3s. net. Brass Band, 2s. 6d. net.
NOTE : Parts have been se nt t o all m embers of our Orchestral and Band Clubs.
ORCHESTRAL CLUB.

JUNE PARCEL.

STEIN SONG

SEARCHING FOR YOU
W E' RE ALL HAP PY
S.O.'s of the above sent post free for 3s, 6d,

KEITH PROWSE 8 Co. Ltd.
4%•43, POLAND STREET,LONDON, W.1.

-

500 -

A

CHORALNUMBER

The Melot!J Maker.

June, 1930.

MEMBERSCHAPPELL ORCHESTRAL CLUBOFTHE

UP WITH

CLEANING"COLLETTE""WITH A SONG IN MY HEART"
AND"THE WIND IN THE WILLOWS ""PLAYING WITH FIRE"

The Sensational Tunes from COCHRAN'S REVUE

THE BEST THEME SONGS OF THE YEAR

"THE

"WHY DO YOU SUPPOSE "I

MOMENTI SAW YOU"

ANO

ANO

"M~ MAN IS ON THE MAKE""SUNDAY AFTERNOON"

FOX- TROTS FROM " HEADS UP "Outstanding Melodi es from TIHE CO-OPTIMISTS''ASLEEP IN MY HEART""HIGH AND LOW"

ANO

ANI)

"INDISPENSABLE YOU"

" l'M L I K E A S A I L O R "ELECTRIC HITS FROM " SILVER WINGS"The Two Successes from " H e r e Comes t he Bri de ""YOU TAUCHT ME ALL I KNOW"THE GREAT ENGLISH

FOX-TROT SUCCESS"AS LONC AS THE WINDOWS FACE YOUR WAY ""THE MARCH OF THE MUSKETEERS"ANO "MA BELLE "AND"SITTING IN THE SUN"

From "THREE MUSKETEERS "SENSATIONS FROM A SENSATIONAL SHOW

"l'M ON MY WAY TO

THE NEW HITS FROM " l!.A FOLIE PURE."HEAVEN""BOTTOMS UP"ROSE "" BIGGER AND BETTER THAN EVER "

AND

" THE

SHADOW

AND

OF

A

SENSATIONS FROM " LA FOLI E PURE "M e lo dies w i th Real Rhythm f r om " LA FOLIE PURE"

Look out for the ·e1G HITS from"SONS 0' GUNS" The New Clayton and Waller Production.
CHAPPELL & Co., Ltd., 50, NEW BOND ST., LONDON, W.1
-

502 -

And then the band stopped.

No. 7

'"

~

When the drummer used all the gadgets !

The Melody Maker.

June, 1930.

~it.C.1 E~ T~IIT !

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•

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The Melody Maktt·. June, 1930.

THINGS THEY SAY
Paras .from the Press"M

USIC wa.s supplied by the--Jazz
Ba nd, consisting of the following:
Piano, one-string fiddle, drumand sidedrum." -The Western Gazette.

*

*

*

Poor Old Sax !
" . . . some will go so far as to regard
a saxophone as a b.e:tter target for invective than the bagpipes, questioning incidentally, the r igh t of either to be looked
upon as a musical instrument instead ofas one of torture."-The Newcastle Evening Chronicle.

*
Preparing for an Ea.•t-End Gig?
" Inspired by a report that an Austrian
has played the violin for t went y-fourhours, M.-- of - - , played continuously
for thirty hours, which is now claimed as
the world's record.
He played sta nding, sitting, reclining
and walking, but still he played . . .
When M. - - felt his strength waning
he fortified himself with champagne andsweet biscuits."-Daily Herald.

. "'Bravo!
" Every weird or unusual effect which
emanates from t he dance band is attributed by the ignorant to the saxophone.

As a matter of fact, the timb re of thetenor saxophone in expert hands is a lmost
indistinguishable from t he 'cello."-Daily
Mirror.
**"'Unsuspected Instrumentation in Dance
Bands" An H ungarian musician has invented
an instrument which is named, appropriately, I think, ' Breakaphone.'
It produces from the hands of a single
operator working the keys-so the story
runs-every cacophony dreamt of by thejaziiest of jazz coin.posers.
If h is organ is up to specification it
will naturall v be able to imit at e a cornet
wearing a bowler hat, a nd make a noise
like a rattle of chains, a penny whistle anda saw.
·we unaccomplished men always envy
the ecstasy of the virtuoso. Only to sit
at that keyboard, to pull out now thesaxophone stop, and now to start thebells and bo.1es ; and finally, to open out
trombones fortissimo, with obbligato bysaws and bowlers ! "-Daily Telegraph .

**Good for You, Mr. Onlooker !
" Some weeks ago, it will be recalled,
Sir Richard Terry, the famous organist
and composer, left for t he Arctic in awhaling ship in search of musical inspiration.
H e has returned in a mood not of inspiration but depression. For all he foundin t he Arctic was a Norwegian town in"'hich every household boasted its gramophone or p ianol,i- and played jazz on it !
1azz may interpret the frenetic ;tnd

superficial spirit of m echanised civilisation, but at any rate it is representative.
Being alive, it contains potentialities thatthe older musical forms no longer possess.' '- "Onlooker" in the Evening News.
**
Saying what He Thinks !
" Sir,-! read your account of the - Club's carnival dance with a great d eal ofinterest, but I think that the tim e hascome when the t ruth about dancing anddance bands in - - should be told .
Firstly, the report of the dance in yourworthy paper is wrong when it states that' t he bands played deligh t ful music.'
In my opinion, and I a m not inexperienced in this matter, the music playeda.s dance music by one of the bands waspathetic . The band I refer to was nota dance band, and should not have been
there. I can enjoy what m ight b e called' medium brow ' music, but to dance to
it is simply awfu l. As music it may havebeen good but it lacked all that helps
one to dance well. .
I suggest t hat one or t wo of - - ' syounger dancers be added to t he co:nm ittee to bring next year 's dance up todate.
.
I offer my sympathy, as a dancer, toMiss - - a nd Mr. - - for having todemonstrate with such music." - A
Correspondent in The D;r,nfermline Press.

" ' I enjoyed this saxophone-playing,'
said Dr. Henry L. Read, of the Manchester School of Music. ' . . . if jazzmusic has done no other good t hing, it
has done one, and tbat was t o discover
the saxophone. You classical peopleso-called- can throw things at me if you
like,' he added, ' but I am very fond oft he saxophone and enjoy dancing to it.'"-Liverpool Post.

*

*

"'

More "Sound" Sense" Herr I<larg-E lert . . . considered bymany to be one of the finest composersof organ music since the time of Bach,said recently :' There is more life an:l interest in thebest jazz t han in many a modern German
symphony .
' I would rather spend my money on
gramophone records of jazz than on theworks of many of the radical moderns.
I fi nd it vital, stimulating, helpful.'"Daily Herald.
***

These Wealthy Saxophonists !
Sax, E~ Alto, gold bell, gold finish,little used, cos~ .£288, bargain .£ 18-Trade Paper.

Talkie T opicalities

A MEAGRE OUTPUT
Few Films of D ance Music Interest ·THE LOVE PARADE· (Paramount)
General Release Not Fixed"The Love Parade," which features
Mau rice Chevalier, and has just finisheda most successful run at the Carlton
Theatre, Vl., has the distinction of beiug
the first t alkie to be put " on the air. "The experiment was very successful andthere should be a big future for this newstyle of enter tainment. The numbersin the fi lm are both tuneful and catchy.

*

*

*

WOMAN HE SCORNED(Charles Whittaker Productions, Ltd.)
Distributed by W amer Bros.
This is a n English fil:n made at Elstree
and is very in teresting from a musicalpoint of view, as, although ho band isshown in the picture, the action isaccompauied by music composed by
Y.-red .Elizalde and recorded by him in...ssociation with John Revnclers. The
score is both clever ancl modern and isreally descriptive of the scenes, notably
those of seascapes and the lamp-roomin a lighthouse.
In one part we are trec>tecl to some

- 505-

e:"<cellent hot playing, but ,vhilst we canthoroughly enjoy this (supplied chiefly
by strings and clarinets), in this case it
hardly fits the picture. The scene during
which this hot accompaniment is played
is laid in a little quayside cafe, and theband we are shown consists of a c racked
piano, a violin and two mandolines.
However, perhaps they had a loudspeaker hidden somewhere inside the
piano!

***

THE NEW WAITER(P.D.S.)
G enerally Released
There is little t o say about this film
except that it is a very poor example ofits type.
It is worth im,pection in order to see
how some things should not b e done.
Even the cabaret, which contains suchpromising material as Barrie Oliver,
Betty Oliver, Betty Franklin, Joy Spring,
Moyra Gillis and the Charlot Chorus,
and a dance band, which we understandis Hal Swain's a ugmented, is indifferently hanclled.
Andre Charlot is the producer, and it
is evident that his thEµ,tre stage-craft
was of little use to him in the d irectionof this film.

The Melo4J Maker. June, 1930.

FROM THE SOAP-BOX
Baggage Allowances - Eight Bar Rhythm
Contest Reporting-Commercial ArrangementssIR,- I

notice in thelast issue ofthe MELODY
MAKER re•ceived here,that there isan agitation for drummers
to be paid extra to allow
for cartage of equipment.
It is customary out here
for the drummer
toreceive 5s. extra for thispurpose. The minimum
rate usually paid tojobbing bands in New Zealand is 5s.
per hour per instrumentalist, plus travel•ling expenses to and from the Job 10question.
Trusting the above will interest you
and wishing TBE MELODY MAKER every
success.
H. E. DAVIS.
Hamilton,
New Zealand.

Editorial Correction
Srn,-My wretched writing has causeda slip to appear in my letter in_yourissue of May. page 417. The mvention ofGregory (circa, sixth century) andcontemporaries referred to, was neumes,certain signs placed above or underwords, giving a vague indication of therequired raising or lowering of the voice.
Gradually these nomes stereotyped into
definite signs called longs and shorts,
magnums and minimums, b reves andsemibreves, and a single line was drawn.
Other lines were added, with a keynoteor " clef " on one, and hence our staves.
The modes were creates} in Greece, long
before, in 400-500 B.c.

Leighton Lucas.~ whilst correct in h is
description of Ex. 1 and 3, still misses thepoint in my opinion.
Classical and romantic composers strove
after a greater freedom of expression,
but the communal. dancing of their day,whilst following their harmonic scheme,a bit behindhand, still kept to eight•bar
measure.
Modern syncopation fellows modernmusic, but in its most extreme "jazzy
harmonies " is still about 40-50 vears
behind the times.
•
I don't think any chord is used in themost modern syncopation that is notfound in ,vaguer, Debussy or Maurice
Ravel and others. And modern serious
music composers (I have some original un•
published MSS. of York Bowen, he lent me
to broadcast) use incredibly intricate dis•
cords.
To sum up. Communal dancing must be
to a recurring pattern of metre.
Solo dancing can be extempore and in•
div idual. The solo dancer could dance
to Earl Hines "57 Varieties" or Selim
Palmgren's " The Sea" (one the anti•
thesis of the other) but communal
dancing must be to the Barn Dance andPolka or "Call Your Shots" and " R ed
Hot Chicago," these also the antithesisof each other.
V. FILMER.
:.\forray·s Club,
London, V.l.

Germane to Wireless
Sm,-! was very interested in yourcontributor's comments upon the danceorchestras which broadcast from thevarious European and American stations.
His comments upon the Marek Weber
Orchestra, however, surprise me. In thefirst place he describes Marek Weber as
the Jack Payne of Berlin, and says thathe (Marek Weber) broadcasts on mostnights.
Apart from the_ fact that Marek
Weber's orchestra plays as a light as well
as a dance orchestra-a thing that Jack
Payne's orchestra seldom does--although
I have listened to Berlin either on my own
or on a friend's set for fifteen months
now, I can never remember the sameorchestra playing more than once in thesame week, and in the case of the :Marekv\Teber Orchestra, often months elapse
without his appearing at the Berlin
studios.
Another statement that y our corres•
pondent makes, and with which I disagree, is that Marek Vieber's orchestra
never plays hot solos. .Marek Weber'srecord of " Fareinen Flied erstrauss darst
du mich kussen," a fox.trot by \\'ill
Meisel, disproves this. The r ecord is one
from the H.M.V. German catalogue, andthe number is E.G.1485. This record con•tains a hot chorus by Harturg von P laten
for saxophone and piano, part of which isa pianoforte solo.
Other orchestras which broadcast from
Berlin are the Kapelle Gerhard Hoffmann,
the Fred Bird Tanzorchester, t he Dajos
Bela Orchestra, Barnabas von Geczys
Orchestra (from the Hotel Esplanade),and the Ben Berlin Orchestra .
The latter is a particularly good outfit,
having,I
believe,:\well·known
Continental p ianist, named Herman Bick,
who often gives some very fine hot
piano solos.
Your correspondent h eard the name of
the leader of the orchestra of the Troca•dero at Hamburg correctly, but thismusician spells his na me " Bernard

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The Melody Maker. June, 193G..
Ette," and is well-known in Germany as aviolinist as well as an orchestra leader.
Just one more point. I .have noticed
that the German dance orchestras give
much better (and hotter !) performances
when they broadcast outside the studio,
and this may accou nt for the fact that
Marek 'Weber's orchestra has given no
hot solos while you r correspondent has
been listening to it.
Wishing your magazine every success.
"G. H. W."

London, N.W.6.

" Reai " Musicians
Sm,-True as "Stickory H icks' "remarks are, it is unfair to real drummers
to say that drums are the easiest instruments on which to fake, and that almost
anyone could take a position in a band
after a few hours' practice. It is notencouraging and no real drummer should
agree with that view.
There is enough said a bout " beating
on drums" already without making
the matter still worse.
Certainly,
many persons can tap out "plain "rhythm, but what of the various
roils, t he flam, the drag, to mentiona few?
· Apart from these a drummer should
not be considered a drummer nowadays,
unless he can p lay the xylophone. In
fact, with things as they are, tympani,bells and vibraphone would seem a lmost
essential. Yes, it would seem more
pleasant to read that a drummer needs a
few years tuition ! The jazz days arelong past now !
H . A. CLAYTON.
Cambridge.
1,000 Miles for a G ig
Srn,-How many bands can boast of
ever having travelled 3. thousand miles toplay for a single dance ?
Such, however, is a distinction held by
Edwin Adeler's Orchestras of Johannesburg.
As a result of a long distance 'phone
call, this firm, on the occasion of the
Prince of Wales recent visit to South
Africa, was requ ested by the Government
to send a band to Cape Town to play a t afunction held in honour of the Prince's
arriv;1J.
This necessitated a journey of approximately one t housand miles.

from t hose winning combinations which
are obviously better.
ERIC LITTI.E.
Berwick Street, London.

A. S. C OHEN.

J ohannesburg.

Answering a Contest Grouse
Sm,- I read Robert T. Catlin's com. plaint in last month's ,, Soap-Box " withmuch sympathy but, in the end, withentire disagreement.
As an adjudicat or I feel I can fully
support the editorial policy which has
been adopted.
It is my experience that outside of,say, the first four placed bands in an
average contest, the standard of theremaining contestants is, with a few
obvious exceptions, quite negative.
That is to !;ay, assuming they haveave.rage musicianship, they still fail todisplay any knowledge of the principles
of modern dance music, playing theirprinted parts entirely as written a nd
without d isplaying the least sense ofrhythmic interpretation.
To comment on these bands consistentlv
would be out of the question, as it wou ld
take up a whole book each time, while
just to point out general failings would
be merely destructive a.nd monotonous.
Surely, the unsuccessful competitors in
a contest gain t heir best instruction fromthe opportunities afforded them ofhearing and seeing the methods of thewinners and reading the criticisms towhich they a re subjected despite theirsuccess.
Whereas hardly any two winning bands
ever have the same style, they a ll display
certain virtues worth emulating. Of theunsuccessful ones you could , on thewhole, tar the majority with the samebrush of mediocrity and serve no useful
purpose in so discouraging them in print.
Nor would it be usefnl to publish theplacings of all contestors. right down to
the "booby." The bottom band has its
feelings, and surely is not at a contest to
be exhibited as the worst, but to bea llowed to compare itself with and !earn

Special Orchestrations
Sm,--I quite agree with your correspondent (" Stereotyped ") who statedhis views in the April MELODY MAKER
regarding the use of special orchestrations.
It has always been a much-discussed
point between the members of my bandand me whether the commercial parts
are really satisfactory. I am quite
prepared to use special parts providing
they can he orchestrated cheaply but,
as your correspondent says, there is thedifficulty.
·
At the same time, I t h ink, thatproviding the musicians are capable ofreading the . ordinary parts, surely theband who p lays from them can be successful in their endeavours. After all, thepa.rts are made b y people who are supposed
to know everything about orchestrating.
I would like to have vour views on thesubject.
·
In a re.cent issue of the "M.M. " Iread t hat very often the arranger thinks
more about a clever progression ofchords in modulations than sustained
harmony. Do you think that this is so
and that bands who play " as written ,.
have this difficulty alwavs in front ofthem ? I shall eagerly await your reply
to this problem which, I may s<1.y, ispuzzling other local amateur bands
besides my own.
Guernsey.
R . MAUGER.
"Pen-Friend" Wanted
Srn, -Do you know of anvone in
London who would be interested in a
" pen-friendship " with me, especiallyas regards Dance Bands and music
generally ? I would welcome letters fromhim.
JAMES G, LEWIS159, Church Street,
Piet ermaritzburg,
Natal, S. Africa.

"The Melody Maker's" Endorsedof Music Trades' Retailen
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For Particul.ars and Rates for Insertion, apply the Ad11ertisement Manager, "The Melody Maker," 93, Long Acre, W.C.

-

507-

The Melody Maker (Words on Winless). ]1111e, 19 30.
W<YTds on Wireleis, by Detector

TED LEWIS ON THE AIR
And Other Matters
ED LE\YIS is one of thosedynamic personali ties who must
be seen to be believed. Even
television wouldn't help you toform an impression of hisp!!(:u liar abilities.
On the air, frankly, he disappointed
me woefully. His tragic mode of announcing, sing ing and reciting, his own
instrumental solos. a nd t he hand li ng of
his band mean nothing at a ll when heard
via wireless, and the result is no better
than that obtained by the average British
broadcasting banc.l, auc.l a good deal
inferior to some of our best.
The band itself has rhvth m, but it isn ot a particularly interesting form ; even!he drummer is ordinary, but this perhaps
1s not his fault.
Ted has some peculiar ideas, predilections and aversions. One of the latter is ad islike of cym ba l rh ythm , t herefore his·
percussionist uses only a Chinese cymbalfor occasional cra~h effects. Arrangements are not featured on the whole, but
an occasional num ber like "Tiger Rag"or "St. Louis Blues" makes you realisethat the boys could do a great deal more
if they were left to it.
As it is, Ted keeps them mosth· toensemble playing and they arc therefore
made to sound ordinary. Still, PvPn thi,a;does not disguise the artistry of Jimmy
Dorsey, who is featured much too sparingly for my liking. \\·hether playing
baritone, clarinet or alto he lives fully up
to his reputation, and some of his baritone
obbligati are perfect gems.
I have seen Ted Lewis work in the ballroom and can say he is worth every penny
he earns-but the air is not his best
medium by any means.

T

*

•

Splendide Saxophone W ork*

A broadcasting saxophonist who isearning golden opinions these clays is
Lionel Clapper, the solo alto of theHotel Splendide Band. Flawless execution, fine tone and nice, easy style, hallmark him as one of London's best on his
instru ment to-day.
I remember Lionel leading a band in
the vast spaciousness of the i\Iarine
Gardens Ballroom, EJinburgh, nearly two
years ago. He was good then, but I
used to think the necessity or b lowing
out to fi ll so great a space would kill
him for small hall work.
Not a bit of it; he has greatly improved in all depart:nents.
Thanks largely to him the band itself
makes an adequate outside broadcasting
proposition from a ll points of view a nd,
as one to suit the ordinary public, is evenexcellent.

••otherduettists, Fa:rchilcl an-:i Lindholmea_nd though I yield to none in my aclmira~
t10n for the nimble dexteritv of the
A_m~rican pair, I a m del ighted· to find ad1stmct preference for the rh ythmic ingenuity and equally nimble technique ofthe British duettists. )fore please.

•

*

*

A T rombone in Paris_Those of my readers who have deplorciwith me the loss to dance music in thiscou ntry of that great musician, Leo
Vauchant, will be delighted to mako his
reacquain tance over the air.
. T une into Paris on Sundays a nd hear
lum with Marius B. \Vinter's Band. You
w_ill not only enjoy the trombonist forhimself but will surelv remark ,, hat an
improvement he has caused in the wholeensemble.
He is, of course, a great help to Marius
as an interpreter.
" 'hen Vauchant first came to England
he could hardly speak a word of ourvernacular. In a very few weeks, however,
he could make h imself understood on any
subiect, a nd now is abso lutely fluent.

••
All for the Cause*. If you he:ir a melody fox-trot over the
a_1r called "The_ ·world is l\line" take particu lar note or 1t. It belongs, in a sense,
to you.
This number was jointly written b,·
E_ddie Gross.Bart, Jos. Geo. Gilbert, andJ1mmy Gill, the latter being Eddie's
painist, but it was not p roduced for
sordid personal gain.
. Eddie-Gross Bart is one of the leading
lights of the new :Kational Society ofDance )Iusicians, and is so enthusiastic
in the cause that he called in his co!laborators to wri te a so ng, the who le of
the royalties from which s hould go to
the club funds. Joe Gilbert, who, after
all, is not an orchestral musician, made~ magnificent gesture by rowing in, and1( the soug goes, the rovallies from sheetmusic sales, ntochanicais and per forming

rights should total a goodh· sum for lhe
benefit of the Coda Club. . The number is to be published bv theLawrence W righ·.; Music Co., and orchestrations w ill be issued shorth·.
. All broaclcastbg bands .;hould " put
1t over" for the good of the cause, andall other bands, too, should feature it
strongly in order to create sales. Eddie
h~s a lready p layed and su ng it oYer i i~..:
a ir.

•

*

•

Ne Pl"s U ltra
Have you noticed that Bert Ambroseis featuring more and more orchestrations
in his broadcasts lately ?
Some of them are very fine indeed, andbear the stamp of Lew Stone, while ther~sult is that a well-nigh perfect Saturda,·night hour has become more perfect still.
1'.his, without question, i~ the best
racl 10 dance music in the countn-.
I see that the band costs the,)fay Fair
Hotel £25,000 per annum. It's ·worth
more.

•

*

Why Not?
I wonder if I dare suggesl to the B.B.C.
that Oscar Rabin's Ror.iam· Band, now
at the Astoria Ballr<>vm, might well be
restored to wireless programmes ?
About a year ago, "·li,:,11 c.crlain c:,lal.,l ishments refused to accept some newco nditions laid clown b,- the B.B.C. tocheck song-plugging, and so retired fromthe air, Rabin's band was used veryfrequently from trre Empress Rooms.
No singing was allowed, and, as aresu lt, o ne of the band 's be,t features had
to be omitted.
There is a tale I ma,· one da,- unfold
why this band stopp.ed broadcasting,but now it is in an excellent position to
resume and its singing ,vould add a touchof varietv.
)linclful of the fact that all my claims
on behalf of Bill Cotton's band have beenstudiously ignored b,· the B.B.C., it mav
be that the same fate will) be bestowccl
on this s ugge~tinnYeh ) .. Oh, YPh !

*British and Best
Arthur Young and Bob Probst, thelatte1 being, of course, the leader of th eband at Taglioni's, were featured during
the last month in piano duets from
London.
One naturally compares them with theJack Harris' GYosvenor H o!lse Band.
whose recent broadcasts have displayed a suady improvement and aye very
pop!llar with the majority of listeners.

-

508 -

The Melot[)' Maker. ]1111e, 1930.

Eddie Mack's New Broadway Bandof the band received a gold medal donatedby The Lawrence Wright Music. Co., anda MELODY MAKER Diploma of Merit.
SECOND.

Eric Noble and his Music Makers.
(Eight: rst trumpet, rst alto sax.,
tenor sax., violin, piano, banjo, drums
and bass)(All corns., Eric Noble, Newport Cresc~nt,
Headingley, Leeds)
who received a SilvP.r ShiP.lrl prP.SP.ntP.rl by
Messrs. Ackroyds of Leeds, while eachmember of the band received a silver
medal donated by The Lawrence WrightMusic Co.
THIRD .

Len Stevenson's Batid.
rst alto sax., 2nd alto sax.,(Six:tenor sax., violin, piano and drums)(All corns., Len Stevenson, The Bungalow,
Moor Lane, Gomersal, Leeds)
FOURTH.

Horace Thompson's Rhythm Boys.
(Five :

rst alto sax., tenor sax.
1-1iano, banjo. and drums}(All corns., H. Thompson. 20, Highfield
Road, Doncaster)
FIFTH .

The Regal Band.
(Six : rst trumpet, rst alto Sa.'C.
violin, piano, bstnjo and drums}(All corns., R. C. Hyatt, 167, BlackburnRoad, Accrington)

*

*

*

Prizes for the best instrumentalistsof the evening were a·warded to thefollowing : Boris Palmer (banjo}, Eddie Mack's
New Broadway Band.
L. Williams (violin), Len Stevenson's
Band.
Each of the above received a nAlbum of Parlophone New Rhythm

Style records, donated by the Parlopbone Co., Ltd.
Cliff Yates (piano}, Eddie Mack's
New Broadway Band, who received a
Silver Writing Set donated by theBilly Mayerl School.
H. Garbutt (trumpet), Eric Noble and
His Music Makers, who received a
Silver Cigarette case donated by theorganisers.
E. Dixon (drums), Eric Noble and
His Music Makers, who received aGold Wristlet Watch donated by
Messrs. Wall's of Newcastle.
Wally Wortley (tenor saxophone),H. Thompson's Rhythm Boys, whoreceived a Compacta Saxophone Stand
donated by Ben Davis.
Each of the above also received
T11E MELODY MAKER Diploma of :Vlerit.

Judges' Official Report.
Messrs. Ben Davis and P. M.
Brooks.
DONCASTER.
H. Thompson's Rhythm Boys proved
to be a promising bunch of obvious tryers.
The re-orchestrations of their test pieces
gave rhythmic interest to their interpretations, and though the rhythm section was rather stodgy, it had unanimity
and solidity. On this foundation thetwo saxes, by fair phrasing together andstrong attack, produced quite a danceinspiring result, the tenor sax., in particular, doing good work, although hebreathes at the wrong time, and so cuts
up his solo phrases noticeably.
Both saxes. cave too fast a vibrato.
Pianist, fa'rly fluent, but needs to developl.,ass. Drums, steady, but no originality
Judges:Fred Hedley's Dance Band was very
poor in intonation, clarinet being sharp
and tenor sax. {lat. Sa.xes, unbalanced
and not unanimous. Two violins, muchbetter together, the first having quite
a nice rhythmic style and technique.
These fiddles should bow together.
Piano, a good fryer, but guilty of wrong-510-

harmonies. Banjo, much too light andlacks snap, and drums too obvious. Theband, nevertheless, has a. decided leaning
towards a rhythmic style, and the orchestration of its ·third numut::r ue~e, veu
a better interpretation.
The Georgians Band has plenty ofconfidence and" guts," but no refinement,
and is rather stereotyped. All its rhythm
comes from the rhythm section, themelody instruments playing too straight.
By rather uninspired methods it produces
a somewhat spinted result, not " jazzy "but entirely lacking in subtlety.
'.trumpet player, very fair but deadstraight. Saxcfhone, rather crude intone and execution due largely to overblowing and excessive vibrato, and norhythmic styles; violin double spoilt bysliding to notes. Piano, good ou thewhole; G. banjo, very fair ; drums, useful
all-round, but rhythms rather elementary;tuba, 0ff pitch and should fill in more.
LEEDS.
Eddie Mack and his Band scored largely
by displaying the best musical finish of
the evening. It was better balanced thanmost of the other competitors, and its two
saxophones displayed the best team work.
There were, however, some ragged spots,
and open spaces, which should have been
filled up by breaks and leads-in.
While it displayed little in the way oforiginality, it put up a fair palais styleof performance, and in its last number,particularly, which was taken at a faultcovering fast tempo, it produced a goodsolid rhythm.
Trumpet, has a fluent technique and asimple lilting style. Trombone, solid, but
no style ; saxophones well together,rather stereotyped, but in tune on all
instruments. Piano, good rhythm man,but no display of ideas ; banjo, good, nicesnap
andstroke-techniquewelldeveloped. Drums, steady and leads indecisively.
Eric Noble and his Band for individual
dance musicianship was the best band of
the evening. It failed to secure firstplace, however, by being all at " sizes
and sevens." With coaching, easily themost promising competitor.
Balancepoor, showing need for stronger leadership.
Trumpet, good modern style, goodtechnique, and plenty of confidence.
Alto sax. nice hot 3tyle, rather pinched
tone. Tenor sax. ordinary. Violin goodstraight man, but no dance style. Piano
average and too light. Banjo good.
Drums, promising modern style. String
bass, amateurish pick and slap style.
Len Stevenson and his Band owe their
third position very largely to the workof the violinist, who has a nice style, andis areal tryer. The band played raggedly,
however, the saxes. being largely at fault,
and failing to phrase together ; the tenor
was too light. Pianist has ideas but wasalso too light, ao.d no left-hand swing.
Drums made refreshing attempts at
cymbal rhythm, and breaks, but was
rather too exuberant.
H. Thompson's Rhythm Boys, see centre
column.
Of the r;emaining competitors, George
Lawrence and his Melody Boys, the Regal
Dance Band, :incl Jack Berwick's Westminster Band did equally well, but after
these the standard was not at all good.

The Melody Maker.• June, 1930.

Result of the

SOUTH.-EAST COUNTIES (Semi-Pro) DANCEBAND CHAMPIONSHIP
at theLeas Cliff Hall, Folkestone,
on Friday, April 25thvVINNERS:Fred Anderson's Cabaret Band.
(Six: rst trumpet, rst alto sax., piano,banjo, drums, bass)(All conn: Fred Anderson, 54, Netherfield Gardens, New Barking)
who received a Silver Challenge Cupfrom the organisers and a MELODY:\IAKER Bannerette.
Each · memher of the band also
received a gold m edal donated by
Messrs. Keith Prowse & Co., Ltd.,and THE MELODY ::.VIAKER D ip1oma
of Merit.
SECOND:Long Island Follies.
{Six : 1st trumpet, 1st alto sax,
violin, piano, Spanish guitar anddrums)(All corns. : W. Green, 13, Burgoyne
Road, Stockwell, S.W .9.)
Each member received a silver
medal donated by Messrs. Keith
Prowse & Co., Ltd.
THlRD:

Claude Bampton's Band.
(Five : 1st alto sax., tenor sax., violin,
piano, drums)(All corns. : Claude Bampton, 13,
Spencer Street, Canonbury, N.l)

*

*

*

Prizes for the b est instrumentalistsof the evening were awarded to thefollowing : Claude Bampton (piano), Claude
Bampton's Band, who received aneight-day clock pre<;ented by The
Billy Mayerl School.
Arthur Smallwood (tenor sax),
Claude Bampton's Band, who received
a tenor mouthpiece donated by Messrs.
\Vorrall of Brighton.
Alf Elley (banjo), Fred Anderson's
Cabaret Band, who received 100
Vocaltone reeds donated by Ben
Davis.
Dave Simons (violin), Claude B:i.mpton's Band.
Percy Hewing (trumpet), Fred
Anderson's Cabaret Band.
Jack Jago (drums), Long Island
Follies, each of whom received asuit-case presented by the organisers.
Stan Barnes {alto sax), Fred Anderson's Cabaret Band, who received 100
reeds donated by Ben Davis.

Judges' Official Report
Judges : Messrs. Ben Davis, Eric Little and P. M . Brooks

Fred Anderson's Cabaret Band achieved
its success by comparatively sim.ple
though stylish methods. Its rhythm
section, sustaining a solid four-in-a-bar
rhythm, is the foundation on which
the saxophone and trumpet build up
dance-inspiring renditions.
Both these performers are good hotmen, with good technique and ideas.
The former, through nervousness apparently, gives way to a heavy" jaw "vibrato
whenever he encounters a sustained note,
but he is a polished exponent in all otherdirections.
The trumpet has achieved a reallyhigh standard, but it is again worth
repeating that both these melody instru•·
ments are at all times well supported bya non-interfering background from therhythm section, in which the pianist
sacriiices himself to a solid left-handswing. Tuba, banjo, and drums, are all
experienced and reliable performers.
The Long Island Follies Band is an
unlucky combination. Not only does it
seem to come up against unusually strong
opposition, but things seem to go wrong
for it. T here was a lack of incisivenessin its competition numbers, which was byno means marked when it played for the
public later in t he evening. Some decent
arrangements would help the band nexttime out, as all the necessary musicianshipis there. The style of the band is notinspired, but it is by no means "jazzy"and there is quite a strong rhythm.
The violinist is the best man in theband, but for some reason or other heconfined himself to the low register, andas' a result hardly carried through th~ensemble strongly enough. He has avery fine swinging and lilting style.
Trumpet is rather too restrained ; what
he plays is good · enough but he :ieems
shy of it. Alto sax. is an efficient performer, but was off pitch on clarinet.
Piano, good, nice left hand and steady.
Spanish guitar, very good all round, butrather submerged in the ensemble.
Drums, best orchestral man of the evening
o.n his instrument and quite a goodstylist.

Claude Hampton's Band, despite theh igh promise of its own modern arrangements, and its good individual musicianship, only resulted in neat, musical, butrhythmless performances. Absence of.
attack is generally the explanation, largely
on part of the !?axes. who are otherwise
both neat performers, particularly thetenor. Their sub-tone clarinet work wasmost pleasing. They must now go after
rhythm.
The violin is particularly good. nicetone and technique, good rhythmic,
original style. Piano good touch, stvle
and swing; drums efficient and neat, but
no rhythmic inspiration.
Frank Arthur's Band is one which could
soon be raised to a much higher stageof efficiency, as all the necessary musicianship is there, but its style is too " ladylike" to be inspiring. The saxes particularly need far more attack, whi\eboth drums and banjo are weak. Altosax. was s harp on baritone and soprano.
Violin, quite good and stylish. Piano,
good, nice full bass, has ideas and fills
in well.
The Radnor Dance Band was very little
behind t he above, and was t he best of
the local Folkestone Bands. Again,
rather too insipid and somewhat ragged .
The lady pianist is particularly to be
c1:nm3nj3:J, hc,wever.
Of the remainder, the 1st Bn. Manchester
Regiment Dance Band and Lionel Keeley'sBand ran close, but after this the standard
fell off rapidly. None could do better
than follow the Simple, stylish methodsof the winning band as a pattern for future
performances.

Fred Anderson's Cabaret Band
-511 -

The Melody Maker.

June, 1930.

EVERY BAND MUST GETLA WREN CE WRIGHT'S
NEW

ON WITH THE SHOWSELECTION 1930

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Code :

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FOR BETTER SAXOPHONES
-

512 -

I

The Melody Maker (Syncopation and Dance Band News).

TED

June, 1930.

LEWIS TAKES CHARGE
And Propounds a DoctrineT

H ERE must be a reaso11 - anrl astrong reason at that-why a bandof twelve musicians, plus a vocalist
and nigger dancer, can be brought
over from America to this country at aweekly salary said to be in the neighbourhood of £1.000 a week.
Maybe this figure is exaggerated, but it
is certainly sufficiently large to prove arevelation of the economic possibilities
of a normal size dance band.
One doesn't have far to search forthe explanation. Having arrived at thename of Ted Lewis, there one stops.
There are other parallels in the States.
Rudy Vallee is the leader of a band, but
any combination of musicians behind
him would serve him equally as well as
his present bunch of boys. He is theattraction.
And so is Ted Lewis.
THIS is not to say that Ted's boys
are meaningless in themselves. Someof them are fine artists. There is thatastonishing and brilliant exponent of
saxophone and clarinet, Jimmy Dorsey,
a newcomer to the outfit, at whose feetthe British dance musician is ready,figuratively, to prostrate himself. Thereis also the second trumpet (or rather,cornet), who is a good hot man, and there
is a fine pianist ; but, in a sense, theirtalents are wasted, for the band plays no
arrangements, and, except for a machine
like rhythmic interpretation of printed
parts and occasional electric solos fromthese stars, is peculiarly ordinary froman American standpoint.
It is not until T ed Lewis comes walking
through the ballroom, dofling his batteredhigh hat. to tlie visitors, and takes charge,
that the secret of the organisation's
success is divulged.
Ted not only takes over the band, but
he assumes command of the whole ballroom.
You can see it for yourself. He
apparently says to himself " These people
are here to be entertained. I will attend
to it." And this he does, and, willynilly, they must accept his offerings.
The extraordinary thing is that hesucceeds every time. He works like a

Trojan, feeds his vocalist, who has no
particular subtlety of style but tons ofpep, and his nigger boy dancer, who istypically good, keeps up a running
commentary of wise-cracks, which are
not so wise but always amiably received,
juggles with his hat, plays a bad clarinet
and saxophone, demands occasionally ifeverybody is happy, offers the visitors
the choice of more " den-cing " or more
" en-nertainmem," and achieves with all
this paucity of stock stunts an overwhelming responsiveness from all thosepresent. You come to scoff, but remain
to marvel.

QF course, it is P ersonality that doesit. But what is this personality ?
.It is inconceivable that anybody else
With Ted Lewis' stock in trade could
achie~e his results. It seems indeed
inevitable that anybody else trying on
the same stuff would be r eceived withderision.
That's where Ted Lewis has proved
himself clever. He has cultivated his

J une fest

p EOPLE who come to dance need not
only the inspiration of rhythm t o set
their feet going, but a stimulant for
their spirits as well to prepare themto - abandon themselves to an all-roundgood time.
To dispense this alchemy one mustfirst feel that way oneself, but-and it
is asked in a ll sincerity- where are our
Ted Lewises ?

*" Are Drummers
More Adaptable? "A propos a recent article,
we understand that Max
Bacon for one has got his"h e a d " fixed o n th eright 1vay.
G. C.

- 513-

own methods because they suit him,
fit him and make him what he is, " afocal point of frivolity."
His recitative style of singing popularnumbers is just as crude as it could be ;all the same it goes over as big as everything else.
He literally commands
applause and works so hard for it, and,,vithal, with such eloquence, that one
feels churlish to deny him anything and,presto, before one knows it, one is revelling in the spirit of the thing andenjoying oneself to the full.
He may not have brought over any
musical secrets with him, but he provides one great, memorable lesson whichshould be studied by all in the game.

*

T HE present relief band at the Kit-Cat
Restaurant is under the direction of
Maurice Toubas, the leader of the straightorchestra at the establishment.
The outfit contains altogether thirteen
men, and besides its complement ofdance players includes other members ofthe " straight" band, M. Toubas himself,of course, playing violin.
At the time of writing all the following
well-known boys will be found : in theband :-Harry Carter, 1st saxophone;
Harry Singer, tenor saxophone; T .
Gregory, 2nd alto saxophone ; B. Collins,
trumpet; T. J:fach, trumpet; Jack
Collins, trombone; G. Senior, string
bass ; Nat Lakin, drums ; and Harry
Bentley, vocalist.
Several of these boys were with Teddy
Brown's Kit-Cat Band.
CThe Melody Maker (Syncopation and Dance Band News).

June, 1930.

"SWEET melancholy"

AIRMAN!
AIRMAN!

is best expressed
through the mediumof "strings "- be theyfiddle-strings, 'cellostrings. guitar-strings, 'banjo-strings or those of
the ubiquitous uke.

The Popular
COMEDYFOXTROT

Let your strings be'Cathedral'
Strings
and you have strings oftruth and constancy, faithful of tone, unvarying inthickness - and in quality.

CUBAN
NIGHTS

Strings for the 'e xpressionof every mood and melody' Cathedral' Strings.

Spanish Foxtrot Song

THE

VAMP
OF

BAGHDADThe Oriental Comedy Foxlrot

I. WONDER
WHY?
The Great
Wireless Waltz
Success.

THE FRUITYCOMEDY NUMBER

DANCE
OF
THE

RAINDROPSThe OriginalNovelty Foxtrot

SCARECROW
THE WEIRDBLUES NUMBER
DON'T MISSTHIS GREAT
HIT!

ALSO-

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Teleplwne: CLISSOLD ; 714.

Telegrams: "CELLO, KTNLAND, LONDON."-514 -

Telephone : TEMPLE BAR 9456.

The Melot[y Maker(Syncopation and Dance Band News).

A BUSMAN'S HOLIDAY
But Some Busman!
H E visit of Ted Lewis' Band toE1;1gland, besides providing entertainment and some instruction for
London musicians, has given them theadditional and long-awaited treat ofmaking the acqua intance of the famous
J 1mmy Dorsey, whose saxophonic abilities
have for so long been a matter of admiration amongst our little circle of "moderns."
Let it be said at once that Jimmy is
one of the most modest and unassumingof stars, and that the privilege of knowing
him has been a doubly pleasant one tothose fortunate folks who have managed
to catch him in his few leisure moments ;few, because Jimmy is imbued with all
the hustling propensities of a race of 100
per cei:it. hustlers, and has packed insomething to occupy every moment of his
all too short stay in London.
Jimmy's first actual acquaintance withdance music came, it appears, eight years
or so ago, when his father, who is ac~rnet player and teacher of music, bought
him a saxophone, feeling beyond all doubtthat this was to be the instrument of
the future.
At that time Jimmy and his brotherTom, w1?-o is two years younger
than he 1s, were both proficient cornet
players, and were doing an amount ofstraight work in a small and unassumingway.
The saxophone, however, turned out
to be an instrument on which Jimmy
was soon making colossal strides, and,after a little experience with a " local "band of his own, we find him before longa member of the now famous Jean Goldkette's Orchestra.
From Jean Goldkette he went to theimmortal California Ramblers. and fromthe Ramblers to a short engagement with
Ray Miller's Orchestra, after which hereturned for a time to Goldkette.
The years which had seen this almost
meteoric rise to fame of Jimmy Dorsey
had also seen his equally famous
brother sowing the seeds of success, for
Tom Dorsey had taken to trumpet andtro~bone almost as soon as J immy had
to his sax, and he had also p layed with
J ean Goldkette and the California
Ramblers.
To follow the fortunes ef Jimmy,
however. His next engagement was theone which carried him further thananything else along the road to his present
fame, for in it he becao;i.e associated with

the Ed Lang and Joe Venuti coterie,playing with them at an establishment in
New York known as the P layground Cafe.
Later came an engagement withVincent Lopez's Band, Jimmy having
meantime, throughout his stay in New
York, recorded with absolutely every
band of note, and also been a feature ofradio programmes and very special highclass " gigs."
Later still, in Jimmy's unfaltering trek
to the very top of his profession, came ayear and a half with Paul Whiteman's
Orchestra, although by now, of course,

JERMYN ST. NEWSwith Langsman now, the combination
being, however, actually under theleadership of Maurice Kasket,the violinist.
Its other members, besides Harry
Langsman on alto and baritone saxophones, are Harry Leve, tenor saxophone
and violin; Rube Nathan, guitar; Dave
Westfield, piano; and Mark Blitz, drums
and vocalist.
**

T

Sovrani Changes

TH"E: nor_mal placidity of London'slittle circle of very exclusive engagements has recently been di$turbed bv
v'.1rio~s small ripples emanating from thedirec~1on of Sovrani's Restaurant, whichtermmated early last month in the retirement from the scenes of the old and long.
established band which used to be led by
Al Joy, and the engagement of a completely fresh outfit.
The chief figure in the musical lifeof thi~ resort is now Harry Langsman,
who a short time ago had his own bandat Sherry's Dance Hall, Brighton.
Most of the old Sherry's crowd areJune, 1930.

successfully wielding the baton at theVictoria Palace for Tom Arnold's show," De La Folie Pure."
This is no new experience to H.P., of
course, for h e has direct ed musical shows
for some years, and was for some t.imeone ofClayton and Waller's most valuable M.D.s.
I happened to see the show b efore
Harry joined and, candidly, the orchestra
was sadly lacking. With a man ofHarry's modernity of ideas, however,there should be an enormous change forthe better.
There are a number of other West E ndtheatres, which could be gingered up by
the introduction of some young men with
up-to-date ideas-particularly in theMusical Director's chair.
D. N.

YOU SHOULDKNOW ABOUT-

Jimmy Dorsey
he and his brother Tom were such established stars of the New York musicalfirmament that recording with their own
wonderful orchesta and radio work
became the most profitable games of all.
Jimmy's present visit to England was,considering all the circumstances, a little
surprising, and has really been undertaken
simply in the nature of a holiday, he andhis charming young wife also having agreat desire to visit Paris and thenGermany, which places Lewis will probably be touring after leaving London.

HOT CHORUS WRITERWIELDS BATONHARRY PERRITT, known to readers of
THE MELODY MAKER by virtue of his
excellent choruses and, when he has thetime, occasional articles, is now most
- 5 15 -The terrific smash which has justoccured, which eYen the National Safety
Week could do nothing to avert. Although
this has been such a complete, doublebarrelled smash, it seems to be a jolly
good thing for the profession in general.
Avoid further brain racking by turning to
page 500 and finding out all about thismomentous happening.
***
A very special furnishing out of income
scheme. You have by now staggered
back, kicking and screa ming, aghast at
the idea of certain well-known furnituredealers' advertisements having crept ir. to
THE MELODY MAKER.
Don't worry, and don't get the idea t hat
tne onJy way of furnishing is t o purchasechairs, tables and beds. The musician mustfurnish himself with other and very
different things, and therefore many
players will be interested in page 550.
***
Five points to be diligently looked forby guitarists. VVhat are these points, andwhy cannot a nan whom nature a_nd
circumstances have not endowed withguitaristic tendencies go and look forthem as well? See page 483.
~***
How many times have you asked somep asser -by ,where a certain place is to befound, and been told that it's " up the
top ? " This may mean the top of thestreet, the top of the hill, or the top of anything or anywhere else, although it certainly does not mean the top of the tn:e.
Still, getting to the top in this sense is afascinating idea, and many ambitious
readers will receive a useful tip by turning
to page 556.
***
Scotsman's Delight. You've heard of
Turkish Delight, but this is altogether
different. Scotsman's Delight is always
supposed to be expressed when an in-credible bargain is to be found ; but so,for that matter, is everyone's delight when
you can discover such am-a.zing value formoney as you will read about on page 556.

*

*

*

What the leading artists say to-day.
With everyone the present is the mostimportant of all times, and what the leading artists say to-day is more important
than what Gladstone said in '86 or whatanyone else may say in 1986.
And what do they say? Well, turn topage 512 and see for yourself.

The Melody Maker.

June, 1930.

Our Cover Portrait

A WEEK'S WORK- THE SACK !
-And now a Leading Drummer!
NCE

upon atime~ notso very

many years ago, there was a young
O fellow
who was keenly interested
in dance music.
Of course, he was not unique in thisrespect ; there were several hundreds ofthousands of others too. Butthisparticularchap was so interested that, when he hadfinished working in his father's businessduring the day, h e used to haunt the local
palais in order to learn more about his
hobby.
Musical training he had none, just asheer delight in rhythm.
The re~ident band were, to him, farGreater Beings than all the football andcricket stars, and to them h e awarded his
greatest admiration and envy of their
happy lot in being professional musicians !
These illustrious stars were no lessthan Percy Mackey, Reg. Batten and.Harry Bentley.
It was on Harry Bentley that our"jazz" enthusiast's main attention focussed, of course, and. in order tllat hecould seize opportunities to talk drums
to the great man, he used to help carryH«rry's drums home after the " Saturday
Jazz Dances " a,t the Canadian Hall,
Tottenham, at which this trio officiated.
Then there was another venue which our
percussion-enthusiast used to patronisethe Orion Hall, Stamford Hill.

made a mistake, and that the drummer
was not quite so amazingly incompetentas he had at first thought-so he gave
him another chance
That was the beginning of Max Bacon,
now long since recognised as one ofBritain's Best (and Biggest) hot drummers.
After the Finsbury Park Palais he got
the night-club habit and played in mostof the principal ones of that time, including Bretts, the Little, the 43 (how manynow famous dance musicians have ornamented that notorious establishment),
and the Florida.
But while he had been dodging roundthe night clubs, a certain very Famous
Personage had been keeping an eye on
him; Bert Ambrose, no less.

The May Fair
Thus it came about that Max wasoffered the job at the May Fair at which
Ambrose was then about to start. Did h etake it ? He did.
But Bert went over to America to look
for talent, and found a banjoist andpianist who greatly took his fancy, but
who would not come without their
drummer, who was their pal and inseparable companion.
[~Thus Ambrose had two drummers, andthey used to take it turn and tum about.
Max found time hang heavily on his
hands, however, and suggested to Ambrosethat, while Raderman (the American
drummer) was working off the remainderof his contract, he, Max, should findsomething to do elsewhere.
Thus it came about that Max"doubled " the Park Lane and Piccadilly
Hotels with Al Starita, whilst still underc :mtract to Bert Ambrose.
Then Raderman departed these shores,
and Max returned to the May Fair. where
he has been ever since.
It is almost unnecessary to say that
Max has put in an enormous amount of
hard work in practice, and actually he is
now a fine rudimentary drummer, besides
having a rhythm second to none.
But he it was who really made cymbal
playing popular in this country ; thatwas years ago, but even now his skill inthis direction is held up as a model to all.
Max, therefore, became the father ofcymbal playing in this country, andthereby hangs the tale of Max's greatest
worry.
So renowned has he become for his hot
cymbal beating that everyone forgets
he can also play the meanest of sidedrurr.s, and that his technique thereon is_such as to put him in the front line.
If you want to really annoy Max (Idon't suppose you ever will, for he is ofthat cheerful and humorous disposition
which usually goes with 14 or 15 stone)
but if yon ever do, call him a "Cymbal
Merchant "- and then run !

Beginnings
This place has a big significance, for it• was here that our hero first " played"
the drums.
Being a pushful sort of fellow it was notlong before he made the acquaintance ofthe band there, and, appreciating his
enthusiasm, they allowed him, on special
occasions and as a great treat, to sit
behind the drums and gently beat thebass drum. The side drum was at thattime a closed book to the would-be
percussionist.
Then one day he heard that the bandat the Finsbury Park Palais had finished .
Ruminating on and discussing thisworld-shaking event, a friend of thewould-be drummer made the startlingsuggestion that he should go after the

drummer's job.
Astounding as was this suggestion, it
was nothing compared to the dazed surprise of our hero, when, eventually summoning up sufficient courage to do so,
he applied for, and got the job.
That was on the Friday; Saturday
saw the new drummer purchasing his
first set of drums.
Monday saw him setting out his kit, forthe first time in his life.
The following Saturday saw him get a
week's notice.
As this was little more;than he expected,
the now full-blown professional drummer
was not discouraged. Instead, he wasinspired to greater effort, and went home
all the following week and practised
like mad.

So much careful thought and headwork did he put into this that the managerof the hall was convinced that he had

TED LEWIS AND HIS MUSICAL CLOWNS
Left to right (Standing) : Frank Ross, piano, now replaced by Jack Aaronson.
Dave Klein, trumpet. Anthony Gerardi, guitar. Don Murray, now deceased
and replaced by Jimmy Dorsey. Bob Escammilla, bass, now replaced by Harry
Bath. Sol Kl.ein, violin. Harry Raderman (brother of Lou Raderman, late of
The Embassy), trombone. Jo hn L ucas, drums. (Sittingl Left: Walter Kahn,
trumpet, now replaced by "Mugsy " Spanier. Right: George Burns, trombone.
The band pla)'S in costume, many changes having been brought over. In the
picture above the suits are of yellow silk, with yellow socks and shoes.
-516 -

The Melod;• Maker (Syncopation and Dance Band News).

INTERESTING DECCA DEMONSTRATION
Hot Work at Whiteley's.
SERIES of very interesting concertsand demonstrations, arranged by
the Decca Record Company, took
place at Messrs. Whiteley's stores during
the week ending May 10th.
The chief feature of these demonstrations was the appearance in the flesh ofsome of the Decca bands and artis:es,
including Spike Hughes and his Decca
Dents, Jack Harris' Grosvenor House
Band, and George Morris, the banjoist.
Spike Hughes and his boys appeared
each afternoon, except Friday, includingin their programmes the numbers which
they have recorded, and, incidentally,giving a type of performance which has
surely never previously been heard in aA

this instrument was handled by a young
and decidedly promising artist in the
person of a younger brother of the renowned Joe Crossman.
It need scarcely be added that the
vocal choruses, by Val R osin g, were in
exceptionally good style.
We understand that a special London
concert by the Decca Dents is quite apossibility of the near future.
Jack Harris' Grosvenor House Bandis one of the latest additions to the
Decca lists, and several of its records
are now issued.
Unfortunately the band only appearedon the Friday, the last day of the demonstrations, and then numbered only sevenpopular London store.

performers.

This unique, very clever and very
modern little combination, besides Spike
Hughes himself on bass, contains piano,
guitar, alto saxophone, trumpet and fiddle.
The saxophone is played by that finestylist, Phillip Buchel ; whilst the violin
is in the very capable hands of S. Andrews,
an extremely modern performer whose
abilities were noted in THE MELODY
MAKER some considerable time ago.
At least two different trumpet players
have been used in the records made bythis band, but during the demonstrationsof Leslie Norman.
The items which the band played werevery much appreciated by the large
audience which was attracted daily
throughout the week, and a couple of
hot numbers had to be played by special
request.
On several days during the course of
the demonstrations, finger-style banjo
solos by George Morris were included, andwere effectively accompanied by ClaudIvy, who is one of the musical adviser s
to the company.

A BRIGHT AMERICAN
ACT

although their turn is really primarily ahumorous one, it contains, as alreadystated, material which will be foundextremely palatable by the averagerhythm "fan," and should the act still
be in town by the time this is in print,
opportunity of seeing it should not be
missed.

" Buck and Bu bbles "LONDONERS witnessed a new type ofvariety turn recently when " Buckand Bubbles," a coloured duo from theStates, put over their act at the
Palladium.
One of these performers is an ·excellent
dancer and something of a vocalist; atleast, he makes up for anything which he
may lack in actual voice quality by anobvious appreciation of rhythm.
His partner is a vocalist, a fine humorist,and a pianist almost of the Earl Hines
degree, all rolled into one, so that it may be

It was under the leadership.,

STARITA'S STAR TURN
Rudy on the Halls
DURING the past few -years the
English variety stage has seen
many xylophone turns.
Some havebeen good, some have been bad, andone, at least, has certainly been out-taken for granted that their show was ofstandingly successful.

a kind to appeal very thoroughly to themusician, even if parts of it were probably
not appreciated by an ordinary cosmopolitan audience.
Both the boys indulge in some amusing
and excellent " scat " singing, andOne of the most polished and mostmusically interesting which we have seen,
however, was undoubtedly that which
Rudy Starita provided at the Holborn
Empire during the week which ended on
May 3rd.
Rudy appeared entirely alone,-playing
marimba and vibraphone. His prowesson the former instrument is so well-known
that little need be said bey ond the factthat his performances on this occasion
were quite the best thing of their typespeaking from a purely musical viewpoint-which have so far been heard in
London Variety.
As a variation from popular numbers
Rudy gave a very artistic rendering of therenowned "Liebesfreud."" Buck and Bubbles "His exploitation of the vibraphone as asolo instrument was something of anovelty on a music-hall stage, and heplayed a six-hammer chorus of "Lover

-

517 -

June,' !930.

Come Back To Me," which was mostingeniously constructed an.d proved very
effective.
The weak spot of the act was an
attempt at comedy, when Rudy used apair of " cod " slap hammers on his
marimba.

DRU MMER'S FRESH
ROLE
Solo Variety Act

T HE desire to emulate the ·fame a nd
success of Jack
Powellhasevidenty ·seized Joe Daniels,
the we 11-know n
London drummer,
late oi the Carlton
Danse Salon.
At the time ofwritingJoeisrehearsing a special
act which is believed to be something afterthestyle of Jack
Powell's turn, andw it h which hemay possibly havemade his musichall debut by thetime this issue isin your hands.

Joe Daniels

NINE HARMONADERS
Mackey'3 Latest Venture

A N entirely new type of act was seen

in town recently when the " Nine
Harmonaders " - produced under the
auspices of Percival Mackey--opened
for a week's " try-out" at the London
Music Hall in Shoreditch.
The " Nine Hannonaders " containeight male members, who form a vocal
octette, and also supply.from their ranks
a six-piece dance band, containing alto
and tenor saxophones, trumpet, banjo,
piano and drums.
The ninth member of the troupe isMiss Monti Ryan, the well-known dancer
and revue artiste, who has, of course,
appeared in several of Percival Mackey's
productions.
The act is pl'esented in quite a novel

manner, vocal numbers being interspersed by the excellent dancing of Miss
Ryan, the fooling of various members of
the company, and several items by theband.
The instrumentalists play standing andsitting about the stage in comfortable andquite nonchalant attitudes, without
stands or music, so that the conventional" stage band " atmosphere is completely
absent.
In regard to the performance of themusicians, it can at any rate be said thatitiscommercially satisfactory, athoroughly good ensemble being, ofcourse, unnecessary and practically impossible to attain in the circumstances.
The vocal octette, in common withseveral aspects of the act, was not abov e
criticism on the first night, but there
seems very little doubt that the production will in time shake down into a noveland quite pleasing little show.

DThe Melody Maker (Syncopation and Dance Band New.r).

June, 1930.

I. Chasid and his Orchestra

Hal Swain's Band

L.W.'s BLACKPOOL AND
DOUGLAS SHOWSSwain and Chasid share the Honours
HE summer arrangements made by
the Lawrence Wright Music Company for the North Pier, Blackpool,and the Onchan Head Pavilion, Douglas,
1.0.M., have now been completed, and weare ablii to announce that Hal Swain andh is Band will go to Blackpool, whilst I.
Chasid and his Orchestra have been fixed
for t h e Douglas engagement .
Hal Swain's combination at Blackpool
will b e ten strong, including Hal himself:
The personnel is as follows : H. Bulltmore, 1st t rumpet ; Jock Strachan, 2nd
trumpet; Frank Marriot, trombone andbass saxophone ; Harry Constable, 2ndalto saxophone a nd fiddle; W. Lodge,
tenor saxophone and fiddle; Cecil Woods,
piano ; Len Pierce, banjo and 'cello ;Geo Shannon, basses ; and Bernard M11ler,drums.
Hal, of course, plays solo alto andbaritone saxophones, and it may be taken
as a certainty that the popular " Swain's
Saxofive " and the other novelties produced by the band will be well in evidence.
The engagement commences on June
7th, and will continue as usual right to theend of the summer season.
Hal and his Band were, of course, at
13lackpool during Easter week, when they
played at the Palace Theatre, whilst theyalso appeared at a concert at the Opera
House and a dance at the WinterGarden.
Douglas is to have an eleven-piece band
this year, and t he leader of the combination I. Chasid, is believed t9 have been
cho;en largely on account of his abilities
in the realms of " straight " music and also
for his p rowess as a solo violinist.
He has had a great deal of kinema
e x perience, includi_ng fou~ years wi~h the
F .C. T., whilst his earlier expenences
include a symphony concert with an
orcbtestra of sixty performers which h eg ave at the age of twenty-one.
AU the following boys will be found in
his Douglas orchestra: Harry Weston,
lst sa.xophone and violin; Jack Weston,
2nd alto and b:.ritone saxophones
and clarinet ;Fred
Mason,
tenor
and soprano saxophones and flute;
T . Birch, trump.;:t ; J ock Malone, trombone; D . Stuteley, sousa and string bass ;O . Hillan, 'cello and banjo ; C. Love,
drums and xylophone, and Tony Hatley,
piano. A second pianist will a lso be
ncludi;1,This engagement commences on J une

T

23rd, and will also continue until
Septemqer.
A large feature will, it is believed, bemade of the Sunday evening concerts at
Onchan Head this year, a nd on theseoccasions Mr. Chasid's straight .experiences will stand him in doubly good stead.
A popular artiste who will be featured
this year is Florence Oldham.

NORTHERN LIGHTSAl Davison's Return
FTER his success of last season,
it was almost a foregone conclusionthat Al Davison would return to
the Isle of Jv!an this year, and he will beresuming at Villa Marina, Douglas, on
June 7th with a fifteen-piece combined
dance and straight band.
Daily dancing will be the vogue, asA

Nottingham Readers !
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JACK BRENTNALL[Selmer Specialist]

12 Ortzen Street, Radford,
Nottingham-

518-

usual, with afternoon and Sunday _concerts.
Al is adopting rather different ideas
this year in regard · to the formation of
his band.
Last season, it will be remembered, heworked on the rather novel system of
having a small specialised section contained within the main hand.
This experiment was a most interesting
one, but nevertheless led Al to feel thatthe main character of his band should bein its ensemble qualities, and he has
accordingly 1:tuilt up a
combination
to fall in line with his present require•ments.
The combination p ossesses three orfour extremely powerful " corner-stones,''
as it were, the pianist, for example, beinga man of very considerable abil ity in boththe " straight" and dance spheres,
having played with the original Kit-Cat
Band on the one side, whilst on t h e otherhe has until recently been the official
accompanist with the Dundee MusicalFestival.
The violin-leader is also a man of
exceptional all-round experience, having
played at Ciro's and also with Bert
Ambrose's Band at the Embassy, whilst
his straight work includes two years
as leader for De Groot at the Piccadilly
Hotel.
The d rummer is another of these extraspecially useful people, and has a very
extensive knowledge of " the game."
For providing " relief " during thedance sessions, Al will use a t hree orfour-piece outfit only. This small unit
will be drawn from the main band, andwill be q uite sufficiently powerful whenassisted by Al's patented amplifying
device wh ich was installed at Covent
Garden Dance Hall during the winterdancing season, and which. has been
improved out of all knowledge by constant experiment, so that this year
it will be an asset of almost inestimablevalue.
The complete personnel of Al ·s Bandis John Cantor, violin ; Archie Ralfini,
violin ; J. Griffin, violin, vocalist anddrums ; W. Fred Hartley, piano ; R.
Turner, piano; W. ("Spike") Neale,
first trumpet ; C. Bootes, second trumpet;
W . Weeks, trombone; Chas. O'Grady,
first saxophone and clarinet ;Hal
Heeley, second alto and bass saxophones,flute
and clarinet;
Jan
Castelli,
tenor saxophone, violin and oboe ; Ron
Bradby, saxophone and clarinet; John
Nowell, 'cello, banjo and guitars ; andJimmy Blades, drums, tymps., xylophone,vibraphone, marimba, etc.

The Me/orly Maker (Syncopation and Dance Band News) . June, r930.

Billy Rhodes and his BandNORTHERN MODERNS
Billy Rhodes' Successes

yo he up to date seems to be the

keynote of Billy Rhodes and his Band,of Manchester, who, ~~cording to theirsecretary, Mr. Geo. Hatton, feature a
hot modem rhythmic style, whilst theboys fairly lap up the hot choruses which
are published in THE MELODY MAKER.
We are told that the band has had
an extremely successful season, and has
been heavily booked with good-class" gigs " in Manchester and its environs.
Normally the combination is a sixpiece one, but at times it is augmented
to nine pieces for special engagements.
The boys also feature vocal duets anda novelty banjo trio.
·
The personnel of the band and theiraccomplishments are as follows : Geo.
Hatton, tenor and soprano saxophones,
clarinets and banjo : Ernie Bernard,
piano and banjo; Frank Budgen, altoand soprano saxophones and clarinet ;Joe Hollingsworth, trumpet and trombone; Phil Bletcher, tenor and G banjos
and Spanish guitar; and last but notleast, Billy Rhodes himself, on drums,
xylophone and trombone.

A THRIVINGINSTITUTION
New N ottingham Ban d

ACCORDING to all accounts the" Broadway Carnival Band " ofLong Eaton, is achieving considerable
success in its own district, owing chiefly,
we imagine, to the immense enthusiasmof its members, who all appear to bethorough-going disciples of musicalefficiency.
We are told that the band has had an
extremely successful " gig " seasondespite the fact of this being its first yearof formation-and its members are all
looking forward very much to next
winter.
The prestige of the fair sex is upheldin this instance by Miss M. Oakley, whoplays violin in the combination.
Besides this lady enthusiast the band
contains C. Dakin, pianist and leader ;F . Mason, banjo ; H. Smith, alto saxophone ; and F. Pegg, drums.

BU SY AT HULL
Yorkshire's Hawaiians
Q NE of the most obviously successful
bands 0£ Hull and district is Len
Ibson's Hawaiians, whose past activities,

M iss Bower and Mr " Granville " Orchestra
besides a great deal of important " gig "work, include a successful run at theYork Hotel.
Last winter the boys played for thedances at the Hull Corporation Baths,
and are at present busy with a contract
at the City Hotel.
Later they anticipate going out of
town, possibly to a seaside engagement,
and have several offers under consideration.
The personnel of the Hawaiians is
A. Harraway, trumpet and violin; Reg.
Drury, drums and tymps; W. Durant,
banjo and violin ; J. Cooper, violin andalto saxophone ; A . Clare, sousa andstring bass; G. Mason, pianist andarranger; F. Rawson, tenor and alto
saxophones, clarinet and guitar ; and Len
Ibson himself on alto, soprano andbaritone saxophones and clarinet.
Len is also the vocalist with the outfit.

THE MELBA DANCEORCHESTRA
Aberga11enny Unit

J 'HI!, Melba Dance Orchestra, which
1s to be found in the Abergavenny
district, is a seven-piece outfit, which
certainly seems to be making its presence
felt loca.lly, as its members report a. steadyand increasing stream of private engagements.
Perhaps one of the reasons for theirsuccess is the fact that several membersof the band have had considerable straight
experience, and have therefore gained
tbeir knowledge in the best of all schools.
The personnel is Bryn Kirby, first altoand soprano saxophones ; Ronnie Ball,tenor and soprano saxophones and piano ;" Andy " Richards, banjo ; Billy Davies,
trumpet and mellophone ; Francis Reneau(leader), violin ; Elias Jones, piano ; andCharlie Jones, drums.
Reneau is a recent addition to the band,and seems to be something of a discovery.
H e is reputed to be the best dance
violinist to be found anyv,here in the
district, with an excellent modern style.
He has been in the business for the pastseven or_eight years.
·

BRIGHTON SERVICE
A Successful Sextette

AfANY

popular combinations have.
flourished from time to time inthe energising atmosphere of Brighton,
and one which certainly seems to bethoroughly suited by its surroundings
is Miss Rhoda Bower's " Granville "Orchestra, which plays at Boots' Super-519 -

Cafe, in the Western Road, where it hai;been established ever since the Cafe's
opening.
Miss Bower herself leads and supports
the combination in a pianistic capacity,
the other members of this consistently
successful little outfit being E. W. Perman,
violin ; L. M. Gibson, alto saxophone,'cello and violin; F. G. Wheeler, tenor
and G banjos, guitars, viola and alto
saxophone ; \V. H. Lemon, tenor andbaritone saxophones and clarinet ; andW. J. Blundon, drums, tymps, bells, etc

NEWCASTLE'S NEW
M.D.
A lbert K endall Sets the Pace

QN May 5th, Albert Kendall am; hiswell-known and augmented bandcommenced a long engagement at the
Oxford Galleries, Newcastle-on-Tyne. It
cannot be said precisely how long Kendall
is under contract at the Galleries, but thefact that he states that he is making
Newcastle his home for a good part ofhis life seems to indicate that it willin all probability be for a very longtime.
Albert executed a rare bit of" hustling'
immediately prior to this engagement
as he went first of all to Newcastle from
Belfast over-night to d iscuss the business,
returning the following night. A dayor so later he took the whole band over
for an audition, returning immediately
to Belfast again to finish their engagement there, and then finally making
yet anoth ':)r crossing to start in earnest
at Newcastle.
Albert says that he had an extremely
successful three months at Belfastwhere, of course, he has been playing
at the Plaza-and has been asked toreturn any time he likes. Whilst in
Belfast the band was very frequently

broadcast.
In regard to the band itself, Albertconsiders it to be the finest he has ever
had, especially in the way of versatility
and originality.
The boys are Ken Baker, 1st alto andall saxophones, clarinet and vocalist ;Dick Ames, 2nd alto saxophone, clarinet,
violin, piano anq arranger; Frank Paque;t enor saxophone, clarinet, trumpet,
piano and vocalist; Billy Jones, trumpet
and vocalist ; Tommy Ward, trombone ;Ted Woodville, sousa and string b ass _and Billy Bevan, drums.
Al himself, of course, officiates at the
piano, and in the course of this engagement he will also be conducting.

JThe Melody Maker (Sy~opation' and Dana Band News) . June, 1930.

SELMERSAXOPHONES- ----i}-----

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T el e phone: Gerrard 7241 .

-520 -

The Melot/y Maker (Syncopation and Dance Band News) . June, 19}0.
changes in orchestras, presumably for thesummer season.
Don Bigelow and His Orchestra have
replaced Will Osborne at the Park Central,
Tommy Christian and His Orchestra replaced Roy Ingram at the Paramount,
and Charles Strickland's Band replaced
Guy Lombardo and his Royal Canadiansat the Roosevelt.
. Lombardo will probably be at a roadhouse on Long Island for the summer.

•

•

•

Paul Whiteman and His Orchestra havereturned to town, but minus the Rhythm
Boys, who remain on the West Coast to dosome talkie shorts.

••

A photo taken in the "Club Leviathan," the new £20,000 Night Club aboard
the "Leviathan," said to be the most luxurious of its kind on land or sea.
Designed by a foremost modernistic architect-Mr. Eugene Schoen-a special
feature of t he club is the wonderful colour lighting effects, of which there are no lessthan 840 different variations. The club opens at 11 p.m. and stays open till dawn.
American NewsSENSATIONAL CHANGESIN WHITEMAN'S BAND
From Herbert S. Weil (New York Representative),
28, Sutton Manor,
New Rochelle, New York.

M ay 10th, 1930.
Bix Beiderbecke is back in New York.
He says he never felt better in his life,and he certainly looks fine.
I haven't heard him play since he's
been in town, but several of the boys
have been on a gig or two with him, andthey're raving yet.
He's going to make some piano solos
for H.M.V. shortly.

•..

The United States Lines advertise that
there is a Ben Bemie orchestra playing in
the new nightclub on board the Leviathan.
True, but Jack Pettis formed the unit,
and conducts it himself.
Doubtless many will remember him as
bei:ng Ben Bernie's original tenor saxophonist. When he left Bernie, Jack
formed his own band and has been doing
vaudeville and dance hall work in andaround New York ever since.
A few H.M.V. recordings have been
made from time to time, captioned " Jack
Pettis and H is Pets."**

Paul Specht and His Orchestra a re backin New York again, at the New Manhattan
Towers Hotel.
Paul always has a good band, and,though most of the arrangements andrecent recordings are more or Jess commercial to please the public, the band
carries several good men who are " inthe know," when it comes to modern
stuff.
Outstanding among these is Bob
Chester, the tenor saxophonist.

•

*

*

Three New York hotels recently madeThe" King of Jazz Revue" opened onschedule at the Roxy Theatre, and theband, augmented to 125 pieces by adding
the Roxy Symphony Orchestra, provided
a fitting: representation: to the picture.
In addition, George Gershwin appearedi~ person, and promptly brought thehouse down by playing his "Rhapsodyin Blue ,,. accompanied by the band.
The picture, itself, I leave to morecompetent cinema critics, but I will saythat it is a fine spectacle, well recorded
and filmed, and will be hugely enjoyedby lovers of dance music the world over.

**

HAL KEMP'S BAND***

Owing to " The Melody
Maker " closing for press
before the arrival of Hal
Kemp's Band, its appearances at the Cafe de Parisand Coliseum will be reported in our next (July)
issue.

-

521 -

*

*

Last month, I stated that Whiteman
with his band down to 17 or 18 men•would play at a roadhouse at the upper
end of New York City for the summer.
More details now reveal some startling
surprises.
The band was cut down last week, andno longer includes Joe Venuti, violin;
Eddie Lang, guitar ; Leonard Hayton,
piano ; " Min " Leibrook, bass ; Boyce
Cullen, trombone ; Red Maier and Bernie
Daby, saxes.
And on about May 30, the band is toopen in the old California Ramblers Inn,
once the home of one of the greatest
bands that ever existed. The old inn isbeing entirely renovated and enlarged,
and, when completed, will have a seating
capacity for over 3,000 people. It will
be kno,vn as "Hollywood Gardens."**

Reminiscing for just a moment, here
are some of the well-known dancemusicians that at one time or anotherplayed with the old California Ramblers:

Red Nichols, Bill Moore, Roy Johnstone,
Chelsea Quealey, trumpets ; Jimmy Dorsey,
Arnold Brilhart, Bobby Davis, Pete
Pumiglio, Fred Cusick, saxes; Tom Dorsey,
trombone ; Adrian Rollini, Spencer Clark,
bass sax; Tommy Felline, banjo; Irving
Brodsky, Jack Rusin, piano; Stan King,drums ; and- well this writer may not be
so well known, but he's always proud tosay he played drums in the band, too.

*

*

*

•

•

•

About a mile down the road from the
new " Hollywood Gardens,'' Ben Pollack
and Vincent Lopez have their bands inroad houses facing each other across the.street. Lopez, however, still retains aunit in the St. Regis Hotel.

Merrill Kline, who appeared in London
with Ben Bernie and his orchestra, has
replaced Ward Lay on bass with Bert
Lown's Orchestra at the Biltmore Hote 1.

The Melody Maker (The Grampohone Review). June, 1<>30.

More praise
for the new
CELEBRITY Series
Mr. COMPTON MACKENZIEThe famous gramophone critic, says:-" I do really think it's a fine achievement
to he able to produce a set of 2/-records,of which a hardened creature like myself
can mention nearly every one with aword of genuine appreciation."
Quotation from Compton MacK enzie's Gramophone
R eview in the" Sunday Pictorial." May 11th, 1930.

Everybody is praising the new Celebrity Series. Everybody is realising what wonderful value these records
are. Artists, selections, tone and quality are all up to thehighest standard. The instant popularity of Celebrity
R ecords proves it.

..

..

10''
double.sided
ELECTRICAL~

2'•

RECORDINC

RECORD&

NEEDLESThe Ideal Combination@·

Piccadilly Records, Ltd., 12a, Finsbury Square, London, E. C. 2
-

522 -

•

The Mclor/y Maker (The Grat11ophone Review). June, 19;0.

Conducted by"STYLUS"THE MONTH'S OUTPUT
COLUMBIA.
(Columbia Graphophone Co., Ltd., The.)

IO in. Dark Blue label, 3s.
Mid-May and 1st June lists, released
May 16th and June 1st respectively.
Jack Payne

His B.B.C. Dance
Orchestra.
"FANCY You FALLING FOR ME" (s.v.).
" JACK O'LANTERNS."(CB 47)"THE VAMP OF BAGHDAD" (h.v.).
"GuNGA DIN AND H is LUTE" (h.Y.).
(CB 48)'BY THE BEND OF THE RIVE R " (s.v.).
"I WONDER WHY?" (WALTZ) (s.v.).
(CB 55)': STEIN SONG., 6/8 (h.v.).
' MOONSHINE IS BETTER THAN SUNSHINE" (s.v.) .
(CB 62)"Fancy You Falling For Me" is a
melody performance given a sentimental
orchestration, which results in a pleasing
and well-played record. Apart from alittle too much vibrato in t he solo alto
saxophone work, the general tone isgood, including a sweetly and easilysung vocal.

andThe vibraphone is neatly

featured .
On the reverse side "Jack O'Lanterns " becomes involved at times
through an orchestration which, bough
it is ingenious and aspires to the Whiteman mode, result'l in occasional breaks
in the rhythmic 1.:ontinuity. Nevertheless, Jack Payne's orchestra is emir.ently
at home with t his type of novelty foxtrot, and in this case does itself fulljustice.
" The Vamp of Baghdad," with its
backing, is perhaps designed to be an
entertaining record for the family circle,
and as such succeeds.
The introduction, modulations, bridge
passages and coda, all rather involved,
take up half the playing time of " By the
B1mrl of thf\ R ivP.r," a nd~:i.c.rific.P.

:i.11

suggestion of dance rhythm. Othe:wise,
sweetly played and effective.
Anadeq uately played waltz is on the reverse,
in which there is a nice-toned tenor
saxophone solo.
The " Stein Song " is quite another"Valencia," but Jack Payne could havegiven it much more punch.
It lacks
brilliance, a fault which is also apparent
in the first half of the backing. The
latter half, however, has far more swing,
but the trumpet is too distant and there
are some wide gaps in the orchestration.

Debroy Somers and His Band.
" FIGARO " (-s.V.).
"CuCJ<OO " (WALTZ) (s.v.).
(CB 50)"TALKIE TUNES "-Medley Waltz, PartI (s.v.).
"TAU<IE TUNES "-Medley Waltz, Part2.
(CB 49)"TJ-11-:RE'S SOMETHING ABOUT You
THAT'S DIFFERENT" (from the film
"The Song of Soho ") (s.v.).
"WALLAH-MALAI<A-LUCY" 6/8 (s.v.).
(CB 56)"HARMONY HEAVEN" (from the film
"Harmony Heaven") (s.v.).

" LovE Is A DREAl'>IER " (from the film
"Lucky in Love") (s.v.).
(CB 57)" A SHIP WITHOUT A SAIL " (from " Heads
Up") (s.v.).
"IT Musr BE HEAVEN" (from "Heads
Up" (s.v.) .
(CB 66)

Debroy Somers' records are obviously
designed for a public-but not our publicand I don't think they do justice to theusual musical finish of his band.
" There's Something About You That's
Different," besides being played in very(s.v.) Denotes solo vocal chorus.
(h.v.l Denotes harmonised vocal chorus.
(A.) Denotes recorded in America.
A date after an Ainerican played record is tbat on
which it was released in that country.

-523-

stereot yped style, r esults, very nearly, ina banjo solo, so over-recorded is this in•strument. There is also a very naughty
violin solo of an age long past and happily
defunct.
" Love is a Dreamer " is a distinct
improvement, barring the out-of-tune
oboe ; its most noteworthy feature is a
nicely phrased straight muted-trumpet:
s::>lo by Jimmy Worrell.
" Harmony Heaven," which is obviously intended to be hot, simply
shows up the lack of rhythmic style ont he part of the solo instrumentalists.
" The " Heads Up " numbers conclude
a Somers' list on the same standard of
most of the foregoing.

Van Phillips and His Band.
" I 'D RATHER HAVE A MEMORY OF You ..
(from "Rio Rita" (s.v.).
" GooDBYF. TO ALI, THAT" (s.v.).
(CB 60)
Two titles well played in commercial
style, with quite a nice lilt and good
vocals by Lou Abelarde.
Ray Starita and His Ambassadors Band.
"THE MOMENT I SAW You" (from" The
Co-optimists") (s.v.).
" SUNDA y AFTERNOON " (from " The CoOptimists ") (s.v.).
(CB 59)"HusH-A-BYE-BABY " (Waltz) (s.v.).
"I'Li. ALWAYS BE DREAMING OF MARY"(Waltz) (s.v.).
(CB 58)Ray Starita's two fox-trots are the bestof Columbia's English recordings th.ismonth, his band being well served byborrowed brass. Competent orchestrations and clean musicianship result ingood ensemble and rhythm.
The waltzes are both eminently satisfactory, and feature t he vibraphone withdiscretion by Rudy Starita, while " Hush-a-Bye Baby" is conspicuous-for the lovely
tone of t he trombone.
The Four Bright Sparks.
" AT LAST I'M IN LovE " (from the fiim
" Red Hot Rhythm") (s.v.) .
"MY IDEA OF HEAVEN" (from t he film
" Red Hot Rhythm ")(CB 51)The Four Bright Sparks for once

The Me/04Y Maker (The Gramophone Retliew). J11ne, 1930.
impose some restraint upon t hemselvesin " At Last I 'm in Love " andi the result. is that there are some neat rhythmic
accompaniments to instrumental solos
and a vocal by Lou Abelarco .
Once or twice the xylophone butts in
inopportunely, as if to demonstrate thatthe number was mapped out at the last
moment, but the general result is certainly
happier than the other side, upon which"My Idea of Heaven" is a Jacob's coatof many colours, some distinctive andsome clashing.
A break taken by Van Phillips on
saxophone, at the end of the second
chorus, is a real desperate affair. Both
Arthur Young and Len Fillis do a lot ofgood work in the t wo numbers, but it islargely wasted through lack of proper
routine.
Paul Specht and Bis Orchestra.
" THE HARBOUR OF MY HEART " (fromthe film "Hit the Deck"), (A).
" KEEPIN' MYSELF FOR You " (from thefilm " H it the Deck ") (A).
(Both February, 1930.)(CB 52)Just ordinary examples of a good commercial American record, featuring nothing of particular instrumental interest,and no new ideas in the arrangements.

The Seven Hot Airmen.
" H~RLEM MADNESS " (from the film
"They Leari;ied About Women"){A).
"NAVY BLUES" (from the film " Navy
Blues ") (A).
(Both February, 1930)(CB 53)
Here is a great record ; Columbia's
hottest to date. The combination, consisting of saxophone, trumpet, trombone,
guitar, drums, piano and string bass, has
as much " go " and pep as anything yetheard, if not so much refineme.n t.
At the beginning of " Harlem Madness," which is the better t itle, the rendering adheres pretty closely to the printed
parts, but not for long !
Trumpet t akes the first chorus, supported by a great rhythm background.
Then the alto picks it up and begins towarm things up. What a marvellous
attack this performer has !
Then we have muted trumpet, supported by cymbal rhythm, which latter
consists mostly of straight off-beats, notdamped short, but allowed to ring into
the next beat ; the impression thus given
is one of positively white heat.
Following a piano passage comes thetrumpet again. Note the remark able
light and shade, where , the band diesaway to nothing and comes up ff in t hespace of a bar or so.
Friend drummer then pops up andp lays a great side-drum break in the verylatest style, using the hoop crack idea.
Then follows a fine clarinet chorus, which,good though it is, is completely eclipsed
by the marvellous string bass whichaccompanies it. There are two slap-bass
breaks in this chorus which alone areworth the record's price.
The other side, too, is full of good things.
A record which must not be missed.
Recording is outstanding.
Ted Lewis and Bis Band.
" DINAH " (h.v .) (A).
"AUNT HAGAR'S BLUES" (A).
(March, 1930) (CB 64)"SAN" (A).
" THE LONESOME ROAD " (from " TheShow Boat" (A) (h.v.).
(CB 63)Once in a while Ted Lewis's band produces a good record, and it usually happens when Ted himself steps out. It has
happened again this month, for whereas"Dinah," assisted by Ted, is rowdy
and undistinguished, the blues on thereverse is a great improvement.
This is due almost solely to the threesoloists, clarinet, trumpet and trombone,notably the first two. H ad they been
supported by a flowing accompanimentfrom the rhyt hm section, " Aunt Hagar's
Blues " would have gone into the honours
list, but the section is quite ordinary,and does nothing but smack out ponderous beats in b oth the blues and double
tempo movemen ts.
The clarinet is not, of course, Jimmy
Dorsey, who only joined Ted Lewis for
the Kit-Cat engagement at the last
moment. Although he gets a good hand,several of his phrases, however, are very
reminiscent.
For instrumental trick noises, blueblowing, and Ted Lewis, back again, hear
" San," and for a" cod" spiritual, whichis in doubtful t aste, hear " The Lonesome
Road '' on the reverse.

The Columbia Photo Players.
WINDOW " (from t hefilm " A Song of Kentucky.") (A)(s.v.).
(February, 1930)" MARCH OF THE OLD GUARD " (from"Devil May Care") (A) (h.v.).
.
.
(CB 54)Usual competently played American" Sr ttrNG BY THE

LANGHAM RADIO
Complete Stoclists of

HIS MASTER'S VOICE,COLOMBIA, PARLOPHONE,REGAL Instruments & Records.

commercial record, with no points worth
discussion .

The Knickerbockers.
"MY MAN Is oN THE MAKE" (from" Heads Up" (A) (s.v.).
(Januar y, 1930)"WHY Do You SUPPOSE ? " (from"Heads (A) Up") (s.v.).
(CB 65)
A good honest dance band with solid,
if not inspired, rhythm. Vocals bot hgood, the former being by a lady.
"Why Do You Suppose? " is a finenumber, and this is the better recording.
Merle Johnston and His Ceco Couriers.
"WATCHING MY DREAMS Go By" (fromthe film "She Couldn't Say No")(A).

(March, 1930)

Will Osborne and His Orchestra.
" TBERE WILL NEVER BE ANOTHER
MARY '' (Waltz) (from the film
" They Learned About \¥omen ")(A) (s.v.).
(Both CB 61)" Watching My Dreams Go By " ismarred in the opening by a blatanttrombone, and the ensemble is " thick "throughout. Nevertheless, it is interesting for a neat and effective introductionof marimba, while the six string rhythmon guitar is worthy of study.
The waltz on the back is p layed by anorchestra directed . by Rudy Vallee's
deadly rival. Rudy has a lot to answer
for.
DECCA.
(Decca Record Co., Ltd., The).
10-in. Blue label, 2s.
Mid-May and 1st June lists, released
May 16th and J une 1st respectively.

Spike Hughes and his Decca Dents.
" BOTTOMS UP " (from " De la Folie
Pure,·,} (s.v.)" BIGGER AND BETTER THAN EVER "(from " De La Folie Pure") (s.v.)(F 1730)
Spike Hughes and his Dance Orchestra.
"

MAKE YOUR OWN
RECORDS!
at 1 /6 each.

ZONI<Y,,,"CRYIN' FOR THE Ct,R0LlNES " (from"Spring is Here ") (s.v.)(F 1747)" A SHIP WITHOUT A SAIL " (from " Heads
Up") (s.v.)" MY MAN IS ON THE MAKE " (from"Heads Up") (s.v .)(F 1748)In the first of these records Spike

Hughes and his boys have produced two
This remarkable NEW PROCESS
is now installed a t the address
givtn below
Make a point to visit us NOW andmake your record Vocal or ln-;;;;;;ental.

Write or coll

LANGHAM RADIO LIMITED
1-3, Goodge St., Tottenham Court Rd., W.1.
(opposite Catesby·sJ

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524 -

first-rate hot renderings.
.
Practically all the minor faults whichwere to be found in last month's efforts
by this band have been eliminated, withthe result that r eally stylish performances
have been produced.
The " Decca Dents " have certainly
proved themselves by these numbers to
be a star combination of their type, andthe very highest praise must be accorded
to all its members, especially to its threecomer-men, the saxophonist, violinist
and vocalist.
The trumpet is also first-class, but
may be, and p robably is, played by adifferent performer on different records.
A very modern clarinet is also heard at

The Meloefy Maker (The Gr11111ophone Review). June, 1930.
times, and may be played by the saxophonist.
The saxophonist is again right up-:"todate in his present transcriptions, whilst
the violinist indulges in some excellent
double stopping, and in his solo
choruses phrases like a real Venuti .
The work of the vocalist is also outstandingly good, so much so that it seems
almost churlish to mention that his voice
still possesses a rather untrained quality,
and that he is slightly off pitch in one or
two bars of "Bottoms Up."The arrangements of these numbers
are deserving of commendation, and arescored in such a way as to allow fullscope to the individual performers.
If any fault is to be found with theband now, it is in its rhythm section,
which is scarcely sufficiently prominent,
at least not in the way in which therhythm stands out on American recordsof this type. Recording is· very creditable.
The combination has evidently been
augmented for the last four numbers.
Although they are more ambitious
performances, these renderings are inmany ways not so successful as the firstnumbers.
For one thing, the p lacing of the band
seems to have been altered, and therecording is not so good, there being aslight tendency for things to soundmuddled occasionally.
Then, again, although the rhythm isstronger, the general ensemble is at times
not nearly so good.
Although they are less finished on thewhole they still produce some amazingly
good points, the hot fiddle chorus in" Zonky," being a most ingenious
performance.

Jay Whidden and his Band.
"IN AN OLD ENGLISH LANE " (s.v.)" PA!USIENNE DOLL " (from the film
" Woman to Woman") (s.v.)(F 1724)" J usT FOR A SONG " Selection, Part I.
.,.,..
Part II.
(F 1723)
The introduction of Jay Whidden's Bandis an interesting feature of this month's
Decca lists, and his first numbers seem topromise that there will be very goodthings to come later on.
The saxophone section of the banrl
seems most satisfactory in particular, thework of the rhythm section being also
good, although inclined to be choppy on
one or two occasions.
The ·piano isextremely good.
·
A pleasingly modern interpretation has
been adopted for these numbers, the firstone being notable, amongst other things,
for the excellent clarinet underneath thetrumpet in the first chorus, t he extremely
pleasing vocal chorus, and the fine modern" lead in " to the last chorus.
" Parisienne Doll " is less good, andsounds a little muddled and over-recordedin places. It features one stylish and very
well-played chorus, and at times also
brings out some good and steady workby the brass. The vocal _chorus is also
good.
The selection is well played, and is, inplaces, very artistic. It holds the attention
right through both sides, which is certainly
an achievement for the type of performance.
Recording is excellent.

The Rhythm Maniacs.
"'LEV.EN-THIRTY SATURDAY NIGHT" (s.v.)" THAT'S WHEN I LEARNED TO LovEYou"·

(F 1746)" WHEN A WOMAN LOVES A MAN " (from"Be Yourself ·•i (s.v.)" CooKING BREAKFAST FoR THE ONE I
LOVE" (from "Be Yourself") (s.v.)(F 1752)" BLUE IS THE NIGHT ,, (from " Their
Own Desire") (s.v.)" BABY, OH WHERE CAN You BE ? " (s.v.).
(F 1738)" NOBODY'S USING IT Now ,, (from thefilm "The Love Parade") (s.v.)"THE LovE PARADE " Selection. (s.v.)(F 1716)" OH ! LovER TRUE " (from the film
"Just For a Song") (s.v.)" ASHES OF DREAMS ,, (from the fi lm"Just For a Song") (s.v.)(F 1729)"PUTTIN' ON THE RITZ .. (from the film
"Puttin' on the Ritz") (s.v.)" WITH You" (from the film " Puttin'
011 the Ritz") (s.v.)(F 1725)
The "Rhythm Maniacs'" offerings tothis month's Decca lists are nearly all
extremely good all-rouml renderings ;excellent dance records, and of a type toappeal to pretty nearly everybody.
Generally speaking they are on thestraightforward side, but they avoid being
stereotyped by a very wide margin, andare quite strong rhythmically and in parts
pleasingly modern, especially in the caseof "'!even-Thirty Saturday Night,"
which is decidedly good, and features amodern clarinet and an amusing " scat "singing chorus.
The vocal choruses are all good of theirtype, some being of the neat and modern
variety, whilst others are merely good
examples of the " concert-party " typeof singing.
Some well-executed marimba work isheard in " Baby, Oh Where Can You
Be?" and "Puttin' on the Ritz."
Recording is very good throughout .

Patricia Rossborough .
(piano solos) .
"SKY CITY"" MY MAN IS ON THE MAKE " (from"Heads Up ")(F 1741)" Sky City " is a moderately good
example of the essentially " showy" typeof piano solo, but is not interesting in amodern sense.
The other rendering is very unfinishedand poorly constructed, and gives theimpression of having been hurriedly
produced.
Recording of both is very good.

Barrie Oliver (Vocalist) With orchestral
accompaniment.
"MoANIN' FoR You " (from the film
" The Grand Parade ")•' I HAVE To HAVE You" (from the film•• Pointed Heels ")(1722)
This is a very pleasing record indeed,both the efforts of Barrie Oliver and his
accompaniments being in extremely
good style.
A record to buy.
Recording is O.K.

-525-

H.M.V.
(Gramophone Co., Ltd.)
10-in. Plum label, 3s.
Miri-May and First June lists, released
15th !I-lay and 1st Jnne respectively.

Ambrose and His Orchestra.
.. BLUE IS THE NIGHT " (from the film,"Their Own Desire") (s.v.)"THE EMPIRE PARTY SONG." (s.v.)(B 5825.)"I'M IN THE MARKET FOR You " ; (from" High Society Blues ") (s.v.).. Just LIKE IN A STORY.BOOK" (from thefilm " High Society Blues ") (s.v .)(B !5824.)

A most artistic treatment has been
accorded to " Blue is the Night," by
Lou Stone, and it has been beautifully
and richly played by the whole band. The
work of all ,t he sections is really fine, thebrass moving as one man, while the treatment of the strings by the orchestrator
is most striking.
Sam Browne is eminently at home whensinging a number of this romantic type, andhelps to round off a performance which isa cre<lit to British dance musicianship in
general and the Ambrose orchestra inparticular.
" The Empire Party Song " is thenearest this band has ever got to,a comedy
record, but that does not stop it fromturning out one really great hot movement
to conclude the recording in which theteam work and attack of the saxes are
perfect. The solo clarinet work is also
particularly commendable.
"I'm in the Market for You" openswith a. vocal by Sam Browne to introduce
the melody, and then commences towake up, Sylvester Ahola starting theball rolling on trumpet in really greatstyle, to be emulated by Danny Pola onsax, · and certainly equalled by someimmense fiddle duet work between Eric
Siday and Jean Pougnet.
Everything bears the stamp of first class musicianship, and the record teems
with interest, and displays a greatrhythm.
The precision and finish of t he orchestra
are perhaps most effectively demonstrated in the last of the four titles, when
the work of the sections is again brilliant.
These Ambrose records are splendidly
scored and full justice has been done themin the recording, on which the company
is much to be congratulated.

New · May Fair Dance Orchestra.
.. HARMONY HEAVEN,, (from the film," Harmony Heaven ") (s.v.)" \lv'E'LL BUILD A LITTLE WORLD OF OUR
OwN " (from the film, " Happy Days")(s.v.)(B 5827.).. HIGH SOCIETY BLUES " (from the film," High Society Blues") (s.v.)" ELEANOR " Waltz (from the film," High Society Blues") (s.v.)(B 5826.).
" CRAZY FEET " (from the film, " HappyDays") (s.v.).. You'vB GOT TO BE MODERNISTIC,,(from the film, " The Golden Calf ")(s.v.)(B 5819.)" FIGARO " (s.v.).. AIRMAN, AIRMAN" (s.v.)(B 5821.)

An excellent recording of "Harmony

The Melody Maker (The Gramophone Review). June, 1930 . .

The pick of the.world's Dance Bands
are on ((His Master's Voice", New Mayfair Dance Orchestra

Have you heard

Jack Hylton and His Orch.
Jack Hylton

playing R achmaninoff's Prelude?
Cl864, 4/6

Photo by S. Georges.

Ambrose and His Orchestra*Just like in a story-book - *I'm in the market
for you ( Both from Film " High Society
Blues ")
B5824
*Blue is the Night (Film" Their O wn Desire")- *The Empire Party Song (Vocal Refrain by
Leslie Sarony)
B5825

Bert Ambrose

Rudy Vallee and
His Connecticut Yankees* I love you, believe me I love you ( Film
" T he Vagabond Lover") andNat Shilkret and
His Orchestra
Rudy Vallee
Photo by Hal Phyfe.

*Singing a vagabond song (Film " Puttin' on
the Ritz")
B5329*Wh y do you suppos? - *My man is on themake (Both from "Heads up")
B5822
*Until love comes along (Film "Love co~es
Along")-*When I'm lo:.kinJ at you (Film"The Rogue Song")
B5815*The one girl (Film " Song of the West") andNat Shilkret

The High Hatters

Photnbv&in*Can't you understand(Film" Wolves" )B5823

Marek Weber
Photo by Schneider. Berlin.

"Harmony Heaven (Film "Harmony Heaven")-*We'll build a liulc world of our own (Film" Happy Days")
B5827*Crazy Feet (Film" Happy Days") - *You've
got to be modernistic (Film " The Golden
Call")
B5819* Airman, Airman - * Figaro ( Vocal Re.frains
by Leonard Henry)

B5821

Waring's Pennsylvanians*There's danger in your eyes, cherie ( Film
' Puttin' on the Ritz'') andThe High Hatters*Keepin' mysell for you (CiJm "Hit the Deck")
B5320
1-A bundle of old love letten andVictor Arden - Phil Ohman
and Their Orchestra*Should I (Both from Film '' What Price
Melody")B5791

Johnny Johnson and
His Orchestra*Kiss me, my sweetheart - *That's why I'm
j~alous of you
B5816

Wayne King and
His Orchestra*Wrapped in a red, red ro~e- •Put a little salton the Bluebird'~ tail (Both from Film "Blazeo' Glory")
B5818

Marek Weber and
His Orchestra
Fairy on the Clock (FoxTrot) Baby (Waltz)

t E!eanor - *High Society Blues (Both from
Film •· High So:iety Blues•·)
8;826

Don't cry,B5828

*I haven't an Auto, I haven't a Castle " Merry Widow" Medley (Fox-Trot) B5817

10-inclt Records, 3/- each.
* Fox-Trot with Vocal Refrain.
t Waltz with Vocal Refrain.

'iHisMasterSVoice'
The Gramovhone Company, L td .. London. W . 1.
-526-

The Melot!J Maker (The Gramophone Review). June, 1930.
Heaven" by the H.M.V. House Band.
Whilst the melody is always there, it is
not allowed to be cornfed, and a fine dance
rhythm is sustained throughout.
Trumpet, sax and piano all shine, but
the side drum rhythm to the vocal isa feature which should not be overlooked.
It is beautifully recorded. The orchestration is particularly creditable and thewhole effort is most competent.
The reverse side is not perhaps so exhilarating, but a notable feature is theviolin obbligato to the vocal-played infirst-class style ; whilst the sax section,
if not quite so unanimous as Ambrose's,
is a great team.
The good ,vork1's carried on in " HighSociety Blues," where, again, the accompaniment to the vocal is excellent. These
are, in fact, the best New Mayfair Dance
Orchestra records to date from all pointsof view.
The " Eleanor " Waltz has a very competent orchestration, and is well played
and recorded.
The best of the batch, however, is" Crazy Feet," which is chock-full of
good things, particularly the work ofstrings, including some fine and very
original double stopping, and a reallyfirst rate baritoHe 'lax ~olo. It is, perhaps,
a little invidious to pd3S over the contributions of the rc~t t f the orchestrn, all
mem'Jers uf which share in a resdt whichgoes to show how well our b ..st men compare with the majority of American
recording combinations of the type·.
"You' ve Got to be Modernistic" isnearly as good, and here the trumpet ann.
trrmbonc carry off the honours. It isreally quite easy to identify these performers.
The last record, with its two novelty
titles, receives satisfac:tory and appropriate
treatment, but is less interesting fromthe point of view of moder.11 dance music.
Nevertheless, the work is quite ~ound.

Victor Arden-Phil Ohman and their
Orchestra.
"SHOULD I ?" (from the film, "Lord
Byron vf Broadway") (A.) (s.v.)
The High Hatters.
" A BUNDLE OF O1.n LOVE LETTERS "(Waltz from the film " Lord Byronof Broadway") (A.) (s. v.)(Both 7th Feh., 1930). (Both B 5791)"CAN'T You UNDF.RS1"AND ?" (from thefilm, " Wolves ") (A.) (s.v.) (March,1930).

Nat Shilkret and His Orchestt'a.
ONE GmL " (from the film
"Song of the Nest")(A.) (s.v.)(10th May, 1929).
(Both B 5823.)" MY MAN IS ON THR MAKU " (f.rc,m"Heads Up") (A.) (s.v.)"WHY Do You St·PPOSE ?" (from"Heads Up")(A.)
(s. v.) (20thDec., 1929).
tB 5822.)"UNnr. L<WE CoMES ALONG ·• (from thefilm, •· Love Comes Along ")(A.)(s.v.) (21st Feb., 1930}.
.. WHEN I'M LOOKING AT You " (from thefilm,"The Rogue Song ")(A.)(s.v.) (14th Feb., 1930).
" THE(B 5815.).. SINmNG A VAGAROND SONG " (from thefilm, "Puttin' on the Ritz' ') (A.) (s.v.)(21st Mar., 1930).

Rudy Vallee an,l His Connecticut
Yankees.

"I LovE You, BF.LIEVB ME, I LovF. You''(from the film , "The Vagabond Lover")(A.J(Both B 5829.)

There is a nice compact and solid
rhythm in " Should I?" which is agood example of a straight Americancommercial stvle.
The piano duettists, however, are by
no means a good feature, sounding at times
dangerously like a hurdy-gurdy.
The stop-choru~, which concludes thenumber, is a bad finale to the good farewhich goes hefore.
The High Hatters are always a reliable
orchestra when it comes to turning out
a good honest dance record. Cleanly
played, strong and inspiring rhythm andcompetent orchestration are the features
which go to produce a result which is apattern to bands which think that top lay straight is to preclude rhythm
altogether.
The vocal is spoilt by affected diction.
The six tit!es by Nat Shilkret's orchestra
are not so good. A stodgy tuba blurs therhvthm and the arrangements are not too
well voiceo. In any case they are incommercial style and offer no points fordiscussion to dance musicians. Many
British bands are in advance of thisAmerican recording combination.
·· Singing a Vagabond Song" and"When I 'm Looking at You " are thetwo best of the Shilkret efforts.

Waring's Pennsylvanians.
"THERE'S DhNGER IN YoUR EYES,
C1rnRm " (from the film, " Puttin'on the Ritz") (A.) (s.v.)

The High Hatters.
" I<EEPJN' MYSELF FOR You " (from thefilm, " Hit the Deck ") (A.)
(Both B 5820j
Waring's Pennsylvanians title has
nothing- over the records of Ambrose'sor the New Mayfair Orchestras, and"There's Danger in Your Eyes, Cherie,"
though splendidly played and excellent
for tone, is straight without being in any
way as stylish as the English efforts.
The High Hatters again produce a

LEARN FROM OTHERS !
Listed hereunder dance band. musicians will find Tecords featuring theiT
particular instrument.
ARRANGING.
"Blue is the Night," by A.!lmROSE ANDHIS ORCHESTRA . (H.M.V. B . 5825).
CLARINET.
"Aunt Hagar's Blues," by TED LEWIS
A.ND HIS BAND. (C'.ohunbia C.B. 64).
"March of the Hoodlums," by Enon:
LANO'$ OROlIESTRA. (Parlopbone R. - 644).
"The Empire Party Song," b~ AMBROSE
AND HIS ORCHESTRA. (H.M.V. J>. 5825) .
DRUMS.
"Harlem Madness," by THE SEVEN Ho·r
.Am MEN. (Colurobio. c. B. 53).
" H armony H eaven," by the NEW MAYFAIRDANCE 0RCHF.STUA . (R.M.V. B . 582'/) .
GUITAR.
"Apple Blossoms," by JOE VENUTI'$BLUE ];'OUR. (Parlopbone R. 647.)"Lov e Ain't Nothing but the Blues." byFRANKIE TRlnffiAUER'S ORCHESTRA. (Parlophone R. 644).
"March of the Hoodlums," by EDDIE
LANG'S ORCHESTRA. (Par]opl.lone }l.. 644) .
"\Vatching My Dreams Go B y," by MERLE.JOIINSTONANDHISCECO COURIERS . (Colum bia CB . 61).
MARIMBA.
"Watching My Dreams Go By," by ~I.ERLE.JOHNSTON AND HIS CECO COURIERS. (Columbia
C.B. 61) .
PIANO.
"Harlem Madness," by Tm;; SEVJ£N :S:01•
Am MEN. (Columbia C'.}l. 53).
" Harmony Heaven," by the NEW i\1AYFAIR
DA1'"CE 0RCHES'rRA . (FI.M.V . .8. 5827) .
"St. James Infirmary," by LOUIS .AJnlSTRONO AND HIS ORCHESTRA.
(Pn.rlophone
R. 643).
SAXOPHONE.
"Bigger and Better than Ever," a.nd
"Bottoms Up," by SPnrE HUGHES AN]) HJS
ORCHESTRA . (Decca F. 1 7 30).
"Crazy Feet," by the NEW MAYFAIRDANCE ORCHESTRA. (H.M .V. Jl. 5819).
" H arlem Madness," by THE SEVEN HOT

Am 111EN. (Columbia

o. ll. 53).

"Harmony Heaven," by the NEW MAYFAIRDANCE 0RCH&'lTRA, (H.M.V. B . 5827).
" Love Ain't Nothin' but the Blues," byFn.HfflIE TRUMBAUER'S Oncm~TRA. (Parlophone R. 644).
"March of the Hoodlums," by EDmE
LANG'S OROIIFS'l'RA. (Parlopbone R. 644).

-

527-

STRING BASS.
" Harlem Madness," by THE SEVEN HOT(Columbia c.B. 53) .
"March of the Hoodlums," by EDDIE
LANG'S ORCHESTRA. (Parlophone R. 644 ).
" N obody's Sweetheart." by MC'KENZIBAND CONOON'S CmOAGOANS.
{Parlophone
Am M'EN.

R. 643) .

TROMBONE,"Hush•a-bye B aby," bv RAY STA.RITA
AND HIS .A.llIBASS.rnons BAND.
(Columbia
C.B. 58) .
"March of the Hoodlums," by EDDIE
LANG'S ORCHESTR!I.. (Parlophone R. 644).
"You Made Me Love You," by l\:IJFF
MOLE'S MOLERS. (Parlophone R. 647).
"You've Got to be Modernistic," by the
NEW MAYFAIR DANCE ORCHESTRA. (H.M.V .

B . 5819).
TR UMPET .
"Aunt Hagar's Blues," by 'rEo LEWISAND HIS BANI). (Columbia C.B. 64).
" H arlem Madness," by THE SEVJ<:N HOT
A.IR Mi!N. (Columbia C.13. 53) .
" I'm in the Market for You," a.nd "Just
Like in a Story Book," by A~mROSE AND HISOnCHESTRA. (H.M.V. B. 5824).
"Love Ain't Nothin' but the Blues," by
FRAKKIT:l TRlnffiAUER'S ORCEI.ESTRA. (Parlopbone R. 644).
"March of the Hoodlums," by EDDIE
LANG'S ORCHESTRA . (Parlopbone R. 6H) .
"St. James Infirmary," by LOUIS ARMs•rRONG A..'ID HIS ORCHESTRA.
(Parlophone

6
R .., ~~t•v8 Got to be Modernistic," by the
NEW MAYFAffi DANCE 0RCHli:STRA.

(H.J\1.V

B . 5819).

VIOLIN.
"Apple Blos~oms," by .Jr)E VENU'l'I'S Bum
F 01JR. (Parlophone R. 647).
" Bigger and B etter than Ever," and"Bottoms Up," by SPIKE B:uGHES AND HISORCHESTRA. (Decca ll'. 17 3 0) .
"Crazy Feet," by the NEW l\L\YFA!RDANCE ORCHESTRA. (H.M.V . ,B . 5819) .
" I'm in the Market for You" and "Just
Like in a Story Book," by AMIIROSE AND Bis
ORCHESTRA. (H.M.V. B. 5824).
"March of the H oodlums," by EDmE
LANG'S ORCHESTRA. (Parlophone R . 644) .
" We'll B uild a Little World of Our Own,"l,y tl.1., NEW MAYJ<AIR Db1'"CE OncnESTRA.
(IJ.M .V. B. 5827).
VOCAL.
"Love Ain't Nothin' but the Blues," by
FRANKi!;; TRUMBAGER'S ORCIH:STRA. (Parlo•
phone R . 644).

The Me/otfy Makr (Th. Gramophone Review). June, 1930.

NEW "RHYTHM•STYLE" RECORDSMIFF MOLE'S MOLERS.
No. 31. You Made Me Love You••
JOE VENUTI'S BLUE FOUR.

No, 32, Apple Blossoms

Fox-Trot .

• Fox- Trot,

LOUIS ARMSTRONG'S ORCHESTRA.
No. 29. St. James' Infirmary.
McKENZIE AND CONDON'S CHICAGOANS.
No. 30. Nobody's Sweetheart

R643 {-

Fox-Trot.

OTHER AMERICAN DANCE BAND SUCCESSES.
ARTHUR SCHUTT'S ORCHESTRA.

NEW" RHYTHM-STYLE"
ARTISTES.

R645{

It Must be You .
••ED. LOYD AND HIS ORCHESTRA.
The Free and Easy

R644 {

Love ain't Nothing but the Blues, Fox-Trot. (" Chasing Rainbows. ")EDDIE LANG'S ORCHESTRA.
March of the Hoodlums- Fox-Trot.

-

Fox-Trot.

RIVER CLUB FIVE.

JIMMY DORSEY.

Bigger and Better than Ever, Fox-Trot. (" De la Folie Pure.")Gunga Din and His Lute
- •••Fox-Trot.

TOM DORSEY.
EARL HINES.

Fox-Trot.

FRANKIE TRUMBAUER'$ ORCHESTRA.

LOUIS ARMSTRONG.
EDDIE LANG.

-ED LOYD AND HIS ORCHESTRA.
R630 {A Pair of Blue Eyes, Fox-Trot. (" Song o' My Heart.")CASA LOMA ORCHESTRA.
Romance, Waltz. (" Cameo Kirby.")

FRANK TRUMBAUER.
JOE VENUTI.
DUKE ELLINGTON.
ARTHUR SCHUIT.

Some more Recordings by George Monkhouse's Famous Band.
CAMBRIDGE UNIVERSITY QUINQUAGINTA RAMBLERS.
Singapore Sorrows, F.-T.
{ Cryin' All Day, F.-T.
R656{ Avalon, F.-T.
Rs57
Memories(Carolina Club Orchestra.)Etc., Etc.

Write for Special Booklets
to the Parlophone Co., Ltd.,81, Clty Road, E . C.1.

ALL 10-in. DOUBLE-SIDED RECORDS, 3/- EACH.

PARLOPHON E-528-

The Meloqy Maker (The Gra111ophone Review). ]t1t1e, 1930,
nice, clean honest dance record in "I{eeping
Myself for You," which, however, displays no points of outstanding interest.

Wayne King and His Orchestra.

" WRAPPED IN A RED, RED ROSE ,,(from the film, " Blaze of Glory ")(A.) (s.v.)"Pur A LITTLE SALT ON THE BLUEBIRD'S
TAIT. ·' (from the film, " Blaze of
Glory ") (A.) (s.v.)(Both 7th Feb., 1930.) (B 5818)
Polished American commercial performances, the former being nicely
arranged especially for strings against
saxes. The tuba, however, is a little
stodgy and the first title lacks snap.
"Put a Little Salt on the Bluebird's
Tail " is easily the better side.

Johnny Johnson and His Orchestra.
•. THAT'S WHY I'M JEALOUS OF You"
(A.) (h.v.)"KISS ME, MY SWEETHEART "(A.)(h.v.)(Both 21st Feb., 1930.) (B 5816)
The rhythm section of this band is far
too thick and mars some interesting workby the solo instruments. The arrangements do not display the usual abilityof American recording orchestrato:,:s.

The Revellers (Vocalists) with P iano
accompaniment .

" KENTUCKY BABE.""WAITING AT THE END OF THE ROAD"(from the film, " Hallelujah ")(A.)(14th Feb., 1930)(B 3416)
The Revellers are back again /1,nd will
doubtless · be welcome to thousands.
They are always pleasant hearing, neatand polished, but they give us nothing
new these days, and, from a dance music
point of view, are a little demode.

Harry Shalson· (Vocalist) with orchestral
accompaniment.
"THE ONE I LOVE JUST CAN'T BE
BOTHERED WITH ME."" HAPPY DAYS ARE HERE AGAIN "(from

the film," Chasing Rainbows ").
·(B 3427)
Harry Shalson, who always sings
agreeably, 1s better still this· month,and is slightly more robust, probably
being inspired by the e;,ccellent accompaniment of piano, clarinet, trumpet anddrums.
In " Happy Days are Here Again "each gets a chance to himself, and makes
a stylish contribution.

PARLOPHONE.
(Parlophone Co., Ltd.)
10-in. Blue Label, 3/-.
·
Mid-May and 1st June lists released 15th.
May and 1st June respectively.

Frankie Trumbauer's Orchestra.

"LoVE AIN'T NOTHIN' BUT THE BLUES"(from the film " Chasing Rainbows ")(A) (1st Noyember, 1929.)

Eddie Lang's Orchestra.
"MARCH OF THE HOODLUMS " (A) (15thJanuary, 1930.)(Both R 644)
When one sees Frankie Trumbauer 'sname on a record--or, for that matter,

the name of any of the other world-famous
hot star s, one expects an ultra h ot per-formance from the first bar to the last.
Just recently, however, it has been
made the practice for these great artistes
to turn out records on distinctly morecommercial lines.
That is not' to say that they are comfed-such people as Trumbauer, Venuti,Lang, Bix and the rest couldn't be" corny " if they tried.
Such a record is "Love Ain't Nothin'
but the Blues " ; there is quite a lotof straight melody about it ; but how it
is put over I The phrasing and theaccompaniment make even the straightestof passages sound super-modern.
I n this particular title it is obviousthat the boys irk under the imposed
restraint and every now and then cut
loose and show what they can do.
In particular is there rnme great
trumpet stuff, and the guitar is enormous,. par ticularly in the accompaniment to the
vocal, which, incidentally, is excellent.
Frankie comes out now and then withsome of his own inimitable style. A
record worth studying if only because ita.ppears to answer the dema nd for " commercial heat."
A vastly different affair is t he obverse," March of the Hoodlums " ; no p andering t o commercialism here.
All the boys do their stuff in great style.
Here and there the melody appears fora strain, but for the most part this title
is purely hot.
Trombone, in particular, is outstanding,
likewise the clarinet, violin, trumpet,
saxophone and guitar ; in fact, they're
all well in form.
There is one particularly diverting
break by string bass, which features afine slap rhythm accompaniment rightthr ough the record.

The words of negro spirituals are usually
so peculiar, with their mixture of thematerial and religious fervour, that often
enough the European mind can hardly
imagine that they are meant seriously.
"St. J ames Infirmary" is, however,certainly played and sung to create thespiritual atmosphere, and it is a weird
affair altogether.
It goes without saying, of course, that
there is some great1:>laying in it, particularly by Earl Hines, who, whether soloor accompanying Louis' vocal, is. a
positive delight as always.
Another point of particular interestis the understanding between trumpet
and clarinet, and the way t he latter takes
up the high notes from the former inthe last chorus is most effective.
Needless to say, a welcome addit ion
to the library of advanced dance records.
McKenzie and Condoq's Chicagoans. arenewcomers to the New Rythm Style Series,
and if t,he qualification is to be hot they
get in by many degrees of temperature.
The features of the record are theguitar and string bass rhythm, both overrecorded t o my mind, but marvellou sly
sustained and giving a great kick to thenumber.
A par ticularly nigger -style clarinet
dominates the soloists, among whomt he t rumpet is great, and the saxophone,peculiar. The record is one of thosewhich must be p layed several t imes before
everything can be absorbed, when theroutine becomes more understandable andjts cleverness can be appreciated.

Miff Mole's Molers.
"You MADE ME LOVE You."Louis Armstrong and His Orchestra.

" Sr. JAMES INFIRMARY."(A.)

McKenzie and Condon's Chicagoans.

" N OBODY'S SWEETHEART."(Both R 643)

(A.)

(New Rhythm Style Records. Nos. 29 and

30 respectively.)

I have heard three different opnnons
expressed regarding the character of thislatest Armstrong record . One said it was areal spiritual, another that it was a " cod "spiritual, and a third said it was anotherof those hyper sentimental-dramatic
numbers beloved of the American masses.

(A.)(New Rhythm Style Record No. 31.)
Joe Venuti's Blue Four.

"APPLE BLOSSOMS." (A.) (10th February, 1930.)(R 647)
An "all-out" modernised version ofan old rag which gives an opportunity to
the stars of the combination to apply
their latest ideas.
The principal feature is a full trombone
chorus by Miff, which will delight theheart of all his admirers. The remainderof the honours are shared by trumpet,
alto sax and clarinet in a record which

The Honours List
Records of unusual interest are listed monthly in these columns.

HOT DANCE BANDS.
"Apple Blossoms," by JoE VENUTI's

BLUE FOUR. (Parlophone, R 647) .
"Crazy Feet," by t he NE'w MAY FAIRDANCE ORCHESTRA. (H.M.V., B 5819)," Harlem Madness," by THE SEVEN
Hor AIRMEN. (Columbia, CB 53).
" March of the Hoodlums/' by EDDIE
LANG'S. ORCHESTRA.
(Parlophone, R.
644).
"Nobody's Sweetheart," by McKENzm
AND CONDON'$ CHICAGOANS. (P arlophon e,
R 643).
" St. James' Infirmary," by Lou i s-529-.

ARMSTRONG AND HIS ORCHESTRA. (Parlophone R 643).

DANCE BANDS.
" Blue is the Night," by AMBROSE ANDHIS ORCHESTRA. (H.M.V., B 5825).
" Bottoms Up," SPIKE HuGHEs AND
HIS DECCA DENTS. (Decca, F 1730).
" I'm in the Market for You " and" Just Like in a Story Book," by AMBROSE
AND HIS ORCHESTRA. (H.M.V., B 5824).

"Love Ain't Nothing but the Blu,es,"by FRANKIE TRUMBAUER'S ORCHESTRA,(Parlophone, R 644).

jThe Melody Maker (The Grafllophone Review). J1me, 1930.

IT H knowledgeable dance"fans" to-day no band stands
higher thanJackHarris's,nowplaying in the magnificent salons of
the new Grosvenor House in Park
Lane. He will record exclusively
for Decca and the rhythm, theWcolour, the original style of his

records are going to make a real
sensation. They will be available
to the public oo July 1st. At
the same time, Decca wish to draw
your attention to two other new
orchestras on their list - Spike
Hughes and his Orchestra,
notable for the ingenuity of their" hot " playing, and Jay Whidden
and his Band, whose speciality isamazing and unfailing team-work.

The first Decca Records by

JACK HARRIS AND HISGROSVENOR HOUSE BAND
will be ready on July 1st.

Decca Dance Records
from the June 1st L i11t
JAY WHIDDEN AND HIS BAND
]urt !or a Sons.

Sekctfon ; Part, I and 2.
2/-. F.1723.

In an Old Bngluh Lane (!'ox Trot) andParuienne Doll (from "Woman to Woman").
2/-. F.1724.

ORQUESTA TIPICA ARGENTINAPIZARRO (Tango Band)
Bl Esrandarte (Tanzo) and Mama, Yo Quiero
un Novio I (Tan,o).
2/.. F.1 71'.!.

SPIKE HUGHES AND HISORCHESTRA
Zonky (!'ox T,ot) and Crying for the
Carollnu (Slow Fox Trot). 2/-. F.1747.
A S hip Without a Sall and My Man ia on
the Make (!'ox Trou, both from "Htacu
Up").
2/.. F .1748.
Bottoms Ue and Bigger and Better tha nEver (both /rom the De L4 l'olle Pure).
2/.. F.1730.
The Man from the South (Fox Trot, from" Applawt ") and The Boop-Boop a Doopa
D oo Trot (Fox Trot, from " Mirth andMelody"),2/-. F.1709.
Crazy Feet (Pox Trot, (Tom " Happ:, Day, ")and It'• Un,nimous Now (Pox Trot).
2/-. F.1690.

THE RHYTHM MANIACS
Baby-Oh I

when can you be ? (PoxBlue ia the Niaht (Pox Trot.
from "Tlieir Own Dodre ").
2/-. P.1738.
That's When I Learned to Love You anJ'Leven Thirty Saturday Night (Fox 'Trots)
2/.. F.1746.
When a Woman Loves a Man (Slow FoxTrot) and Cooking Breakfast for the One I
Love (!'ox Trot. bolh from " Be Touuelf ").
2/.. F.17'.!2.
T,ot) andAll 10-tnch Blue Label at 2/· each.

THE DECCA

Write for complete lists and name of nearest agent to Dept. 232,
R ECORD CO., LTD., 1-3, BRIXT ON ROAD ,-530-

LONDON,

S.W. 9

The Melody Maker (The Gramophone Review).
is not, to my mind, the happiest of the
New Rhythm Style Series.
Venuti's effort on the reverse pleases
me much mor~. I am always amazedat the fertility of ideas displayed by thissmall combination, the magnificent understanding between them all, and the ingenuity of the harmonies used. ·" Apple Blo,ssoms " is full of inte.est
from beginning to end, the guitar being
magnificent..

Casa Loma Orchestra.
" ROMANCE " (Waltz) (from the film
"Cameo Kirby.") (A.) (10th March,
1930.)

Ed. Lloyd and His Orchestra.

' A PAIR oF BLUE EYES " (from the film
" Song 0' My Heart ") (A.)
(Both R 630)
"THE FRER AND EASY•· (from the film
"Free and Easy.") (A.)

Arthur Schutt's Orchestra.

"IT MOST BE You" (Waltz) (from thefilm " Free and Easy.") (A.)
(Both 10th April, 1930.) (Both R 645.)" A Pair of Blue Eyes " is notable forits singular purity of tone and· balanceand entire absence of rhythm.
" Free and Easy " is a much brighter
effort than Ed. Lloyd's other title. There
are several bits of good stuff in the second
half of t he record ; notably by trombone
and clarinet, which pick up from eachother with amazing smoothness. A hot
violin just doesn't get there, possibly
through lack of attack. The clarinet,
too, seems to go off the rails a bit.
Nevertheless, on the whole, a goodrecord.
Backed by a waltz by Arthur Schutt'sOrchestra, which, of course, contains
nothing hot, but features a nice musicaltone, balance and orchestration.
The vocal is particularly well sung.

River Club Five.
" BIGGER AND BEITER THAN EVER "(from "De La Folie Pure") (s.v .)"GUNGA DIN AND HIS LUTE " (s.v.)(R648)" Gunga Din " is a most peculiar effo~ ;it seems unable to make up its mmd
whether to be hot or comedy. As aresult it is a rather confusing mixtureof both.
There are spots in it which are distinctly
hottish, although the generally prevailing
effect seems to be that of Eastern atmosphere.
The trumpet is ea,sily the best part ofthis title.
" Bigger and Better," on the other hand,is·distinctly hot.
lr\The trumpet (Ben Collins) again shines
and shows -a nice appreciation of styleand a p romise of a Jot of interesting stuff
to'."come when this young p layer is more
us~d to the mike.
The alto, p layed by " Buddy " Featherstonhaugh, a lso displays ideas although
he does not stand out like the trumpet.
Arthur Rosebery plays piano, but he ismore occupied in providing a solid
rhythmic background than in shining asa soloist.
Len Lee doubles the roles of drummer
and vocalist, am! provi<les some fine workin both categories, his cymbal work
being particularly noteworthy.
~He must, however, give attention to

the pronunciation of his vowels-in suchwords as" better " - and also h is sibilants.
The combination would be enormously
improved by the addition of string bass,
and although Rf'g Pink does his utmost to
make up for this deficiency on bass sax,
the recording doesn't do him credit andhe gets no solo chances. A big mistake.
A most promising affair, this combination, and one which I shall watch withinterest . I predict that once it is settled
in, it will turn ont some hot records thatwill make people sit up and take notice.

George Monkhouse and His Cambridge
University Quinquaginta Ramblers.
"SINGAPORE SORROWS.",, AVALON.' '(R 656)"CRYIN' ALL DAY."

Carolina Club Orchestra.

"MEMORIES."(A.) (1st January, 1930.)(Both R 657)
This undergraduate combination has
certainly improved a great deal on its
first efforts for Parlophone, but there is
still a great deal of crudity to be eliminated in general musicianship before thenecessary professional finish can beacquired.
There is, however, a rhythmic sense
displayed which might well be imitatedby other British reco~ding band_s.
· It is the general tonal quality of therecords which ruins them, while thedrummer is allowed so much licence that
he is distinctly irritating. The trumpet
shows every promise, though it is apparent
that he hasn't yet acquired perfect control
over his instrument. The alto sax is
not good, mainly on account of bad tone.
" Cryin' All Day " is the most interesting and best played and recorded of thethree titles.
"Memories," by the Carolina Club
Orchestra, is a good straightforward proposition with no outstanding features.

Gwen Henry (Vocalist). with Orchestral
Accompaniment.
" WH EN A BLACK SHEEP IS BLUE FOR
HoME.''" WHEN I'M IN LovE ? " (from the film
"Why Bring That Up").
(R 614)Gwen Henry is a, competent, but notvery subtle, singer who .will no doubt
enjoy a good public among record buyers.
Her accompaniments are, to us, perhaps
the more interesting features. In " When
I'm In Love " the band has a chorus
to itself in which trumpet, violin andpiano are all good and should be heard.

Annette Hanshaw (Vocalist), with Orchestral Accompaniment.
"'V\' HEN I AM HOUSEKEEPING FOR You ..
(from "The Battle of Paris·•). (A.)"I HAVE To HAVE You" (from the film
"Pointed Heels") . (A.)
(Both 15th January, 1930.)(R 642)" COOKING BREAKFAST FOR THE ONE I
LovE" (from the film" Be Yourself").
(A.)" vVHEN A WOMAN LOVES A MAN " (fromthe film "Be Yourself"). (A.)(R G54)

Much the same can be said for Annette
Hanshaw's records, only more so. The
accompaniments are even better, par-531-

June, 1930.

ticularly the hot one to " I Have t oHave You." Miss Hanshaw's phrasing isbetter than Gwen Henry's.

Zaidee Jackson (Vocalist), with Orchestral
Accompaniment.
" SPEAKING OF KENTUCKY DAYS. ".. I Lum TO Do THINGS FOR You" (fromthe film "The King of Jazz").
(R 651)Of the Parlophone singers, Zaidee
Jackson is the one with the best qualityof voice, but her contributions are phrased
too straight.

PICCADILLY(Piccadilly Records, Ltd.)
10 in. White label ls. 6d.
Mid-May and 1st June lists, released
15tfi 'May and 1st J une respectively.

The White Star Syncopators.

" PurrIN' ON THE Rnz ' (from the film
"Puttin' on the Ritz ") (s.v.)"WITH You" (from the film" Puttin' on
the Ritz") (s.v.)(547)" Puttin' on the Ritz " is v ery wellarranged and p layed, and features satisfactory ensemble work, good and modern
rhythm, and a vocal chorus which is afairly good example of the current
American style, the whole record giving
an impression of American origin.
" With You " is less good, the whole
rendering being rather " rough," whilst a
number of unnecessary effects added
to " make weight," as it were, include
for some quite undiscoverable reason, a
few bars of whistling.
Some p iano duet stuff is more ingenious,
however, and the vocal chorus is reasonably good.
Recording of b_oth is good.

The Cunard Dance Band.
" COOKING BREAKFAST FOR THE ONE l
LovE" (from the film" Be Yourself")(h. v.)· Jack Leon's Dance Band.

.. BESIDE AN OPEN FIREPLACE .. (s.v.)(Both 545).. THE SUNSHINE OF MARSEILLES .. (s.v.)"LUCKY ME, LOVABLE You" (from thefilm " Chasing Ra,inbows ") (s.v.)(543)" A FAST LIFE AND A HOT ONE " (fr<?mthe film " A Fast Life" (s.v.)"TOUJO'l:JRS " (s.v.)(546).. BODY .AND SOUL" (s.v.).. FIGARO. (s.v.)(544)

The Cunard Dance Band.

" Two HEARTS "Joe Morrison and His Band.

.. TME . PRETTY LITTLE GIRL ..
(Bot h 54$)
The first of these titles, although arranged on quite commercial lines, i~ avery bright, vigorous and rhythmical
performance, some parts of it being given
a hot interpretation, whilst the ensemble
work is good all through.
The vocal trio is also good.
Jack Leon's numbers are very good ina purely musical sense, but they are extremely straightforward, and are notTbe Melody Maker (The Gramophone Review).

June, 1930.
REGAL Have a Style All Their Own

THE BROTHERS BERTINI(Banjo and Guitar Ducts),

Wedding Chlmes

•
·
·
·
• }
Introducing: Massa's in de Cold, Cold Ground; Old
Dog 'fray-Hard Times; Swanee R iver; Old Black
Joe; In 111y Old Kentucky Home; Oh, Susanna I

Medley or Stepl1en Foster Son~'S

•

MRS 5

THE

RHYTHMIC TROUBADOURSMy Love Parade, Fox-Trot••• }Marcil of tile Grenadiers, Fox-Trot*[ (Both Tltcmc Songs," The Love Parade ")· .._ •••TO HEAR
IHE$E MEW

MR65

THE ~ -! MIDNIGHT MINSTRELjDAI---REl§DJRms
I

mu RITA-Seleetlou• (In Two !'arts)·} MR66

THE THREE MUSKETEERS
March of the Musketeers, Fox-Trot•J] 'Ma Belle, Fox-Trot•••Wllb Vocal Chorus.

: } MR67

and UP-TO-DATE VOCAL Records by
ALABAMA BARN STORMERSJACOBSON.,,

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MBLTiN,

JUIF.SGERALD ADAMSFRED DOUGLAS,

ARTHURCAVAN 0'00NNOR1

THE TWO GILBEtlTS.

NI CK

A ll on the June List.

Made by COLUMBIAThe GRRAMoPHONE-------·
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! :o;::, o\l\n\ons,: Address .............................................................................................. ................. I

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a

th Editor ·,THE RADIO GRAMOPHONE, IOa, Soho Square, London, W.1.
e"• Gh .. f J
0!N,:.l:•=:~ ~: ,fr""" 1:• Th'. ~'.' '. •:ono.'. ••:....

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To intr oduce our new feature, wherein
Edgar Jackson , most enlJghten~d of all
critics of moder n rhythmic music, promises to be even more startling andoriginal in his opinions, COMPTON
MACKENZIE, E ditor of "The Radio
Gramophone" w ill be pleased to forward
the June issue F R EE OF CHARGE
in excha nge for the coupon herewith
together with 3d. in stamps to cover
COSt Of postage,I'\3.'/\tO\\

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-532-

,-

The Meloefy Maker (The Gra1t1ophone Review). June, 1930.
interpreted with sufficient dance " feel "to make them really interesting.
To this must be added the fact that they
are played from extremely commercial
orchestrations.
The vocal choruses which they containare generally good, that in "Body andSoul " being particularly so.
The second number by the Cunard
Dance Band is constructed on a lmost
precisely similar lines to the White Star
Syncopators' record of" With You," andcontains a further piano duet and some
perfectly incredible and unbelievably
raucous whistling.
Joe Morrison's number is straightforward and on quite commercial lines.
It contains a satisfactory and appropriate vocal chorus.
Recording,
exceptfor occasional"mush," is good.

RADIO.
(Edison Bell, Ltd.).
8 in. Dark Blue Label, ls. 3d.

Harry Hudson's Melody Men.

"T.HE MAN FRoM THE Sou TH " (h.v.)"OH YA YA." (s.v.)(1336)"LUCKY ME, LOVABLE You" (from theII
iilm
Chasing Rainbows") (h.v.)" HAPPY DAYS ARE HERE AGAIN " (fromthe film "Chasing Rainbows") (h.v.)(1329)
Harry Hudson has concocted a greatversion of " Man From the South,"and has seemingly modelled his rendering somewhat on the lines of Ted Weems'
record of this number.
It is a strange thing, by the by, thatso many stage ai:td other bands havetaken this record of Weems' as a modelfor their performance of the number.
In any case, Harry Hudson, although
he produces one or two not over strong
jests, does not make the mistake of"cribbing" the joke about the bathing
girls, which seems· to have gone allround London since Weems' record
came over.
Harry Hudson's rendition is boldly
and assertively labelled " hot record,"
and in a sense this description is justified,although the record is really one of those
glorious " cod " performances whichgive so much delight to the boys themselves.
Hot solos, played with considerable, verve and abandon, crop up everywhere ;there is a fine vocal chorus by Sam
Browne and also an excellent " scat "singing chorus, although whether thisis another of Sam's efforts is difficult
to say.
A very effective hot fiddle accompanies
these vocal efforts and in other places thetrumpet and clarinet-particularly tbe
latter- are outstanding.
An amusing vocal chorus in which
nearly all the boys seem to take partcomes near the end, and the record
terminates with a real " Dixielandish "chorus, with each man for himself andDevil take the hindmost.
"Oh Ya Ya" is a difficult number tofeature really satisfactorily, and Harry's
version is not nearly so good as hisother performance.
Sam Browne's vocal is very good indeed.

Both the other numbers are goodstraightforward renderings, without being
especially notable in any way.
The arrangement of the second number, in particular, is far too commercial.
The vocal quartette is good in" Happy
Days " ; less good in the other number.
Recording is generally very good.

The Radio Melody Boys.

" \¥HEN MY DREAMS Co11rn TRUE " (s.v.)" WITH A SONG IN MY HEART" (s.v.)(1335).
These performances are straightforward but pleasing of their kind, andare saved from being monotonous b y good
ensemble work and a careful b lendingof tone colours, this latter attributebeing in one or two places particularly
effective.
Rhythmically the renderings areheavy, but not too stereotyped.
Sam Browne, who seems to have been
completely adopted by the company,
does excellent vocal work on both sides.
Recording is very good.

Alfredo and his Band.

" SMILING IRISH EYES " (from the film
" Smiling Irish Eyes" (s.v.)" SlNGIN' IN THE BATH-TUB" (from thefilm " Show of Shows") (s.v.) J(1331)
These titles are not so good as someof Alfredo's past performances, andare a little stereotyped a nd in somerespects not over interesting.
The vocal choruses are good.
Recording is O.K.

SILENT SURFACE- FINEST ARTISTSWONDERFUL WEARrI

TOWN WEDDING
1340 · OOON
Parts x & (Howard Flynn).
2

G. D. ELLI01T with
Southern Coloured Singers.
--11■1•1.:!':11111

SUI BUOWNE (with Ord1cstral
Aecompauime11t).

f Dreamy Carolina

accompaniment.
" LONELY TROUBADOUR"" DREAMY CAROLINA"(1334)In these renderings Sam Browne continues the very good work which he commenced last month, and he appears here
as an eminently satisfactory solo singer,featuring the crooning, ballad stylewhich is successful in an artistic as wern
as a commercial sense.
Accompaniments are good and approp riate and recording is O.K.

Harry Jacobson (Vocalist) with pianoand orchestral accompaniment.
" BODY AND SOUL "" PRISONER OF LOVE "( 1338)
These two numbers are in rhythmicballad st yle, Although marked " blues "they are not in strict tempo. Both aregood without being in any way distinctive,
and the latter remarks may also be
applied to the accompaniments.
Recording is good.

REGAL.
(Columbia Grapbophone Co., Ltd., The.)
10 in. Plum label, 2/6.
1st June list, released June 1st, 1930.

The Rhythmic Troubadours.

" MY LovE PARADE " (from the film
"The Love Parade") (s.v.).
" MARCH OF THE GRENADIERS " (from thefilm " Th~ Love Parade ") (s.v.)(MR 65)
The former opens with a very militar-533-

Waltz SongFo"•trot Ballad

1334 ( Lonely Troubadour

UADIO JlflLODY BOYS\'oeal Chorus : SAM BROWNE.

1uy Dreams Come True
I335 {WhenWith a Song in my HeartFo x-trots

JIAJUtY

Sam Browne (Vocalist) with orchestral-1

l-UIIIPllll■lllllf■euc:11

JAOOllSON(T bc()roonlng

Pianist)(with Orehestral .<\crompanlment)
Botly a ncl Soulor Love
1338 fl l'risoner

Blues Jlallacls

lfAURY HUDSON'S ~IELODY ~IEN

Happy Days are here again

I'ox-trot, Vocal Quart~t

1329 { Lucky Jle,"Lovable
You
Slow Fo"·trot , Vocal Quartet(Both from FUm "Chasing Rainbows.")

f 0 , YA l "A I

Fox-trot
H ot Fox-trot
Vocal Chorus : Sam Browne.

1336 l Tile Han from tbo Soulh

f LORnrn FORDE
wit h Harry llutlson and Ills ~lelody l fon.
llowu at the Old 8 11II a n,I Busll Chorus
1330t1 Has Anybody Here Seen Kelly '/ Songs

ALFUEOO AND m s BAND.

Slugin' ill tile Bath-Tnb(From Sound Film " Show of Shows ' ')1331 { Smlllng Irish Eyes (Theme Song from
F ilm " Smiling Irish Eyes")· Fox-trots, Vocal Chorus

Send for Compl ete List.

EDISON BELL, Limited,
LONDON,

S.E. 15.

Chrotnic Needles tna~e Every Passage S11100/f, ,The Melody Maker (The Gramophone R eview). June, 1930.
istic introduction, after which, contrast isimmediately afforded by a good vocal
chorus, pleasingly sung in rhythmicballad st yle.
Following this we are t r eated to someART COBURN, Trumpet.

JACK CREEDON.
Trombone,
PucadiUy T heatre.

ALEC AVERY,
Saxof>lwne,
Pucadilly Theatre.

famousplayers
3
play CONN'S' ' NEW' W'ONDER ''INSTRUMENTS
If you choose an instrument for profit
or your own amusement, buy the best.
CONN'S of course. F amous players havedecided that · only CONN offers thesupremacyintone,
simplicitymmechanism, reliability in action- featuresindispensable to enthral their audience.
S ole Agents for Great Britain & Ireland
THE SAXOPHONE SHOP Ltd.
Lafleur Building. 14 7, Wardour Street
LONDON, W. l-534-

more of the military stuff, round which alittle::xylophone work h as been qu ite
cleverly worked, though it is a trifle
flashy.
Later the record falls into q uite ordinary straightforward fox-trot style, andis well rendered, rhythmically quitesatisfactory, but in no way outstanding.
" March of the Grenadiers " is a very
stirring affair, b ut is p layed in march
much more than in fox 0 trot rh ythm.
It features excellent and very full
ensemble work, and has a very powerfulharmonised vocal chorus.
Recording of both these numbers isvery good.

The Midnight Minstrels.

" Ma BELLE "(from" The T h ree
Musketeers") (s.v.).
" MARCH OF THE MUSKETEERS " (from"The Three Musketeers") (h.v.).
(MR 67)"Rio RITA" SELECTION. Part I. (s.v.) .
"Rio RITA" SELECTION. Part IJ . (h.v.).
(MR 66)" Ma Belle " is au ordin a.cy commercial
performance,
orthodox,
rhythmicallystereotyped, and not specially interestingin any way.
It features a well-sung and perfectly
straightforward vocal chorus.
" March of t h e Musketeers " is playedin something between march and one-step
tempo, and is not distinctive in any
respect, except for the fact that it possesses a vocal by full chorus, which sounds
very grand and loud, and to some isdoubtless a very inspiring effort.
The "Rio Rita" Selection is quite
pleasing throughout, and features a solo
vocal in Part I and harmonised vocal workon the reverse side.
Record ing of a ll four is very good.

Arthur J a cobson (Vocalist) with orchestral
accompaniment.
"ONE MINUTE OF HEAVEN" (from thefilm "The Forward Pass").
"LIKE A BREATH OF SPRINGTIME" (fromthe film " Hearts in Exile ").
(MR 58)James Melton (Vocalist) with orchestral
accompaniment.
" SAi.L v " (from the fi Im " Sally ") .
" THERE WILL NEVER BE ANOTHER

MAR v " (from t he film
Learned about Woman").
(MR 59)" TheyNick Irving (Vocalist) with novelty accompaniment .
" SINGING A VA GA BOND SONG " (from thefilm "Puttin' on the Ritz ").
"THERE'S DANGER IN YOUR EYES,CHERIE " (from t he film " Put tin'on the Rit z ") ..
(MR 61)
All the above are very satisfactoryballad renderings, effectively accompanied, in each case, and, generally speaking, extremely well recorded.
I n most cases they are not in tempo,
although m u;;t of them are given aryt hmic type of int erpretation. One
or two of t be numbers are certainly
over-fentimentalised.

The Melody Maker. • June, 1930.

Saxophone(s) •BY THE BEND OF THE RIVER
Fqx-trot by Bernhard Haig and Clara Edwards.
'-

HOT CHORUS for Saxophone(s) by HARRY PERRITTThis copyright transcription published by kind permission of Messrs. Hawkes & Son, Ltd.,
conforms to the harmonies of the printed orche,tration issued by them. It may be played as
an additional chorus substituting the first three beats of the transcription for the three beats
before the " verse " and returning to the printed parts at the double bar marked " Refrain."• Nole :-This cliorus may be featured as a saxophone solo (pl ay firsl alto part), duct (play first a llo and and tenor parts), or trio.

-535 .....

The Melody Maker.

June, 1930.

Violin(s)*WHY DO YOU SUPPOSE?
Fox-trot, from ' Heads Up," by Richard Rodgers.

HOT CHORUS for Violin(s) by ERIC SIDAY
of Al CoUins' Savoy Hotel Band

This copyright transcription, published by kind permission of Messrs. Chappell & Co ., Ltd.,
conforms to the harmonies of the first chorus of the printed orchestration issued by them. It may
be played in place of the sax (second) chorus, using the second-time bars, or as an additional
chorus, after the first (brass) chorus, using the first-time bars to repeat for the sa:t' chorus.
Itshould be accompanied only by the rhythm section.
* The first violin part ·m ay be played as a solo, or the _first and second parts as a duet.

1st Violin

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-536-

T&e Melody Maker. June, 1930.
Piano'LEVEN-THIRTY SATURDAY NIGHT
Fox-trot by Burtnett, Grantham and I<irkpatric!1.

HOT CHORUS for Piano by FRANKIE COMPTON
Accompanist to T eddy Brown!I

This copyright transcription is published by l?ind permi ssion of Messrs. I<eit.h Prowse &· Co.
Ltd. ft may be played as an additional chorus after the first two choruses, and should be playedabsolutel:y solo.

II

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_ · 537 _1st or 2ndtime bars

The Melody Maker. June, 1930.
Brass*PUTTIN' ON THE-· RITZ
Fox-trot, from "Puttin' On the Ritz," by Irving Berlin.

HOT CHORUS for Trumpet(s) and Trombone by LEO VAUCHANT
T his copyright t-ranscription, published by kind permission of Messrs . Francis, Day and Hunter,Ltd., conforms to the harmonies of the printed orchestration issued by them and may be played inplace:of the second chorus.
• Nor-E.- This Chorus may be featured as a Trumpet solo (play first t rumpet part), a duet (play first trumpet a nd trombone
parts) or trio . Also if complete brass team is not available, the md tru111retpart (transposed an octave up) n,ay be played by clan •net, and the trombone part (transposed a tone up) may~ played by tenor sax .
·J

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N.B. Observe the numbering over the notes iu the 20th bar of the trombone part (marked *) ; tbis denotes the s hifts and indica tes
a " trick " method of playing this passsge.

-

538-

The Melot!J Maker. June, 1930.
Violin, Trumpet and Clarinet·SINCE I · FOUND YOU
Fox-trot, from the film, " Fast Life," lJy Herman Ruby and Ray Perkins.

HOT CHORUS for Violin, Trumpet and Clarinet by DOUGLAS BASTIN
of Arthur Rosebery's Band

This copyright transcription, published lJy kind permission of Messrs . B. Feldman & -Co.,
conforms to the harmonies of the printed orchestration issued by them. It may be inserted inplace of the existing special chorus in F which immediately follows the verse, returning to theprinted part at the six bars modulation into B~ (concert). The trumpet must be muted, preferablywith wow mute with cup and tube removed.
·

Violin-539-

The Melo.'fy Maker.

]:me, 1930.
Suggested by J.P. Mc 'GOWAN

RO- RO- ROLLIN' ·ALONG
Arrangement for "Banjulele" Banjo and Ukulele by ALVIN D. KE~CH

Words by
BILLY MOLL and-£ 4tli 3rd 2nd 1stTune Uke in

HARRY RICHMAN

PIANO

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Here's -· my phil · OS - 0 Why - . I ~ave peace of,/nternatimal Copyngltt Secured
Copyright, MCMXXX, by Shapiro, Bernstein & c<! Inc. New York .
All JUg-Ms "Reserved
For Great Britain, Ireland & Colonies (excfuditig Canada & Australasia) The property of The Lawrence Wright Music C<?
Denma rk St. , London.WC.2. Cables " Vocable Lor.don"' Telegrams ''Vocable Westcent Londcn"
17A:<l-540 -J11ne, 1930 .

The Melody .Waker.

1ffl.,r :r' .,d It .M:-1 ffl3.,u' :d . ,t Ir'.,d :l If00:- 100
lfil·- :l'I .,r I .s:-=.s 1- :-.sl
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The Melody Maker. June, 1930.
O carina

TUNES FROM A TOY
All about the Ocarina
by HARRY BERLYARRY BERLY is one of .thosegifted people who have an obvious
flair for musical instruments.
Most musicians know him as a
viola player of the recital class- he is a
pupil of the grea·t Lionel Tertis-and as
a late star of Hylton's Band where hetwrned his brilliancy on the viola into
" heat " of a most modern nature.
He is nearly as good on the sax as heis on the viola, and it is principally theformer instrument that he plays aj the ..
Berkeley Hotel.
But he has lately added anotheraccomplishm-ent to these otJi,ers. Whilstwith Hy lton the need arose for a piccolo(for the rendering of the now immortal" Piccolo Pete ").
Harry, recallingsome experiments of his extreme youth,
procured an ocarina, 'practised hard forabout ten minutes-and voila I
Nlost of the " piccolo " work on
Hylton's record of "Pete" was played
by Harry on the ocarina and he now
features it at the Berkeley Hotel to theentire surprise and enjoyment of thatmost select establishment's most selectpatrons.
Harry is now considered the virtuosoof the hot ocarina, and he certainly
produces ·some amazing results from this
instr·ument ; if anyor.e can be considered
as an authority on such a musical toy as
the ocarina, Harry Berty undoubtedly
has that distinction.

H

HE ocarina is great fun. Morethan that is difficult to say.
It cannot, of course, be considered seriously as a musicalinstrument.
Nevertheless, some surprisingly goodeffects can be obtained, and, moreover,they are not musically offensive if ·theinstrument is played in tune. It
possesses a liquid, mellow tone, somewhat reminiscent of theJow register ofa flute.
Its compass is limited, being but anoctave and a fourth. with a complete
chromatic range within these limits.
Being of such a toylike nature there
is no hard and fast standard by which
to judge individual instruments, but
it is safe to say that of the t erra-cotta
or metal of which they are usuallyconstructed, the former is preferable
by reason of its generally better tone.

Ocarinas are " pitched " in an infi nite number of keys. This is due, I
should imagine, to the exigencies of thecircumstances pertaining to their manu-

inserted between the lip3 just sufficiently to form an air-tight connection(see F ig. 3).
1' To_ngueing "is produced in theusual way, and I really don't thinkit matters whether the would-be
ocarinist can triJ?le-tongue at highspeeds .
Attack certainly is essential, but
this, in common with more impressive
instruments, , consists largely· of a
" spit " -an unrefined but illuminating

facture rather than_ to any definite
conception on the part of the manufacturer . Ocarinas of all sizes-:i.nd,
consequently, pit~hes-can be obtained, many of them pitched "between the cracks."
The type I use, however, and thetype most generally found, is " built "in E~; i.e., with its lowest notesounding E t, concert.
I believe that high-brows of the
instrument regard it as transposing,and that the Et, instru ment is r eallybuilt in D . We will not argue thepoint. - For t he purposes of an· occasional "cod " chorus it is sufficient to
say that it starts on Et, and ascends
chromatically to A~ ; a range, as I
said before, of an octave and a fourth.

description.

The method of holding the instrument is shown in Fig. 3.
Fingering

Next, refer to the two photographsof the instrument by itself. (Figs. 1
and 2).
Fig. r shows the top view and Fig. z
the underneath.
Now we come to the only point thatis really worth discussing- that offingering.
With the majority of ocarinas is
given a chart of the various finger
positions, which are, for the most part,the best to use. I have evolved one or
two modifications, however, which I

Technique

For an instrument of this elementary
nature it is obvious that there can· b e
no such thing as technique, at least,
not in t he sense that there is for aviolin or saxophone . . Ocarina techniquecomes down merely to blowing andopening and shutting the holes.
No such thing as embouchure isrequired ;the " mouthpiece " is~''1, e * .I

1

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IF r: r onl his piccolo

6ft r.B-r I t:31i.J n

T

Pitch

of Arthur Lally's
Berkel~y Hotel Band~ I,

whiJ:!.

- l.zfF7F r t1I

No?

onhis piccolo,~No?

Did yout·1
eYerhear Pete1

®f1, EI F r: r Irtrtt tI tf Ir.
,..--...,._ go'.

.

.

1

ec:n
pickil.high note,-'s mvrr on t ,ind 3 )2- 1~J. *Hecanpickablt:enote,~~ h ! 1fff te,·erhearPtte
go,~on hl5 piccolo!
No?

¥1, Et U r Slf@ie
-542-

·3

Did you

The Melody Maktr.

June, 1930.

Fig. Iand in ·that case he had better leave
it severely alone.

think simplify the fingering. It will
be clearest if I set down the whole lot.
The holes corresponding to the figures·in Figs . 1 and 2 are to be kept coveredin order to produce the note specified.

T he T u n ing Slide

There is attached• to most of thebetter instruments a device for tuning.
It consists merely of a piece of tubing
which is pushed in or drawn out of
the large end (see Figs. 1 and 2),thus enlarging or reducing the tone
chamber.
In some cases, this slide, fully
extended, will flatten the instrument
nearly a full tone, but in so doing
throws the upper register out of pitch.
Again, " thinking - in - tune " mustsave from offence the ea.rs of susceptible
musicians.

El, (D#) all closed.

Eq (Fl,) all closed, but No. 1 half
uncovered. (Alternatively, thisnote can be produced by blowing
slightly harder with a ll holes
covered).
F (E#) I open.
Ff (GI,) I and 3 open.
G
I and 2 open.
Al, (G#) 1, 2 and 3 open.
Aq
1, 3 and 4 open.
Bl, (A#) 1, 2, 3 and 4 open.
Bq (Ci,) 1, 3, 4 and 6 open.
Cr, 2, 3, 4 and 6 open.
q: (DI,) 1 , 3, 4, 6 and 7 open.
D
1, 2, 3, 4, 6 and 7 open.
Dji (El,) 1, 2, 3, 4, 6, 7 and 8 open.
E (Fl,) 1, 3, 4, 6, 7, 8 and 9 open.
F (E#) r, 2, 3,4, 6, 7, 8 and 9 open.
F# (GI,) :c, 3, 4, 5, 6, 7, 8 and 9 open.
G
1, 2, 3, 4, 5, 6, 7, 8 and 9
open.
G# (Al,) all open.

Fig. 2TricksThe glissando is obtained by " rolling '' all the fingers off the holes(except 5, 9 and 10), at the sametime increasing the wind pressure.
Then there is the eff~ct so belovedof negro trumpet and sax players-the" clinge," which is a sort of tremble

Awkward Fingering

At least two of these :fingerings
present difficulties in holding the instrument.
To produce top Fall fingers except
two are lifted, and the instrument is,in consequence, held rather precariously.
The best way to hold it whilst
producing this note is shown in Fig. 4.
(N.B .-The first finger of the left handappears to be touching the mouthpiece.
Actually it is not, the effectbeing merely a photographic illusion).
Observe the position of the little fingerof the left hand.
The other very difficult :fingering isthat necessary to produce the top
note, A I,.
This calls for " all-off " with theresult that there is nothing left withwhich to steady the instrument. (Itis not held between the teeth).
The best way I have found of overcoming this difficulty is as illustrated
in Fig. 5, which is an elaboration ofthat shown in Fig. 4. Note that themain weight is taken by the :first ·andsecond fingers of the right hand whichhold the knob of the tuning slide (ofwhich more anon).

F ig. 3Fig. 4

Playing in T une

Being such an imperfect and crude
affair, the ocarina is more often thannot out of tune. The only way tocorrect this is to think in tune, andregulate the force of breath accordingly.
Rlow normally to produce anormal tone, blow harder to sharpen
and softer to flatten.
This is a matter which cannot betaught ; if a person cannot appreciate
the finer nuances of pitch he will not
be able to play the ocarina in tune,

F ig. 5-543 -or half-trill, on a note.
'This " shudder " effect can beobtained by applying an exaggerated
sideways vibrato by the finger to any
particular hole. The hole must not
be completely opened. Suppose vou
wish to " dinge " on low F, it will be
the No. 3 hole which will be "vibratoed," of course, as this is the tone above
the sounding note.
Semitones can be faked by half
uncovering the hole. This is a good tip
to remember, as some passages areeasier played this way.
The whip-up, too, is a useful, if
somewhat limited, effect. It is accomplished in a similar way to that
employed for the saxophone, i.e.,
starting from al.I fingers down, lift one
after the other in rapid succession, sothat by the time one is fully open, thenext is partly open, and so on, up to
the note you wish to play.
Finally, don't tempt to play slow
melodies ; keep on the crisp, short note
stuff, and as hot as you can.
Since it was Hylton's record of" Piccolo Pete " which r eally started
this craze, I have been asked to include
my " interpolations " in this article.
They will be found in the " chorus "on page 542, which, except for the lastphrase, is substantially the same as
the one I played on this record.
One last word.
Since I am apparently being instrumental in furthering this latest fad, let me please begof you to play in tune.

The Melocfy Maker.

Jime, 1930.

Drums

CYMBAL-CUM-SIDE-DRUM
Rhythmic Co-operation
by MAX BACON
E ingenuity of drummers isoften taxed to the utmost tofind new means of producing
rhythm.
Side drum, cymbal, wood block,bass drum, played ·with S.D. sticks,
soft beaters, wire brushes ; t h edrummer goes the rounds of thesame old stunts until both he and therest of the band are glad to hearof anything new.
.
.
But something new 1s d ifficult tofind . One can, of course, import
all sorts of rhythm-producers, suchas temple blocks, tom-toms and so
on but one must draw the line somewhere, otherwise one becon;ies nothing
more or less than a moving accessory
shop!
The idea I have in mind , and which
I use a great deal, is not startlingly
n ew. It is only the method of applying this idea that is at all fresh.
Rhythms have been played on a
combination of side clrum and cymbal
ever since there were such things,
I should i magine, but I have neverheard of any systematic attemptco-ordinating the two.

T

Stick-holding V ariations
There are one or two factors to beconsidered before we come to theactual playing. Let us take them
one by one.
.
.
F irst of all, holding the sticks. We
will take the right hand first becausethat is the easier, so far as we areconcerned.
There is really nothing to explainin this, though, it is just held in theusual .way, as shown in Figs. 3 and4 . Observe that the back of thehand is upwards.
. .
A point to remerr:-ber_. althou?h i t !s
not shown in this 11lustratlon, 1s
that the thumb may be p laced along the
stick instead of being wrapped round
it, a; in ordinary side drum l_)laying.
This is a practice which, m normald rumming, is not considered orthodox,
but which, in the present circumstances, is not merely per_missi ble
but adYisable, as it gives considerably
more control.
· In case the reader feels i nclined
to cavil at this unorthodoxy, I would
remind him thai; the angle at which
the stick hits the cymbal and thence
to the drum is vastly dinerent fromthe usual method of side drum beating.
It must be borne in mind that theusual or " correct " method of holding
the right hand stick is designed toof Ambrose's May
Fair Hotel Orchestra

facilitate the control of reboundbeating. In other words, the" daddymammy."
In the method under consideration,
close rebound be:iting is not called
for, and thus, if the t humb-along-the
stick method facilitates the single..,_
Fig. 2l__,,w

Fig. 3Fig. 4-544-

beats there is no reason why it should
not be adopted.
The Left Hand
The left hand calls for considerably
more explanation.
There are two methods in generaluse for cymbal-playing, (a) withthe palm of the hand on the uppersurface of the cymbal a nd the thumbbelow, and (b) v-ice versa, i.e .. with
thumb on top, and palm of t h e handb elow.
Both t h ese ways have p lenty t orecommend them; it is impossible
to say that either one is wholly rightor completely wrong.
Therefore, taking the line of least
resistance, I, personally, use both.
The first method, that with the
thumb downwards, has as its main
advantage the fact that it produces
a far better tone than the other way,
and provides a better grip for damping
purposes.
By tilting the cymbal away fromthe player, the left-hand stick is
kept in continuous contact with theunder surface of t he cymbal.
This produces, as most know, as01·t of metallic " buzz " ; also, t hetilting enables the player to produce
gradations of tone by striking thecymbal either at right angles to theedge or at an angle of 45 degrees toit.
The main point to observe about
the actual holding is the position of
the thumb. The position I use myself
is shown in F ig. l. The reader willobserve that the stick is held by theedge of the bent thumb ; the thumbis not wrapped round the stick.
By this means the stick is held
more firmly and is less likely to"wobble " than if the stick is merely
balanced across the thumb.
Thumbs Up
The palm-below method is one
which, I think, is rather better for
intricate beating.
The stick is held across the fingers
as illustrated in F ig. 2, passing between the fork of the thumb andacross the tips of the second and third
fingers.
By this means quite a firm holdis obtained, enabling cross rhythms t o
be produced by "clicking" the stickagainst the lower surface of the cymbal.
In order to give some strength tothe click the normal position of
the stkk is reversed; i.e., with the
butt end pointing away from the body.

The Melotfy Maker.
The reason for this becomes clear
when one understands that the stickis levered from the thumb.
If held in the position illustrated
in Fig. z, the butt end of the stick
strikes the cymbal. If h eld in thenormal p laying position t he thin
end of the stick will strike against
the cymbal, and this, obviously,
will produce less volume.
Another advantage of holding the
stick this way is that it enables theplayer to slope the cymbal towards
him, thus aiding the right hand stickin glancing off on to the side drum
much more easily than if it has
to first strike the cymbal and thenbe slightly withdrawn, as is necessary
if the cymbal is sloped away fromthe player.
Instrument Positions

The foregoing remarks about complete anything I have to say on theposition of the hands. Now for the
position of the instruments.
The side drum should be tilt ed
rather less than usual, the angle .of
the batter head being only about
15 degrees out of the horizontal.
The reason for this is that if theangle were very great the right handstick has further to travel. It must
be remembered that in ordinary s:dedrum playing, the angle of the a rc
on which the stick travels is at rightangles to t he surface of th e batterhead.

In other words, the sticks deal a
direct, and not a glancing, blow . In
descending from a. totally different
angle after striking the cymbal, there
is a possibility of misjudging the
striking point and, as the stick mightthen be travelling either considerably
more or appreciably Jess distancethan was allowed for, the result
might be that the sound would beeither
before or after the " dead " beat.
The cymbal shoul<l be on a" rocker"
holder about a foot above the sideclrum, and on t he left side of it. The
relative positions of the cymbal- andside drum arc clearly shown in theillustrations.

It is not essential that the cymbal
be on a separate stand (as illustrated),
but it is essential that it be in asimilar relative position.
Playing

The next point is the actual playing•
The idea, of course, is to alternatebeats between the side drum and thecymbal. That much is obvious.
But this effect, if incorrectly done,
can become very "rag-timey," andtoo reminiscent of the old clays ofpots and pans.
There must be some set sequenceof beats and general effect.
Ex.1.

J

J

J

J

:x r r Ir r Ir

tic.

Ex. 1 shows a s uper-simple beat.
So simple, indeed, that its only use
is as a prelim inary exercise.
This is played with the " thumbunderneath " system.
The cymbal is sho·wn in t he usual,vay by a " cross " note, and the side
drum by the note in the E space.
Both of these are played by theright hand, with the left hand immediately choking the cymbal after
it has been struck. The left handshould hold the cymbal all the time.
The next example is a little more
complicated.

]1me, 1930.

cymbal in the usual way with theright hand stick. The cymbal must
always be choked, unless specificallystated otherwise.
The notes in the E space are playedon the side drum with the right handstick.
In order to further eliminate confusion I have marked over the " star "notes L and R showing whether they
are to be played by the left or righthand respectively. (The side drum
notes, as stated above, are all playedby the right hand.)Ex. 5 is merely an exercise toaccustom the reader to the manipulating and reading. It has no rhythm
significance whatever.
E :>:. 6 is an elementary rhyth m.

Observe that the cymbal off-beat isstill used a lthough the side drum

single beat is preceded by a semiquaver.
Again., all these beats are playedwith the right band.
The next example (Ex. 3) shows
the idea in its more or less complete
form.
Ex.3.

.

~•k~

_!¥ r bed cylr

•

~ oke

Grett l•tc.

Ex.6.
L

L

R

"

L

R

L

R 0 R

n L F t L Ir r ~ t' l•tc..
Ex. 7 shows a new form of themethod. A continuous simple rhythm
is played with one stick on the side
drum, meanwhile off beats, or someequally simple rhytlun, are playedwith the ieft hand on the cymbal,
using, of course, the " clicking "method describer!.

There is little to explain in this ;the notation of the example speaks
for itself.
The one point to remember is tochoke ·the cymbal after each beat,particularly where the cymbal isstruck twice in ra.pid succession .
Ex.4

>

>

>

n [j c-1 t; r 1@r @r r ,.,,Let ,trinc-

T:x. 4 carries out this idea still
further. It is in the nature of abreak, and is not advised as a continuous rhythm.
Again remember to choke thecymbal beats. This break is played,of course, entirely with the righthand stick.
The next method, the palm-underneath way, is consi<lerably more
complicated. In the first place it
calls for three different " notes,"with the resultant increased complications.
I.et us take an easy exercise first.
Ex.5.LRL~lt f tIn this example, you will observethat there are two sets of " star "(or cymbal) notes.
Those in the space above the clef
are played by the left hand, clicking
the butt end of the stick (in the way
described) against the und er surfaceof the cvmbal.
The " "star " notes in the top (G)space are p layed by striking the-545-

Ex. 8 is in the form of a simple
break, calling for little commentor explanation, it only being necessary
to draw attention to the last cymbal
beat of the second bar, in which the
cvmbal is 11ot choked, being allowed
to ring for tbe whole two crotchets.
Try it FirstThe foregoing are but exercises ;they are intended merely as tut
inspiration and guide to t hose whowish to work out their own rhythms.
Every man has his own style ofrhythm for accompanying, and eac!1
soloist calls for a different accom paniment.
· It is obviously impossible to lay
down any rules on these matters, it
must rest with t he individual's own
initiative and judgment.
Anyway, try this stunt. B ut takemy tip, and try it by yourself first,
or else you might get involved in such
tricky rhythms that you may put
out not only yourself, but the wholeband. And they always blame thedrummer, anyway !

V\/\0v1-.D~.

The Me/otfy Maker.

]ttne, 1930.

"GOOD MORNING MR. EVERYJOIST!"
A Dialogue Banjo Course
by SAGE MR. LEN SHEVILL
To continue. You will understandthat our theoretic aim is to constructchords, and since chords are composedof intervals we must perforce learn andunderstand these intervals.
Intervals can be considered as asort of musical measurements, thus
it stands to reason t hat we mustpossess a " footrule " with which to
make measurements.
The footrule used is thP. majorthat that is carrying the i nstritctional
scale.
We must therefore constructpossibilities a little too far ? I m ean, isn'ta scale. .
it imlikely that the a.verate banjpist wilt
A scale is a succession of musicalbe called upon to fake from all sorts ofsounds within the compass of an(Enter Mr. Everyjoist complete with
odd parts?
octave arranged in a particular manner,
S. Mr. S. : Not at all! It often
banjo and a wholly unjustified a-ir ofand thus it follows that we must
apprehension, due no doubt to the fact
happens that 2. band, during its
commence with musical sounds andevening performance, is called uponthat he has not practised for six months).
their relationship one t o the other.
to play for a cabaret. The cabaret
S. 1vfr. S.:
Good morning, Mr .
My "story " starts then with aartistes will dish out manuscript parts
Everyjoist. Please take a seat. You
nwsical sound and progresses rightarranged for a music hall or tl~eatre
desire, I believe, to take a Resume
through to the requirements
Coun,e?
of the fully-fledged proMr. E.: That is so.
fessional. .
S. Mr . S.: Good! The
I take it for granted that
idea, then, is to take yc,uyou are acquainted withthrough a complete but
musical notation-that is,
rapid resume of the whole
you are able to read music.
art of banjo playing.
You understand the use andEach section thereof will
application of sharps andbe dealt with, not only
flats, the stave, ledger lines,
separately but as part of anote-values, time signatures,continuous whole .
Inrepeat and 1st and 2nd
short, I want you to regard
time bars and all the otherthis course in the nature ofsigns usually connected witha tale, or story.
the elementary theory ofIn this way, should yon,music ?
in the future, find that by
1V1r. E.: Yes, of course.
reason of the infrequency
S . Mr. S. : Then it willwith which one certain secnot be necessary for us totion is met with, you haverun over these things again.
become a bit hazy as to its
Having cleared the air indetails or application, it isregard to these prelimin ·often possible, by comaries, let us start right inmencing a mental survey ofon the " story."the " stoxy " from the
In order to save time I am
beginning and following thegoing to ask you a series.
continuity of the sections,of questions to ascertain theso to speak, to jog one's
extent of your knowledge.
memory and bring the
To start with, what is a
missing details to mind
musical-sound ?
again. Now for the business.
Mr. E. : The tonal result ofGenerally speaking, theSage Mr. Shevill shows Mr. Everyjoist the correct banjo position
vibrations.
banjoist's job is to collect
S. Mr. S. : Good. What isthe data supplied upon
the height or depth of a musicalthe music presented to himorchestra-flutes a!ld violas, and sosound called ?
analyse it-come to a condusion as
on-but never a sax or 'jo part.
In
Mr. E. : Pitch.
to what fundamental chord will suitthese circumstances the 'joist may be
S. Mr. S. : Quite right, and how are
the uccasion and then apply thisgiven anything from a bassoon to amusical sounds of different pitch
chord to the instrument in whichever
piccolo part, and the best he can hopeposition or inversion he deems best
obtained?
for is to find a 2nd fiddle part.
Mr. E. : By varying the frequency
Now, where would these players be
for comfort and tonal results.
Thus, you may be called upon to
if they had decided to dispense withof the vibrations.
S. Mr. S . : Now, presuming that,play from a song copy or pianofortethat part of banjo instruction whichhaving found a means of producing
part wherein you may be presented
dealt with faking from odd parts ?
HE scene is laid in Sage Mr.
Shevill's Studio. He is expect-ing
a pupil for what he calls a Resume
Course, which is, as the name implies,
a lesson, or series of less1Jns, devoted
to " polishing up " the knowledge ofthe averagely proficient tenor banjoist.
His idea is that the majority ()fflayers, although they put 1~p a fairly
good show, have sundry blacli spots
m thei1' knowledge and technique.
Assuming the role of dry cleaner, he
intends to eradicate these weaknesses.

Twith four, five or six notes, which
completely establish the chord.
Onthe other hand, you may get a 2nd
violin copy presenting you with only
two notes, from which you must deducethe chord . It makes no difference, forby application of my system, theplayer should be a.hie to apply sometliing which will prove satisfactory.
Mr. E . (tentativeiy) : Don't you think-546-

The Melod_J1 Maker. ]mte, 1930.
the number of vibrations necessary togive us as a tonal result a certain note-let n s s::1y r; on t he first le<lger line
below t he t reble stave-we then decide
to double t he number of vibrations ;what shall we then produce?
Mr. E. : A sound which, althoughdifferent from the original one, possesses
characteristics so much like those of theoriginal note as to Prove an undoubted
relation to it.
·
S. Mr. S. : That's :fine, but what is
the name given to this relative sound ?
Mr. E .: An octave.
S. Mr. S. : That's right. Now, all
our musical sounds are classified within
the limits of these tone relationships,
and, having divided the entire rangeof musical sounds into portions,
namely, octaves, it remains for us todetermine into how many subdivisions
we shall divide our "octave."
What is the generally adopted
number of subdivisions ?
Mr. E . : Twelve; each one of whichis called a semitone, meaning half-tone.
S. Mr. S. : Yes: and consequently
two semi- or half-tones make a tone.
Now, having obtained our octave
division and the twelve semi-tone" bricks " which exactly fill it, let us
with these bricks construct the major
scale which we need as a standard ofmeasurement.
The major scale is divided into eight
degrees, their names being (1st) tonic;(2nd) super-tonic, meaning above thetonic; (3,rd) mediant; (4th) subdominant, meaning the secondary dominant; (5th) dominant; (6th) called
variously the super-dominant, meaning
above the dominant or sub-mediantmeaning, the secondary mediant; (7th)the leading note, and (8th) the octave.
j\tlr. E. : What do you mean by" secondary " dominant and med-iant ?
S. Mr. S. : In brief, these are theactual dominants and mediants when
the scale is considered from top tobottom instead of bottom to top.
To continue. If the octave consistsof twelve semitones and consequently
six whole tones, it. stands to reason
that our major scale, if it is to containeight degrees, cannot possibly be composed entirely either of semitone.s or
tones, but must be composed of tones
and semitones mixed up.
Mr. E . : I am not clear as to the plan
upon which a major scale is constructed.
S. Mr. S. : A major scale is composedof two tetrachords divided by a tone.
111r. E. : What is a tet-rachord?
S. 111-r. S. : A tetrachord consists of
two tones and a semitone arranged inthat order.
Th us, in the major scale of C, C to
D is a tone ; D to E is a tone ; E to F
is a semitone-that's one tetrachord.
F to G is the dividing tone. G to A
a tone ; A to B a tone and B to C asemitone, is the other tetrachord.
That is your " musical footru le."i-E\'S (MIXEO) •.

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Nlr. E. : How is this "footr·ule "used?
S . .Jlllr. S. : Intervals are always
measured upwards and the scale of C
which I have constructed would be
used for any interval having the note
C as its bottom note. In this way ;were I asked " W'hat is the intervalfrom C to E ? "I would place mymajor scale footru le on the note C
and find the degree of the scale which
exactly .fits the top note of the intervalin question. In this case E exactly
fits the 3rd degree of the scale ;namely, C, D, E , and I should therefore call the interval a third. These
intervals exactly fitting the major
scale a re called major interval:; withthe exception of tbe 4th and 5th
degrees, which, instead of b eing called
major, are t ermed perfect.
Mr. E . : Then, by the same m ethod
C to D i s a major second and C to F isa perfect fourth ?
S . Mr. S. (beaming) : Precisely.
Mr. E. : But supposing the bottom
note of the interval in question were still
C but the top note did not exactly fit
your major scale. For instance, whatis the interval from C t, E l,? El, does
not exactly fit your major scale of C ?
S. Nlr. S. : For intervals either
larger or smaller than those I havedescribed the terms major or minor
are used. For instance, an interval
which is a semitone or one brick of
the octave smaller than a majorinterval is termed a minor, or small,-547-

interval.
Thus, fa.king your own
query, the interval C to E~, being one
semitone smaller than the majorinterval C to E, is termed a minor 3rd.
Likewise C to Dt, will be a minor
2nd; C to At, a minor 6th; C to nt,
a minor 7th.
Mr. E.: But now about the 4th and5th? What is the interval C to GI,, forinstance.
S. Mr. S . : Should an interval be asemitone smaller than a perfect interval
it is called an imperfect interval.
At least, in theory, that is the namegiven to it, but when alluded to colloquially it is spoken of as a diminished
5th or 4th.
Pt:rft:cL intervals (4ths and .5t'1s)

which are a semitone larger, are called
augmented intervals.
111r. E . : A re there any othe1· typesof intervals ?
S. Mr. S. : An interval may be evensmaller than a minor, and an interval
which is a semitone or one bricksmaller than a minor is termed adiminished interval.
Incidentally,
intervals a semitone larger than major
also are called augmented.
The best way t o calculate intervals
is to go by the. number of note names
employed. Thus the interval C t o El,!,
has three not e names along the scale,
namely, C, D and E, and consequently
it must be a 3rd of some sort, major,
minor, diminished or augmented, but
it must be a 3rd. It. is, in point offact, a diminished third.
[See overT/e Metocf.y M.1ker. June, 193c .

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Tenor Ba nJo;byLEN SH~:\;ILI,.

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S . 1vlr. S. (breathing sigh of relief andhanding paper to J1t1r. E.) : This is what
I mean. Don't copy this one out but
go home and do one for yourself.
You will notice that there are someintervals included which are so rarely
met with as to be almost unnecessary.
I have included them, however, forthe sake of completeness.
(Rises.)That's the lot for this lesson. Next
time I'll get on to the actual playing
part.
See you some time next month.
Mr. E.: Good morning! (Exi t).
S . J\lr . S. : Good morning! (Wipes
sweat from high, domed brow).
(Ct,rtain).

...........................
LENofSHEVILL

147 , WA RDOUR ST, LONDON , W .

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that's fourteen ; four of the 6th degree,that's eighteen, and four of the 7th
degree-twenty-two.
Mr. E.: But what happens if thebottom note of the interval in question
is a note other than C? For instance,
what is the interval from El, to Bq ?
S. Mr. S. : In that case ti.e scaleof Eb would then act as my footrule
as did that of C before.
Mr. E. : Then what i s the interval
I quoted just now ; namely , Eb to
Bq?
S. Mr S. : El, to Bb is five notena mes, hence it is a fifth . Since theinterval g i v en is B natural- a semitone larger- it is an augmented fifth.
A good way to learn intervals is
like this : Write the names of all thekeys in a mixed-up order horizontally
across a piece of paper- mixed up sothat your mind is forced to thinkfor every individual key.
Now,
having written the keys across, wnte
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the left-hand side of your paper, one
under the other.
(Sage Mr. Shevill reaches across fora piece of paper and a pencil.)
MOMENTARY FALL OF CURTAIN
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Violin ~; ( Isl,)li~d.

If the El,!, were called D (whichis the same sound) there would only
be two note names employed, namely,
C and D. Consequently it must bea 2nd of some:: sorl. Obviously it isa major 2nd, or 2nd note in the scale.
C to Df, on the other hand, possesses
two note 11ames, (hence it is a 2nd) but
it is a semitone larger than a major
and is consequently called an augmented interval.
Nlr. E. : How man'\! intervals are
there w1thin a.n octave, i'ncluding all thet::,•pes you have m entioned ?
S. Mr. S. : Twenty-two; namely,
fou r of the 2nd degree, diminished2nd, minor 2nd, major 2nd and aug.
2nd ; four of the 3rd degree ; only
three of the 4th degree by reason of its
being perfect and having no minor,

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-

548 -

(End of Act T)Orchestration

An Abridged Course on

MODERN DANCE BAND ORCHESTRATION
by AL DAVISON, M.A., Mus. Bae. ( Cantab.), J;.R. C.O.

No. 5.- The Foundation of Orchestrating
WRITING FOR THREE MELODY INSTRUMENTS
UST how much the orchestra tor's
dif:liculty is increased by theaddition of a third instrument/
I can only venture to guess,but certainly it is much more thandoubled, prob ably quadn:;>led ormore.
In \\'riting for three melody instruments the character of the thi rd
melodic line will depend entirely uponll'hat kind of instrument is heing
written for, and according to the kindof i;,strument so will the character ofthe first and second melodic lines bealso greatly affected.
·
Thus, where there is a viol insaxophone-trombone combination, thecharacter of the written notes of thethree m~loclic lines may vary as
much as do the quality o! the
instruments.
But "·here such combinations as
trumpet-(orviolin)-alto-tenocoralto-tenor-trombone or alto-trumpettrombone arc employed, much greateruse necessarily must be made of the
predominating family "colour," forthe two instruments of the same
colour combine to make contra~tagainst the third instrument, but are
by no means always successful inmaking contrast against each other.
The " Close-Coupled " Duet.

Now, t\',o saxophones, a nd also a
trumpet and tro mbone, when working
together for the purpose of giving
the "family " colour, will be written
for in a " close-coupled duct" form.
(This designation is a home-madedesc ription which I ha\·e used before,
and may be brieny explained as" note-for-note harmony having nocontrapuntal character, and being forthe most part at the closest reasonableinterval ~part.")Orchestrating Bedrock.

Let us consider first, then, the true
three-instrument orchestration, where
the instruments vary widely in character. This. in m y opinion. is theacid test of the dance orchestrator's
skill, and if a good job can be made ofthis, additional instruments will hefound to make orchestration easier
rat her tha n more diffacult.

It will be apparent that in ,vriting
for a violin-saxophone-trombone combination, you are writing for the main
t:uknus of the dance orchestra, andthat, in effect, you have only to add
respectively two violins, two saxophones and two trumpP.ts t o the
melodic lines of violin, saxophone
and brass, and you have the fulld ance orchestra at work in its·" close - coupled trios "typeofarrangement.
This, as you must be aware, constitutes the method employed in quite
half the printed (and speciai) orchestrations of the p resent time.
M ixed T one Qualities.

The three-instrument orchestration actually is more exacting than
the full complement, for each tonal
quality has but a single note, and you
will therefore be writing in three-partcounterpoint.
This counterpoint will naturally
be somewhat free in character and you
will find yo urself lapsing time andagain into a " two-instrument " trainof thought.
It will be fairly obvious that t hetrombone will not be supplying thefundamental bass of the harmony
but will be giving a tenor harmony.
There are times, however, when thetrombone may jump from its teno1·
harmony to the actual bass notes of
the harmony, since the trombone
is adaptab le to both b ass and tenorparts, and where there is no bass
instrument, the trombone can thus
moment arily strengthen the pianobass notes. (I do not, of course,
mea n the " porn-porn •· or " tonicdomina nt " bass of the chorus, but
in introductions, modulations, block
harmonies, etc.)
External C onsiderations.

The tempo of the number ·will, ofcourse, be the deciding factor as tothe t ype ot counterpoint employecl
in your three-part harmonisation.
A slow fox-trot of ·the kind I ha\·echosen for my examples giYeS muchgreater opportunity for the use of
-

549 -

passing notes than a quick step suchas" Lady Luck" or " Happy Days."lt is very necessary tbat you should
consider well the char::i~ter of thenumber before you begin to put notes
on paper, a nd that you should haveclearlv in mind the kind of result you
want · to achieve.
1 have chosen " Moaning' for You,"because the l1armonies of the printed
piano part thereof a re such tha t it
is by no means easy to keep in<l ependen t movement (or good threepart counterpoint) between the threeparts. This, as I have told you before,
is the most difficult part of any
orchestration.
ln the fi rst bar of Ex. c (see page551 for a II examples, it is easy to maketh ree independent parts of varying
time values, but in bars 2 and 3 it isa lmost impossible to avoid a twopa~t effort between two of the parts andr~tain the layou t of the harmonies
as in the printed p iano part.
Xotice in bar 3 that by starting
the trombone on the second crotchet
instead of on the melody the 2-parteffect between trombone and a lto
is broken.
fn bars 7 and 8 the trombone takes
the melody notes of the piano p art
and the violin takes the principal
harmony notes. This is done because
the tone and register of the trombone
give more contrast against the alto
saxuJJh 0111: than the lighter violin.
tone would give.
In Ex. 2 (bars 9-16) I have inverted
the entry of the 2nd and 3rd partsin order that in bar 10 I could follow
the exact movement of the pianoh armonies.
1n E:i:. 3 (bars 17-24) I have g iventh~ melody to the trombone, following, for the 3rd eight bars of the chorus,
the same procedure t hat I recommended for " two-instrument orchestration."
In Ex. 4 (4th eight bars) I have madea change to violin melody, insteadof repeating the first eight bars.
Eight h:irs in slow fox-trot t empo
last quite a time and exact repetitionm,ty be dull. It means more work
I know, but it is worth it.
Contined on page 552 . •The Melody Maker. ]tme, I930.

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The Melod.J· Maker. June, 1930.
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-551-

The Melor!J Ji.faker. ]Hne, 1930.
Now, in normal orchestration itis but rarely that a whole chorus
appears in three genuine parts, andthen it is invariably for the use ofsuch combinations as I have suggested
on page 551.
You should, however, give muchpractice to the writing of these three
independent parts, for once you candothis successfully you canorchestrate easily for a greaternumber.
Consider bar I, for example-it isvery easy for you to add two saxophones (2nd alto and ienor) to the
melody line (1st alto) in note-for-note
values and, considering the t ro:nbone
part of ba·r r as one instrument of

the brass trio, to add two other brassparts in note-for-note '"alues.
You then have full saxophone andbrass part:s aml to these may be
added the single violin, a hot clarinet
or a bass saxophone, etc., which is thethird melodic line as given in theseexamples.
It will, J think, be plain to you thatwhen the brass line or saxophone line
are either or both in two or threeparts (i.e. three brass or three saxophones) the complete harmonies will
be present, and therefore the 3rd
melodic line or counterpoint can bemuch more free in its mo'"ement thanl have been able to give in theseexamples.

You must also remember that I
have adhered exactly to the printed
harmonization, and this naturally
could bo varied at will to suit any

free moving parts (hot clarinet, bass
saxophone, etc.) you may desire toaccommodate; also you may introduce
a variety of breaks at bars 7-8, 15-16,
24-25.
(To be continued) .

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-552-

The Melotf.y Maker.

]ttne, 1930.

Style on the Hawaiian Guitar-No. 5

PRACTICAL POINTS
More Scales, Chords and Minor Chords
by LEN FILLIS
T long last we come to the endof those unpleasant necessities, scales. I append the lasttwo sets I .intend using, to wit,
the scales of D major and Et, major.
(Exs. I and z respectively).

A

Ex.1

Key MI) major.Ascending~ ,b~jgg'JJJJ~
IJ J ~J Ir._g_,rrJ., I,_Jj..J~~~y_rgm•jor. Desces:ding~-PJJJI'fiP~ L.J_...J u.Jt...!..J

L..ft.J,.:___§..-1# 4 ¥ - : m . ,jor. Descending~-1JJ8JJJJ~'JJ~Ir,.♦

LL llJ L...:L.J t......L_i •~\,...!LaI have no comments to make onthem ; they are, after all, only scales,much the same as have gone before,
and it should be no undue strain on
the part of the student -effectively tomaster them.
Ex.3 Scaleexerciso:::?m,~ ,~ rrrr,~
Ex.4

for, unlike those two instruments, theHawaiian guitar should be regarded
more in the light of a solo instrument
than as one used for the productionof rhythm.
Nevertheless, the Hawaiian guitar
can supply some beautifully effective
accompaniments or obbligati to vocal
choruses, in addition to which taking
an occasional lead in a waltz, slow
fox-trot or suitable melodic blues.
If a band were fortunate enough tohave, in addit ion to its pianist,
violinist and guitarist, a player who
could ably double on the Hawaiian
guitar, a most excellent novelty
quartet could be formed.
The possibilities are unlimited in anenterprising orch~stra.
However, to ·revert ; the full valueof the Hawaiian guitar has not yet
been exploited, so I will not, at thisstage in the course, lay down any
definite r ules for its use in the tlanceorchestra.
·
But, apart from this aspect, no one
can deny its possibilities as anaccompanying instru ment, and it is •this angle that I intend to approachfirst.
I
To achieve this end, obviously it
will be necessary for the student totake the study and production ofchords as a very serious matter.
A ids to Memory

This is how I should advise thestudent to memorise the various
The Scale and Chord Exercises in
D and Et, (Exs. 3 and 4), are evensimpler than the scales proper, exceptthat possibly more time and attention
will have to be paid to the four ·cbordsat the conclusion of each scale exercise.
I have previously stressed the factthat particular attention should be
paid to all references to chords in thiscourse, on account of their value onthe,instrument in the dance orchestra.
Neglected Opportunities

In passing, I would like to say thatthe possibilities of the Hawaiian
guitar if\ the dance orchestra havebeen pra(:tically ignored.
By this, I do not mean to. imply
that this instrument could take theplace of the banjo or Spanish guitar,

JOIN"THE CODA
CLUB"(See page 493)

- 553 -

I.

major chords. It is common knowledge that the six open strings of the
Hawaiian guitar, t uned in the way I
advocated, form a major chord, thatof G major.
It is not taxing the imagination too
much to come to the natural conclusion that if- 1:he steel were p lacedparallel with the first fret, the chordof At, would result when the strings
were struck.
And so on, in semitones, right up
the finger board . Anyone who knows
h is chromatic scale will know whatchord is being played on, say, the5th fret, when once the chord of theopen strings is known.
I do not advise the student to try
and memorise the whole gamut ofmajor chords in their chromatic form,b ut suggest that he takes first themost commonly used chords, startingwith that produced by the open
strings; i .e., G maj'or.
N~xt fix in your mind's eye thefollowing chords and their respective
positions ·on ·the finger board : At, major-1st fret; C major-5th
fret ; D major-7th fret ; Et, major8th fret; and, ag~in, r; major- 12th
fret. ·
By becoming thoroughly familiar
with these chord p ositions, it will bean easy matter, when asked to play
the chord of DI, to see that if thechord of D is found on the seventh
fret, the chord of DI, will naturally be
one step, or fret , down .
I have known students try andmemorise the whole progression ofmajor chords from the 9pen strings up
to the 12th fret, and it has taken themm uch labour and considerable t ime t odo it.
I have also known students adopt
my method-if it can be termed as
such-and by knowing the essential
and the most commonly used chords,
they have found it an easy matter tod iscover the whereabouts of any otherchords required.
Always r emember, too, that if aparticular chord h as to be made tolast any undue length of time, it canvery easily be modified by striking
any combination of strings .on theparticular fret on which the chord isfound, instead of straightforwardly
striking a ll the strings from thebass string up wards.
·
It is perfectly safe to do this, for, as
I remarked in my last article, · once

The Melody Maker.

],me, 1930.

the steel is placed across any particular fret, any two strings (with the
exception of octave strings) can be
struck, and the same chord will result.
Natura.Uy, it rests with tho diligenceof the student to become familiar
with the various notes which go toconstruct a chord, and much depends
also upon the amount of time thestudent has spent on the various
scales, the knowledge of which isinvaluable in rapidly finding theposition of any particular note on thefinger-board.

octaves which will make the required
minor chord.
As this sounds rather vague, I am
appending a musical example which
will serve to illustrate my meaning.
(See Ex. 5)
In this exercise I have omitted togive the numbers of the frets, as thatwould be making it too easy. I have,
however, marked the names of thechords and these should serve as anadequate guide.
I advocate trying to read the
melody line first, as it will make quite
good practice, and then going over tothe accompaniment. Of course, itwill assist considerably if a lead
instrument is playing the melody
whilst the accompaniment is being
played.
To those students who are really
deeply interested in this course, I
strongly advise a complete resume ofall previous articles, as I consider theelementary stages have now been
passed, and from next month onward
the various studies will be madeincreasingly difficult, and the student
will need a good knowledge of thegroundwork to cope with some of thematter.

Ex.5 ~Mody

P artsWhen it comes to actual reading ofparts " on the job," it is difficult toadvise which printed part the student
should read from, but to commencewith I advise the use of tenor banjo
parts with the chord symbols attached. Do not read the actual
notes, but refer to the symbols;
these will assist in giving a quick
knowledge of the whereauu,u b of achord on the instrument. At a laterand more ambitious stage an ordinary
G banjo part will prove to be the mostefficacious. Failing these, a pianopart should be used.
A W eak P ointof

The student may now ask "\Vhat
the minor chords ? " therein

revealing one handicap of the Hawaiian guitar, i.t., its inability to
produce more than a limited numberof minor chords. However, this drawback can be overcome if the following
rule is observed : when in doubt,
play a combination of notes in

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554 -

'Iii

The Melocfy Maker.

June, 1930.

The Theory and Practice of the Piano-Accord,ion-1:'fo., 3

MORE BASS PRACTICE ~Some Remarks on Simple V a!f!ping .
. by DANTE GIANELLI
N my last article, I gave you aI

complete chart and some explanation of the basses.
As these an~ by far themost complicated part of the instrument, I propose ·to give thereader some exercises in order torender him more facile. in " finding "the positions of the buttons, whichare, of course, completely out of
the sight of the player.
A point which will greatly facilitate bass-button playing is thecorrect manipulation of the bellows.
The student must remember to" hinge " these in an even and" jerkless " manner, and h~ should
consistently practise this, using asingle note or chord in order not tostrain the bellows.
Simple Vamp

The next step· is tht practice ofsimple vamping.
An easy waltz tempo is best forthe purpose, and the µlayer should
practise some sort of easy exercise
such as that shown in Ex. I.

This example explains itself : thefirst note of each bar is played on
the Fundamental, or Solo, Basses,
the second row of buttons. The
second and third beat chords areplayed on the third row of buttons(Ma:jor Chords).
Having repeated this exercise say,a dozen times, move on to the next
solo bass button, and its appropriate chord. And so on, up anddown the entire register of thebass board.

Ex. 2 is on the same lines andshould be p~actised in the same way.
It is importa nt to remember tokeep the wrist as stm· as possible,
only the tips of the fingers ~ctu~lly

touching the buttons with a lightstaccato movement.
Which Clef?

It would be as well, at tnis point,
to stress the fact that the student
should learn to r ead in the bassclef, if he does not already do so.
Although he may be greatly_
tempted, if be is not cognisant of it,
to read all the exercises in thetreble clef, he must bear ii1 mind
that for the most p art h e will becalled upon to play from piano parts,
and if he is unable to read the bassclef, it is obvious that his task ofextemporising is going to be mademuch more difficult.
ScalesThe next important considerations
are scales.
Let us start with the easiest,that of C major.
F ind, by reference to the chart
included in last month's article, theC in about the centre of the second
row of bass buttons.
The D will be found two buttons
along t.he same row. (Alternativ-ely,
the D in the first row, counterbasses, may be played.)
Then the E in the first row, thenthe F in the second row ; then G
in the second row ; then A either
in the first or second row ; B in thefirst row, and finally the first C in
the second row.
Having reached a fair degree of
proficiency at this, play simultaneously with it the scale of C
major with the right hand on the
piano keyboard.
Repeat this procedure for all thekeys, major as well as minor.
Then, by way of a little variety,play the scales with the left h anddescending and the right handascending the entire range of the
keyboard from low C upwards.
It will be seen, after very little
practice, that the positions of all
the major scale buttons conform _t-othe same- shape or pattern. Hence,
once this pattern is mastered, allthat is necessary to play any scale
is to find the position of the tonic
or first .note of the scale, and · toapply the mental " p attern/'
The same applies to the minor
scales, with, of course, the necessary
alterations in the "pattern " toallow for the flattened notes.
-555-·When the student has reached thestage at . which he can play most of
the scales with moderate facility,
he should attempt simple .exercises
and mel6dies, such as the following
Ex. 3.
Ex.3.

ie: :: :: ljJM1:;:;~!:liJJ j

1:::: 1: ;;1; J ·I

ic:1:; ;; wJ=l!: i-J ; : I;JJ 1: :i;.ie: i;Jl 1;:;: IL: f]
J

Play this ·slowly and with complete agreement between the two
hands.
A good exercise is to pick out thebasses from the piano part of any
popular number. Subsequently the
optimistic ones may attempt to pickout simultaneously the right hand
melody. The actu~l adaptation I
shall deal with in a subseqiuent
article.
At this stage, however, a word of
warning is necessary ; don't be too
ambitious. Keep . off the. l1eavy
stuff or complicated hot ·playing
until you are more at home with thescales and chords ..
Nevertheless, there isreasonwhy simple fox-trots or waltzes in
the keys of C or G, with few andnosimple chn.nges of harmony, should

not be attempted.

The Melot!J Maker. June, 1930.

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The Melod_y Maker.

June, 19;o.

Saxophone

THE

TENOR

SAXOPHONE

Adapting Alto Technique
by REG PINK
he writer of this article, Reg Pink,

to this section.
T isHe aisnewcomer
one of those yoimg men,clearly destined for the top of the tree,
who is in the process of getting there.
His ultimate recognition as one of theleading tenor saxophonists is merely amatter of time.
In addition to his remarkaqly beautiful
melody tone on the tenor, he plays an
extremely hot bass sax; in fact, he has
been described as the nearest approacht.o Rollini in this country.
He first came into contact with THE
i\'1ELODY MAKER some three to four years
ago, when he was a winner at a Chelsea
Dance Band Contest. After sundr_y experiences he eventually arrived at the
Empress Rooms, with The Tar Heels,an extremely hot combination, whichcontai1ied such embryonic stars as Bob
Wise, now 1st alto with Sid Bright's
Piccadilly Players, and Cyril H ellier,

now leading Syd Kyle's Ciro's ClubBand.
Sundry 11icissitudes directl'd his footsteps to Arthur Rosebery, who, realisingthat he had made another find, snapped
him up and featured him at the I<it-Cat
and elsewhere.
He has been 1'ecording with Rosebery
for some time, but hitherto has had l-ittle
chance to show what he could do.
" Stylits," however, in 1·ei1iewing oneof Rosebery's records last month was
loud in his praise of some tenor worh by
Pink in "Asleep in My Heart" on
Parlophone, and there is no denyingthat the bouquets were thoroughly
merited.
·Bert Ambrose then gave Reg a hearing,
and was sufficiently impressed to use
him for the pick of his outside work, on
which Reg is now busily engaged.
We shall hear more of Reg Pi.nfl .TECHNIC.\L EDITOR.

Reg Pink

T is difficult to follow a masterof the saxophone such ·as Ben
Davis and presume to offer advice. Ben has said nearly all there
is to be said about the saxophone, andsaid it well, and I feel something of
an interloper.
However, there may he one or two
angles with which he has not dealt,
and I will confine myself to these.
In particular I refer to the tenorsax. Most of the advice and tuition
which have appeared in these columns
have been devoted mainly to the alto
gax, the tenor being consfdered only
when the team was dealt with.
Now, whilst the instruments are
identical in design, and, consequently,
in finger technique, there are differences, mainly in embouchure.
Many an alto player, through theexigencies of the moment, has beencalled upon to play tenor-and, forthat matter, vice versa.
Having started, a good many years
ago, on the alto, played it for sometime, and then permanently transferred my allegiance to the tenor,
perhaps I am justified in offering my
opinions on the differences between
the two instruments.

I

Embouchure

only difference, between the tenor andthe alto, is that of embouchure.
Whilst this undoubtedly is the main
consideration from a technique pointof view, in my opinion there are evengreater differences in the treatment of
the instrument.
The embouchure is, of course, slacker,
as is only to be expected with a larger
mouthpiece. As to matters of lay andreeds, I am not going to repeat all thathas been said in these pages by better
authorities than myself.
For what it is worth, I will say that
I use a short open lay, with a. medium
soft reed.
The only other point worth mentioning 'in this connection is to remember to

JOIN"THE CODA
CLUB "(See page 493).

The majority of sax players claimthat the main difference, in fact the-557-

keep the lips airtight. Nothing is more
fatal to tone than for breath to escapefrom the corners of the mouth.
Directly concerned with this matterof mouthpieces is another point, so
small that it is often overlooked.
It is no more than the adjustment of
the reed. Apart from the position of
the ligature-indicated by the lines
usually scored round the mouthpiece-there is the question as to how far
the reed should project over the tipof the mouthpiece-if at all.
I have found it best, using the typeof lay and reed that I do, to ad justthe reed so that just the smallest
part (about 1 /32nd inch) of the mouth. piece shows above the tip of the reed.
This can be more accurately judged
if the reed is pressed close to the _faceof the mouthpiece.
Tone

All these questions of mouthpieces,lays, reeds and so on are engenderedby one consideration-that of tone.
There are two schools of thought
about this-(a) that the tone should
be clear and " alto-like," and {b) thatit should be reedy.
I prefer to describe it a different
way. I would like to say that the toneof, a tenor should be rich, and if I wereasked to further define this I would

The Melody Maker. ]uni/, 1930 .
By this I do not mean by the introsay that it should be a clear, roundductiqn of hot extemporisation, or eventone with just a touch of reedi~ess . .
It is this suggestion ·of reediness- · arpeg'gio ,or grace notes, etc.
What I am suggesting is · that awhich makes for that richness andcertain amount of rubato should be ·fulness of tone so essential to thetenor sax.
Hence the medium-soft
allowed.
Don't play the notes with mathereed.
matically exact time values ; allow
On the other hand, the tone must
the slightest of pauses on certain notes
not be too reedy- like a bassoon,(exactly which must be left to yourotherwise it will not blend with theinterpretative faculty}, and keep evenalto.
tempo by cutting the next one a bit
Nevertheless, I do think that thisshort, and so on.
touch-just a touch- of reediness isThis sort of thing is impossible toessential. But don't overdo it.
put down in musical notation ; even
A further cont ributory fact<;>r to
if you did split the time-values up into
tone is, of course, the method of blownotes with umpteen dots and all sorts
ing. This, too, has been dealt with byof queer tied hemi-demi-semi-quavers,
abler p ens than mine.
I can butand so on, it would be quite unreadstress the point that overblowing
able.
should be avoided.
The only way to describe it is
On the ot her hand, don't b low so" rubato," which means, literally,
softly that the note starts, almost" robbed " ; y:ou rob one note of its
stops and then starts again.
full val ue and stick the extra time
A good point to consider in convalue on the next !
nection with the difference in blowing
That is the only way I can describe
alto and tenor is that for the latter theit. Don't mistake my meaning andthroat should be more open. Don't
try to introduce rallentandos in theforget that the tenor is a much bigger
middle of an even tempo waltz,
instrument to fill than the alto, andrather should you give the impression,
calls not necessarily for more" wind,"by the use of these tenuto notes, of abut for more volume. This ·c~n bestslowing down here and there.
be obtained, as I said, by "opening "For rhythm playing, i.e., concerted
the throat.
team work, figures, solo hot choruses,
and so on, this rubato business must
Legato and Ru bato
be rigorously avoided. Sharp, clean
The tenor is essentially a slowattack is the order of the day for this
melody instrument. By that I do notkind of playing.
mean that it is limited to slow melodies,
merely that :t excels in that class of
Gliding, Not Sliding
work.
·
There is one other aspect of tenor
Yet I have heard tenor solosplaying which contributes largely towaltzes and so on, which are wholly
the effectiveness of a slQw solo.
uninteresting by reason of incorrect
It can. best be described as " glidtreatment.
ing " from one note to the next.
In a slow solo passage, the tenor
This can only be used when goingsax can very well afford to " takedown wards to a note.
The reverse
liberties " with the printed part.

procedure is unsatisfactory if not
impossible.
It is accomplished by a combinationof " lipping " and half-key work.
Supposing one wishes to go from,say, A to the F below.
Play the A in the normal manner.
Then, by slackening the lip, flatten
this A as much ·as you can, down to
G if possible.
Then, as you reach the lower noteby this artificial means, finger· that
note, and while you are doing this,begin to open the note below, _before
the higher note is fully open.
Thus-blow A ; . lip down to G ;half close G and at the same time begin
to close F ; by the time G is fully
closed, F is half closed. By the time
F is fully closed return to yournormal lip· pressure.
Although this takes some time toread, actually it is accomplished in a
flash of a second, and once the idea ismastered, becomes automatic in its
application.
You will be surprised how " sympathetic " this, plus rubato, will makeyour tenor solos.
But, for goodness sake, don't overdo
either of them, particularly t he latter.
Don't slide about all over t he placelike an incompetent violinist ; · just use
the effect now and again.
·
Once you have mastered the trick,the time and place for its application
will become almost sub-conscious.
But, if you overdo it, yourlisteners might get fed up and render
you unconscious !
•LEARN TO PLAY IN THE MODERN STYLE LIKE YOUR FAVOURITE GRAMOPHONE ARTISTBY

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I guarantee you an entire transformation in your style of playing.
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Personal tuition given to beginners and advanced pupils.

THE MODERN SAXOPHONE SCHOOL, 102, ST. ALBANS AVENUE, EAST HAM, E.G.
'Phone: GRANGEWOOD 2900.
- 558 .....

The Melody Maker (Music zn the KinetJJa and the Light Orchestra).

June, 1930.

Conducted by ARTHUR OWEN

incorporating

The Light Orchestra

HEN the Pathe Film Co.,
conceived the idea of filming
portionsof
thea<.:tua.l
Dominion Theatre productionof "Silver Wings," those responsible
for the idea probably thought theexperiment would be an economical
one.
They evidently did not take into
account the rights of the various performers in the theatre, and, no doubt,
the action of the orchestra, which
first refused to perform unless it
received the usual talking film sessionfee, came as a big surprise.
The Pathe people had sufficient
pluck left to imagine they could continue with the scheme without theorchestra, a weird notion which, however, was not allowed to succeed.
The new British Equity then steppedin on behalf of the chorus and made asimilar demand.
Once again the producers r efused,
but when they decided to carry on
without both orchestra and chorus,
the futility of the position became
apparent, and the whole propositionwas ~d ropped.
It would have been a monstrous
precedent if the idea had carriedthrough and the musicians and otherartistes had not asserted their rights.
Such a thin end of the wedge would
have resulted in untold harm to theliving music and drama.

W*

The Atlantic Link**

Two London musicians, A. J.
Potterton and H. Smith, at present

livi~g together in New York, weremuch ~urprised on arrival in thatdty to find THE MELODY MAKER a verv
popular publication amongst Americanmusicians. Fortunately for them they
secured a copy and, on reading somerecent notes of mine, they discovered
there was a nice little nest-egg waiting
to be claimed by them at home.
It appears that both these boys
had been employed with the orehestraof the ill-fa.ted " Girl from Cook's "Co., which was staged at the Gaiety
two "years ago, and which, when it
closed down, had insufficient funds left
to pay out the musicians.
The exclusive news which I had
given was that the directors of thecompany had recently settled their
obligations in this direction with theSecretary of the Musicians' Union,and put these London musicians on the
track of collecting their own shares.
The money, when it arrived, in all thecircumstances, must have seemed likethe gentle dew from heaven.

*

*

*

Foort's New Role
Kinema organists will be welladvised to tune in to 5 G.B. on Sunday,
June 8th, when Sir Dan Godfrey andhis orchestra will give a SymphonyConcert at the Bournemouth Pavilion.
The chief item on the programme is
the Mendelssohn Piano Concerto in
G minor and the solo part is to beplayed by our old friend Reginald
Foort, just to show his versatility bothas organist and pianist.
R tlmour has it that he will soon be-559-

returning to London as the soloorganist at the new P.C.T. Super
Kinema at Victoria, S.W.,***
A Mishandled Orchestra
Five months ago I drew attention
to the immense difficulties underwhich the B .B.C. Symphony Orchestra
was being carried on.
Instead of Sir Thomas Beecham
being in supreme charge of all its
principal concerts and so having theopportunity to make his non-deputy
orchestra the :finest in the world, he
has retired time and time again to
make way for visiting conductors,some of quite indifferent reputation,
who never succeeded in raising theconcerts to anything beyond mediocre
level, while, as a result, public
support was largely withdravvn.
It is now abundantly clear that mycomplaint was thoroughly justified, for
not only ha.s this orchestra sustained alarge :financial loss (though this is hardly
a consideration to bother overmuch so
wealthy a body as the B.B.C.), but adefinite crisis has now arisen.
The fact is that, unless some alteration is made, the B.B.C. may easilyfind itself in the unenviable positionof being unable to obtain the servicesof leading British conductors andartistes, who will not risk their reputations in appearances at sparsely attended concerts held under a depressing
lack of showmanship.
· ·That things could be very muchdifferent is plainly proved .by the successes achieved by the famous Vienna

Meioqy Maker (Music in the KineVJa and the Light Orchestra).
Philharmonic Orchestra under Herr
Furtwangler.
The understanding
between this fine conductor and his
men has resulted in that perfect teamwork which is so vital to the successfulinterpretation of all works, and, since
our symphonic musicians, man for
man, are by no means inferior to these
Viennese musicians, it is a pity theyar-e not given an equal opportunity toscore the same excellent results.

*

Father's Footsteps**

The recent ill-he~lth of Julian Jones
was an ill-wind which blew a lot of goodfor his successor in th~ conductor's
seat at the Prince Edward Theatre,
where " Rio Rita " has j •;st finishedplaying.
The new conductor is J. van Heuvel,
son of Jacques van Heuvel, who bas
had a long career as a theatre conductor himself and who, in fact, isstill on tour in a similar capacity.
The son was originally trained underSevcik, but eai;ly signs of virtuosity
were interrupted 1:>y indifferent health,and for a time the junior van Heuvel
had to confine himself to minor leaderships in various touring productions.
His first opportunity of wielding the
baton
came
through hisfather, who left
him to conducta " march out.".As a result of this,young John was
subjected to along period ofteasing by his
fellow musicians,
because on thisparticular occasion all his embarrassed
1e f thand conk! findto do was tohook itself in his
jacket pocket.
J. van Heuvel,
Junr.

*

*

*

His first London
conductorship was undertaken in
1924, when he directed the show
"Stop Flirting "at the Strand Theatre.
The next opportunity ·again camethrough his father who, in 1925, wasconducting " Love's Prisoner " at the
A_delphi Theatre. Van Heuvel senior
had to give up the engagement suddenly and young John stepped in at two
days' notice to make good.
Again, the father, in 1927, had togive up a similar conductorship at the\¥inter Garden Theatre where " The
Vagabond King" was running, andagain his son stepped in and was so
successful that he played out the runof the show and went on tour with thesame company afterwards.
***
The conductorship of " Rio Rita "was also undertaken at two day's

June, 1930.

notice and, as I know as a result of apersonal visit, he put up an excellent
show.
As London's youngest theatricalconductor I am sure a big future lies
before him.

*

*

*

A Scottish Come-back

Before talkies came to blackout
such luminaries as Norman Austin,
Scotland was always good copy formusical news.
I suppose it is at least twelve months
now, howevu, since I heard of any
activity on the part of my old friend
Norman, and accordingly I am delighted to learn that be has now taken
charge of a fourteen-piece orchestra.
for the new Rutland Super Kinema in
Edinburgh.
Musicians in that city have been
particularly bard hit, and Norman
Austin's triumphal return to the pit is,I hope; a sign of better times andrestored musicaJ sanity throughout
Scotland.
***As usual, these days, when one
kinema restores its orchestral amenities
other theatres quickly follow suit.
The example s~t by the New Rutland

Norman Austin

Sam Finegold

was immediately emulated by the St.
Andrew Picture House, where tlie
local favourite,· Sam Finegold, hasreturned with an orchestra.

*

*

*

*

*

*

The Rutland Theatre has not only
installed an orchestra but, in modern
fashion, it boasts a fine three-manual
Ingram Unit Organ, this being claimed
as one of the largest in Scotland. Its
effects include a Steinway grand piano,a Machell dulcitone and all the usual
tonal and non-tonal accessories.
The Edinburgh Regent Kinema,
not to be outdone, has invested in a
new Compton Organ, and it was
officially introduced to the patrons by
Leslie James, who was engaged for the
opening recital.
I am informed by Mr. Taylor, themanufacturers' manager, who was-E60-

present, that therec e p ti o n accorded to Leslie
was terrific.
LeslieJamesappears Lo be
specialisinginthese installation
recitals, and, as amatter of fact,
has openecj as
many as threeorgans in one
week.
Recently I
founcl. him opening the enlarged
Leslie Jamesorgan
at theA venue Pa vi lionin Shaftesbury Avenue, when heoffered an entertaining mixture oflegitimate and stunt playing whichmuch appealed to the public andshowedoff toadvantage
thecapabilities of the modern unit organ.

*

*

*

A Revue Conductor"Heads Up" Revue at the Palace
Theatre (which was taken of on
May 17th) meant the return of theorchestra again after the six week's
rnn of talking films, so I went roundto see a bit of the show. Maurice
13esly was in the conductor's chair
and the ensemble of the orchestra
was excellent. ·The music on the whole was not too
inspiring, but Miss Louise Browne's
number, in which she dances to the
CJ Minor Valse of Chopin, was far andaway the most artistic item in the
production.
***
After the show I wandered roundto have a chat with Maurice Besly
and ask him how he came to be in
the conductor's scat.
He at once
confessed that his first theatricalventure only started four months
previously.
Having written andarranged the duets that De,r.ek Oldham
and Winnie Melville sang in "BlueEyes," he was at Southampton on
the opening night of the tour. Jock
Prentice had come down specially to
conduct the first performance, andthen returned to town again.
On the second night the touringconductor was taken ill and Maurice
Besly not only conducted the showthat evening, but went on tour for
ten weeks with it, and then came to
the Palace with "Heads Up."***
Always bent upon a musical career,in spite of his classical traiRing hespent six weeks on the stage, thenwent to Leipsig Conservatoire under
Jeichmuller Schreck and Kreh! for
two years.
He then became an assistant masterat Tonbridge till the war.
Commissioned in 1914, he served in

The Melody Maker (M11sic in the Ki11e111a and the Light Orchestra).
France till 1918,
when he waswounded::indtaken prisoner::i.t Mainz. After
four days' travelling on lorries,
the column was
suddenly halted,
and the Crown
Prince got outof a car andcame over to
Maurice Besly
and his frllow
officerandoffered themcigarettes.

MauTice Besly• ••Returning to .England, Maurice· esly became ·organist at Queen's
College, Oxford, and conductor of the
Oxford Orchestra. In 1924 he waswith the Scottish Orchestra and during
1926-7-8 went on a tour twice roundthe world as music examiner for theColleges, during which he conductedmany symphony orchestras andplayed several piano Concertos.
During one concert in Bombay, theheat ,vas so intense that it wasnecessary to have a bowl of powder
at hand between the solo movementsof a concerto to enable him to play,as the cooling fans had to be stopped
becnune of the noise thc-y made whilst
in rotation.

•

When the police were called to the
Theosophical Hall, Frostick was still infront of the image in a dazed condition.
With some difficulty police
officers assisted him to dress.
There was nothing to indicate how
he obtained access to the building, as
the doors were secured and thewindows fastened.

•

•

•

Hidden Lights of RichmondEverythin~ was shining as it shouldhave been when I went out Richmonrl·way to look over the new Mears'
Circuit Kinema.
The sun was shining, as it should in
Richmond, the new orchestra of fifteen
performers was shining and Shineberg,
the conductor, was shining, although
the effulgence of the latter was
limited to a few short minutes during
which he accompanied Bert and Betty
Erroll's stage show and a trailer. At
least, that was all I heard and it seemed
a pity that he was not allowed the stage
for a complete interlude, as I am sure
he would be a big acquisition with the
public.

*

Mau:ice Bcsly, not only holds tte
degrees M.A. Oxon and B.A. Cantab,
but has many orchestral compositions
published, which include "Portraitof a Dancer in Red," " Chelsea
China,"" The Phantasy Suite Romanesque," besides numerous choral
numbers and pianoforte works.
A. C. FaTley

Shineberg
A TTagedy)Jany London and provincial
musicians, especially members of the
Lonclon

Orr.he,tr::il

Association,arepersonally acquainted with Percy
Frostick, a clever violinist.
He received his musical education
at the Guildhall School of Music, andmade his prof~ssional debut at Queen's!{all, London, under Sir Henry Wood,m 1896. He held several important
hotel engagements in London, but hadfor some considerable time been in the
Ko~th of England.
According to the Daily Herald he
was recently found in a nude condition prostrate before an image of
Buddha in the Theosophical Hall at
Leeds, and subsequently appeared at
the local police court, when he wascharged with being deemed a lunatic,
and was remanded for medical observation.
It was stated in evidence that
Frostick had been worried be~ause hehad been out of regular employment.

Shineberg tells me, however, that hedoes give selections occasionally, but
always from the pit. He lives in hope,
however, that he will soon be able toget the orchestra on the stage a11J
take a few violin solo~ himself.

••

The theatre also possesses an excellent two-manual Comptou unit organwith A. C. Farley at the console, but
I regret to say that these musicalamenities, despite their obvious value,
are hardly commented upon in thetheatre's external publicity. There iscertainly nothing to b~ shy about inthis direction.

•
Correction

I regret that in reviewing the opening performance of the Astoria Kinema,
Old Kent Road, S.E., in the April
issue, Woolf Godowsky, who is theresident conductor, was referred to as-561-],me, 1930.

Louis Godowsky, who is, of course,
the well-known concert solo violinist,and is in no way connected with the
Kinema.

*•Making the Best of it

There must be quite a number ofkinemas in the country on the lines of
Sir Oswald Stoll's Newcastle house
where, apart from talkie apparatus, thefull musical equipment consists of asmall straight organ.
With such
limited assistance one would supposethat an organist would be totally nonplussed and unable to do himself
justice.
Bc1t there is a type of man who
can always override such difficulties,
an<l it appears that J. Burnett Fenner,
the resident organ ist of the above
Newcastle theatre, is of that ilk.
Burnett Fenner realised that an allorgan musical programme woul<iquickly pall, especially when the instrnment is a straight one. To getover the difficulty he has called to his
assistance the mechanical orchestra ;that is to say, he carefully selects gramophone records
suitable forkinema presentation and playsthem throughthetheatre's
talkie apparatus
at such a speed
as to bring themin pitch with hisorgan, and withthe helpful assistance of the
projection- room
operator, uses
them as accompar.iments to his
organ solos.
So long as the
Burnett FenneT
operator is aperson of "savvy " these records ca1
be made to play with correct balanc~
by means of rheostats.
Undoubtedly Burnett Fenner'<; iclP.::i.
could be adopted with equal profit byother organists in similar circumstanres.
Asleep. in the DeepI think that the most monotonousand soul-killing job that any musician
can ever have is to be engaged as a"stand by " to a talking film programme, and only to have a chance ofplaying when a breakdown occu1·s.
I notice a trade paper gloats overthe funny story supplied by anoperator in a large suburban theatre
in which the stand-by organist dozed
off duri11g Lhe last show, and wokewith a start to find himself facing a
blank screen. Presuming the film hadconcluded he plunged into "The
Kir.g " only to find that a breakdown
had occurred !

The Melot[y Maker (Music in the Kine!lla and the Light Orchestra). June, 1930.
Ch&rd OnDROPPING THE PILOT
Officers of the London Branch of M.U. Repudiated
HE London Branch of the'Musicians' Union has beenpassing through a bitter period
of internecine feud, due largely
to the apathy of the vast bulk of its
members, whose interest in Union
questions having a political flavour isnegligible.
As a result, a lusty destructive
minority has succeeded in dominatingr ecent general meetings to such an
extent that t he President decided toresign, although the executive committee fully supported him.
At the moment, and as a result of
the last of these three meetings, thecommittee is disowned, and a demandhas been made to Headquarters of
the Union in Manchester to send
down a committee of enquiry, with aview to re-forming the constitution of
the London Branch and revising thepresent personnel of the secretariat.

T

JT is incredible that the London

Branch of the M.U ., in v iew of its
long record of useful and diplomatic
accomplishments on behalf of legitimate orchestral musicianship, shouldhave arrived at an impasse where atiny section of its members should be
able to wrest the initiative fromthose officials whose guidance has
proved so fruitful, and who standfirmly entrenched in the confidenceof ninety-nine per cent. of members.
It has happened simply because
these supporters have thoughtlessly
failed to rally to their aid, and have
not realised the dangers attendant
upon their heedless!].ess.
U NFORTUNATELY the d isputehas centred round one whose
close connection with THE MELODY
MAKER demands some -statement of
his position; I refer to Mr. Arthur W.
Owen, the editor of this section, andlate president of the London Branchof the Musicians' Union.
As he can hardly adequately speak
for himself, I intrude into his pages
to make his position clear to those
who, not having the advantage ofknowing him personally, can hardly
realise the altruistic and self-sacrificing
efforts he has made over very many
years on behalf of his fellow musicians. ·A RTHUR OWEN'S association with
the M.U. has always been in astrictly honorary capacity, and is not
dated from days when he had time tospare for such work, but rather from aperiod when he was as busy a man as
any in the profession.
He joined the staff of THE MELODY
MAKER in June 1928, relinquishing
the leadership of an hotel orchestra
for the purpose, and after as long acareer in the kinema branch of theprofession as can be boasted by very
few others. For ten years solid, forinstance, he was a conductor of thekinema orchestra at the Angel, Islington, and as a musician holds qualifications which even to-day would assure
him of regular and high salaried
engagements either as a conductor ororganist.

J SPEAK from personal knowledge

when I say he has privately fixed
up more musicians in engagements inthe last two years-without, incidentally, a: penny of financial rewar dthan any commission agent in London,
and that time and again he has refused
remunerative deputy work rather thandeprive the workless of earnings ofwhich they stood sorely in need.
This, then, is the man who, when he
was offered the editorship of theKinema and Light Orchestra Sectionof THE MELODY MAKER, placed thesuggestion before the Executive Committee of the London Branch of the
M.U. for its consideration.
It resulted in a vote of confidence
in him, and the official expression of
the opinion that the co-operation of
THE :MELODY MAKER, which he might
be expected to affect, would be invaluable. He was at that time VicePresident.
In J anuary, 1929, he was returned
unopposed to the Presidency, on whichoccasion he received a further voteof confidence and thanks for his assistance, both as an honorary official andhours of their contracts. This articlecommented on " The Mean Mentalityof Musicians " who, in view of thepresent conditions of kinema musicianship, might well have been responsible
for arousing the antagonism of wellmeaning· employers and conductors.
So incensed were some of themembers, who apparently cherish theconviction that a musician can do nowrong, and an employer must always
be suppi.:essed on principle, that t hey
conspired t o present a petition to the
U nion calling for the dismissal of
Arthur Owen from the P residency,
and alleging that he was working
against the interests of the Unionand that, in any case, he was not abona fide member of the profession.

A GENERAL meeting was called,

but only a handful of members
attended it
After irregular procedure, a voteof censure was passed on the President.
The minutes of the meeting were thenexpunged from the records on accountof the irregularities and a further
meeting took place.
This resulted similarly, but again it
could have been dismissed as irregular,
as a large number of voters were proved
to have forfeited their franchise.

through being in arrears of contributions.
At this stage Arthur Owen resigned,
not only in disgust but to relieve theUnion officials of any personal embarrassment.
The president elect then cla}medoffice, but the serving Executive
Committee refused to work under him,
its sympathy being all for the policyof conciliation and coIJective bargaining advocated by both Arthur Owen
and the permanent officials.

journalistic propagandist.
A year after he again stood for thepresidency, and though another candidate was in the field, he was returned
with an enormous majority.

[N the last February issue of THE

MELODY MAKER an article which hedid not contribute caused a great dealof annoyance to a small section of the
London members of the Union, because
it whole - heartedly supported thedisciplinary action of the Executive

AfEANWHILE the Daily Worker,
that fiery organ of the "reds,"
came out with a story, headlined" Betrayal," referring t o Arthur Owen andhis fellow members of the committee
as " Reactionaries," and the former
as an anti-trade union president.
It also alleged that the branchleaders only served as it enabled themto retain cushy West-end theatrejobs. ··
The article stongly urged the build-

Committee over members of a Westing up of a Minority Movement inside

End Orchestra who resented including
rehearsals within the spread - over

the M.U. in order to appoint militantcommittee men with a view to-· 562 -:!he Metotfy Maker (Music in the Kinema and the Light Orchestra). June, 1930.
the " sabotage of thereactionaries.''
SUBSEQUENT article in anothersuppressing

A issue again called for the sameaction. Nobody but fellow visionaries
takes the Daily Worker seriously, but
it is as well to contradict any
suggestion that the members of the
Executive Committee have any axe togrind in giving their time and efforts
to. the conduct of Union business.
Not only is this committee properly
elected by a full ballot of members,
but of the twelve members, president,
vice-president and three trustees, only
three have West-end theatre jobs,
and in any case come from the rank
and file, while some twenty-five percent. of the remainder were actuallyon the disengaged list at the time ofthese proceedings.

T HE only importance which can be
attached to this Daily Worker
propaganda is to show that there is aminority p arty of the Union actively
concerned in breaking down thepolicy of collective bargaining whichhas proved so beneficial during the lasttwelve months.
There are times when the good willof employers is vital in the interestsof musicians. · Any other policy will
result in alienating all sympathy fromthe profession, and delay the normal resumption of work in kinema orchestras.
Arthur Owen is the first pilot dropped, and though it frees him to lookafter his own interests, it deprives theprofession of one who might have done a
lot more good work in steeringmusicians back into a safe harbour.
P. M . BROOKS, Editor.

General News and Notes

MORE NEW KINEMAS
Seating
capacity.

Owners.

District.

NEWCASTLE NEWS
Gaumont British Scheme
T HE Gaumont-British Company own
three kinemas in Newcastle-on-Tyne.
The Grey Street Picture House, stillrunning a " silent " programme, andemploying a small resident orchestra.
The Westgate Picture House, withorgan, but no orchestra, running talking
film programmes.
The Pavilion, with an orchestra ofeleven players, which is required to give
stage presentation shows three times
daily, as an interlude in the talking film
programme, and in addition transfer theirservices, when required, to play anoccasional silent film at the Westgate
Picture House, or augment the GreyStreet small orchestra for interludes.

*

*

*

*

*

The Plaza, which is a new suburban
theatre retained an orchestra of eighttill May 10th, but now relies upon organinterludes only.
***
Two concerts were held on behalf ofunemployed musicians at the Empire
and Palace Theatres recently, a nd thesplendid sum of £150 was collected as aresult.

PORTSMOUTH

ACTIONPortsmouth branch of the .
Musicians' Union and the local Trades
Council have sent a combined deputation
to the Portsmouth municipality protesting
against the engagement of service bands.
It is stated t hat if the money spenton these engagements during the 1929
season had been used for the engagementof civilian musicians, it would haveabsorbed the local unemployed musiciansfor over five months.
THE

lo11don and Subt,rban.
Lewisham, S.E....
Kensington, W.
Tooting, S.W.

Gaumont British
Mr. Herbert Yapp
Bernstein Theatres, Ltd.

3,000
3,000
4,000

Prouincial.
LeicesterAyr, Scotland
Gravesend
Leeds
Grays, Essex
Leamington Spa
Coventry...
Humberstone, Leicester
Colchester (Regal)
South Shields ...
Sparkbrook, Birmingham

Mr. Bert Cole
Geo. Green, Ltd.
Gem Theatre Co.
Shaftesbury Trnst, Ltd.
A. E . Abrahams
Mrs. S. Devis ...
P.C.T.
Mr. W. B. Cole
Messrs. Ager and Thompson
Thompson's Enterprises, Ltd.
Hockley Picture House Co. . ..

2,000
3,500
1,400
2,500
1,000
1,600
2,600
2,000
1,500
1,000
1,500

SEVEN MUSIC HALLS
to become Cinemas
GROUP of London suburban Music
Halls, known as the Summers
Brown Circuit, has been purchased
by Victor Sheridan for the purpose ofturning them into kinemas.
Extensive alterations and wiring fortalking films, are already in hand, and it
is expected to re-open the theatres in theearly autumn.
There is no doubt that stage presentations will still be given, ·and orchestras
will, in consequence, be still necessary.
The theatres included in the Circuit are
the Kilburn Empire, Croydon Empire,
Ilford Hippodrome, Grand (Clapham),Camberwell Palace and Empire.
*
*
*

A

LONDON THEATRE
GOES TALKIE
New Premises~ E Prince Edward Theatre, which was
only opened at the beginning of April
with the , musical comedy " Rio Rita,"

is to be used for a limited period for theFox talking film "Song O' My Heart"
All the principal modern London
theatres are now wired for talking films,
and it is evident that between the production of pla.ys and revues, they will _be
used for the presentation of films.

*

*

*

Assoc. BRITISH CINEMAS
Extension_of Circuit

Af R.

John Maxwell, the managing
director of t he A :B .C. Circuit, has purchased five more London theatres, whichwere owned by Mr. Abe Gilbert.
They are : The Palladium, Brixton ;The Coronation, Manor Park ; The
Queen's, Forest G·~t e ; The Olympia,
Shoreditch ; and the Hippodrome, Poplar.
At _the present t ime there are no orchestras engaged at the,:;e kim:mas, andt he change· of proprietorship may be ofadvantage as it is quite possible that stage
presentations will be given which will callf<;>r orchestral acco~paniment.
-

5-63-

*

*

*

NEW ORGANINSTALLATIONS
MesSTs Compton & Co.

l\JEW Compton Unit Organs have been

installed during the month of May inthe following theatres :On May 5th, a two-manual instrument
at the Alma Theatre, Luton, opened by
H. A. Dowson.
On May 12th, a large 3-manual instrument at the Regal Kinema, Glasgow.
On May 19th, a large 3-manual instrument at the Piccadilly Theatre,
Birmingham, this being the sixth Compton organ to be installed in tire Midlandcity.
•
M essrs Hill, Norman & Beard
New Christie Unit Organs are shortly
to be insta lled by this firm at the Capitol
Theatre, Swansea, and the Electric
Theatre, Bournemouth.
***

FACULTY OF ARTSNew Premises
THE Faculty of Arts has removed from

Upper John Street, Golden Square, W.,
to premises in the same building as theRoyal Institute of Painters in \i\Tater
Colours, 190-195, P iccadilly, W.l.
The necessary structural alterations andre-decorations are at present in progress.
and the members' suite and the Concert
Hall will be opened early in June.

The Melody Maker (Music in the Kinet11a and the Light Orchestra).

LATEST ORGAN

June, 1930.
Reginald Foort in " Now I 'm in Love,"gives us excellent phrasing, clear cut
rhythm in syncopation, and quiet but
effective orchestra imitation.
H . Vincent Collier p lays one number ofthe " Sylvan Scenes " Suite. There islittle attempt at orchestral imitation, but
the registration used makes a pleasing
tone picture. The changes are a little
abrupt in several places, but this is often
unavoidable when a change of manual isnecessary.

&

Light Orchestral Records
COLUMBIA.
(12 in. Dark Blue label, 4/ 6.)
The Court Symphony Orchestra.
"THE THREJ! i\JIUSI<ETEERS." Selection,
Part I. Friml.
" THE THREE, MUSKETEERS." Selection,
Part 2. Friml.
(DX 40)The introduction arrests attention
because of its peculiar rhythmic.; orchestration.
"Every Little While," and" Queen of My Heart," the latter arranged
for trumpet solo and beautifully played,
are tbe principal song successes of theplay, and the recording shows how wellthey merit their success.
Part 2 opens with " Your Eyes " valse,and "Ma Belle," a dainty melody
elaborated with glockenspiel effects. " The
March of the :illusketeers," with its finemartial melod ies, splendidly recorded,
completes an outstanding record.
***(10 in. Dark Blue label. 3/-.)
Stanford Robinson's National Folk Dance.
Orchestra.
" DICK'S :il'IAGG0T " (Folk Dance) .
" NONESUCH " (Folk Dance).
(DB 82)
Cecil Sharpe's clever arrangements ofthese old English folk songs provide somuch contrasting tone colour that theconstant repetition of the short themes
never becomes monotonous. Both numbers are models of careful presentation,
the varying degrees of light and shade
being faithfu lly portrayed.

*

*

*

Emil Velasco (Organ Solo).
"ESTRELLITA" (M. Ponce).
"LA GOLO~DRINA" (Mexican Air).
(DB 85)
Excessive use of the tremulants anderratic diminuendo and crescendo effects
on the swell pedals produce an excellent
imitation of a musician playing a giant
accordion.
T hP. xylophonP. P.ffec.ts in " La Golondrina " appear to be somewhat strange
in their harmonic form.
To be candidly critical, it is impossible
to find a redeeming feature in such a.
record, which is a parody of modern
unit organ presentation.

*

*

*

Albert Sandler and His Orchestra.
"DREAM LovER." Schertzinger.~":ilIY LovE PARADE."-Schertzinger.
(DB 92J
These popular theme songs from " The
Love Parade " film, give Albert Sandler
a splendid opportunity for effective solo
playing, of which he takes full advantage,
being well supported by a sympathetic
accompaniment from his orchestra.
H.M.V.
(12 in. Red label, 4/6.)
Arthur Catterall.
(Violin solo with piano accompaniment.)"CHANSON DE lV!ATIN."
Sir F.dward Elgar.
"CHANSON DE Nurr."
Sir Edward F.lgar.
(C 1839)
A record so near perfection thatcriticism is completely disarmed, and highpraise is du e, not only to soloist and accompanist, but also to the recorder.
The outstanding record of the season,
which every violinist should possess.

*

*

*

Marek Weber and His Orchestra.
"SUITE ORIENTALE." Popy.
(C 1845)
Part 1. LES BAYADERES, a romantic
number, with characteristic flute and oboe
solos.
"Au BoR0 m:: GANGES," the opening
oboe solo, with horn answering theme, isfollowed by violin and flute solos, equaJly
well played by all instrumentalists. The
concluding ensemble passages are cleverly
phrased.
Part 2. " LES ALMEES," a dainty number with wood wind duets and tambourine effects, is followed by the" PATROUrLLE," a 2/ 4 interspersed with afanfare of trumpets, with answering
echoes from horns. Good tone is displayedand excellent ensemble, in the last movement. Recording ex1;ellent.

**

PARLOPHONE.
(12 in. Dark Blue label, 4/6.)

Victor Olof and His Salon Orchestra.
"LA SouRCE" BALLET SUITE. Delibes.
Parts I and 2(E 10983)
Part 1 contains the " Scarf Dance "and "Scene d'Amour." Both numbers
are presented with minute attention torhythmic sequence, and the tonal balanceof this salon orchestra seems to lend itself
to a natural ensemble.
Part 2 commences with the air andvariations for two flutes, played with
precision and delicacy. " The Dance
Circassienne " with its brilliant finale ispresented in exce11P.nt style.
Good recording helps to enhance abriliant record.

*

Sydney Gustard (Organ Solo) .
(Played on the Viiurlitzer Organ of Trocadero Kinema, Liverpool.)" PouPEE VALSANTE." Poldini.
.. UN PEU D'AMOUR." Silesn.
(B 3318)
Clever registration and the careful andrestrained use of the tremulant combine
to make both sides of this record excellent examples of the capabilities of themodern unit organ.

*

*

*

Sandy Macpherson (Organ Solo).
(Played on th e Organ of the Empire
Theatre, W.)"ALONE IN THE RAIN."
Goulding and" MOLLY."
Dougherty.
(B 3379)
These theme songs from " The Grand
Parade " make an interesting and melodious record. ·Tn " Alone in the Rain," several instrumentalists augment the solo organ,
and in" Molly," a saxophone and clarinet
are used in a similar manner. To label
such a record as an organ solo is unjustifiable, and although obvious to themusician, may deceive the general public.
The practice should be discontinued.
*

*

*

*

*

Jesse Crawford (Wurlitzer Organ Solo.).
"I'LL CLOSE MY EYES." Friend.
"CRYIN' FOR 1'HE CAROLINE$." Lewis.
(B. 3382)
Examples of clever registration are
frequent in this record, but constantchange upsets t he rhythmic sequence ofthe melody into detached and meaninglesssections. Glissando effects are also overdone, and the record becomes " affected "rather than artistic.

*

Reginald Foort and H. Vincent Collier.
(Wurlitzer Organ Solos at the New Gallery
Kinema, W.)"Now l'M lN LovR." Yellen and Shapiro"SYLVAN SCENES." F letcher .
(B 3361)
It is interesting to compare the different
styles of these two organists, who record
from t he same organ.
-564-

*

*

*

*

*

*

Dajos Bela Orchestra.
.. THE COUNTESS MARITZA " Po·rPOURRI.
Kalman .
(E 10982)
The martial introduction is followedby an andante violin solo played withmuch sympathy. A valse excerpt in true
Viennese style is attractive and a brightchorus number in 2/4 concludes the firstpart.
On the reverse is a long violin solo withcharming themes elaborated by violin,
flute, and 'cello obbligato passages. A
brilliant Czardas allegro movement serves
as a finale to a very tuneful potpourri well
played and successfully recorded.

1(IO in. Dark Blue label, 3/- .)Philip Dore (Organ Solo).
(Played on the Bournemouth Pavilion
Compton Organ.)"nm STUDENT PRrNCE" (Selection).
Romberg.
Parts I and 2.
(R 624)The Unit Organ adaptation of thismusical comedy selection is not an easytask, and the fact that Philip Dore has
failed to secure a satisfactory presentation proves the vita l necessity of adequate
knowledge of the recording value of eachregistration used, particularly in regard
to orchestral imitation, which is weak andineffective in this case.
The use of a heavy pedal organ in the
opening chorus is .justified, except in thechange of manuaf registration, where its
prominence was immediately noticeable.
The registration in the solo numbers was
not a success, and the practice of holding
sustained modulating chords with at remulant, results in something verymuch like a " w'ooble." Staccato effects
are overdone in the heavy chorus registration, giving the inevitable fair-organ
effect. Much experimental work must be
done before any records-worthy of either
this talented organist or the organ at ·which he presides are produced.

The Melo& Maker (M11sic in the KinetJJa and the Light Ord:iestra). ]Ht:e, 1930.

THE ORGAN· IN THE BALLROOM
Substituting for a Dance Bandby JAMES HODGETTS, F.R.C.O.
name of James Hodgetts is aword in Lancashire
T HEifhousehold
only for the fact that its owner
was the idol of the Tower Ballroom
da.ncing fans for many moons.
The first public appearance of oiw
contributor was in his early teens, when
he was billed as a bo_v virtuoso pianist
presenting Beethoven Sonatas to local
musical enthusiasts.
Turning his st1tdies to the organ, he
subsequently held numerous church organ
appointments and also organised andconducted the Burton-on-Trent Orchestral Society, whose orchestra numbered noless than seventy performers.
A period as solo pianist and accom-W

HEN speaking of the adapta·

tion of dance music to thekinema organ, one is immediately confronted withthe problem of endeavouring to reconcile two radically opposed elements,
inasmuch as dance music is, and always
must be, nine-tenths rhythm, whilst
the organ is not, in the tone sense of
the word, a rhythmic instrument.
However, the modern kinema organ
is certainly a great stride in the
direction of rhythmic f~eling, if only
by reason of the inclusion of many
forms of percussion, since percussion
was undoubtedly the first means ofexpressing rhythms in sound, and, toa very large extent, must still govern
the successful playing of dance music.
Two Aspects.

The whole question of organ
adaptation may ue considered from
two aspects : one is the simple playingof dance music on the organ-theother is the playing of dance music
to and for dancers, and this latter sideof the question must be looked at froman entirely different view-point.
"' Almost every kinema organist will
have played dance music in the usual
course of his work, but in the playing
of a dance number as an ordinarysolo, trifling liberties may legitimately
be taken, for the sake of effect.
W.l\l:n the same number is played
for actual dancin,15, however, I must
once again labour the point that the
one essential feature is, and must be,rhythm. Fanciful registration, constant changing of " effects," inordinate
use of the "slide," etc., must all, if
necessary, be entirely subordinatedpanist in conjunction with seve,,at wellknown concert artistes followed.
The war intervened and within a yearof returning home he took his F .R.C,O.
degree.
Then followed foHr years as soloorganist at the Winter Gardens, Blackpool, as Musical Director of the Blackpool
Lyric Operatic Society and the Fleetwood
Choral Society, and subsequently as soloorganist at the Tower, Blackpool, where
his dance music has been such a greatfeatu.re of the Ballroom during the_ past
winter season.
At p,,esent James H odgetts is acting as
solo orl{anist <it the Pallad·iu:m J<i11ema,
Blackpool.

to the need for a strongly marked
rhythm.
In short, the player should treat
his instrument, not as an organ, but
as a dance orchestra, and the characteristic features of the danceorchestra must, as far as possible, be
reproduced.
Many of t he published organ" arrangements " are not successfulwhen played for actual dancing, thereason being that the arranger willtreat the Unit instrument either too
much on the lines ·of the ordinaryorgan (with its smoothly-flowing
legato phrasing), or, on the other hand,
he may become iuloxicated with themany resources of the modern kinemaorgan and, in the endeavour to makeuse of them all, will produce a kind ofmusical (but very fidgety) " crazyquilt."
In either case, the rhythm, fr.om adancer's point of v iew, is bound tosuffer. It is hardly possible, within
the limits of an ordinary article, totreat upon the whole question ofadaptation, but before I pass on to
give a few hints which, I hope, may
be of service, may I be permitted to
say that the many variations of soundand effect possible on the Unit organcan, when injudiciously used, become
the worst form of monotony ?
Don't Be "Jazx:y."
The in(',P.ssant use of bass drum andcymbals, and the " tonkle, tonkle,
tink, tink, chink, bang, zing " effect,
so beloved by many, may dazzle thegroundlings for a few moments, but
one is inevitably reminded of the" dobby-horses " on the fair-ground,
-

565 -

James Hodgem, F.R.C.O.

or, worse still, t he " one-man-band !
Practical Points.

Now for the hints which, as theresult of my own experience in playing
to actual dancing in one of the largest
ballrooms in the l(ingdom, may, I
hope, be found useful.
In the first place, I would recommend playing from an ordinary P .C.
score-endeavouring to give a strongly
defined melodic outline, t ogether witha crisp accompaniment in a totallydifferent tone colour. The accompaniment may quite easily be infinitely
varied from a rhythmic point of view.
I give below a few short and.obvious
examples of the rhythmic possibilities
in a simple phrase : these may bevaried almost indefinitely .
They are extracts from the fox-trot"Birmingham Bertha," published by
Messrs. B. Feldman & Co., to whom
I am indebted for permission to quote
this number.

i~:rr 1~r 1
c.e 1;l::11!:

1

The Melotfy Maker (Music zn the KineJJJa and the Light Orchestra). June, 1930.
when judiciously used, adds inestimably to the effect of many combinations,but, when over<lone, it becomes
merely a source of intense irritation.
In the playing of fox-trots, particularly, the tremulants should be mostsparingly used.
I would not rely too much upon" double touches " in dance playingthey do not conduce to a crisp rhythm.
Percussion Effects

Make your changes of tone-colour ona half-beat, and endeavour to have as
many different tone-colours as possible
arranged beforehand on your pistons,

Now for that most important question, percussion : do not allow yourpercussion effects to become monotonous, but, once more, rememberthat rhythm is the soul of dance music,
and that percussion is the soul o-frhythm.
In your accompaniment, " ring theas there is very little time for individ-

changes "The Orchestral Palette

ual registration. Use the " flue ''tone very sparingly, and make all" solo " pass<1,ges as orchestral incolouring as possible.
In regard to orchestral colouring, I
cannot speak too strongly against theincessant use of the tremulants. Only
too often one bears what would otherwise be good, crisp and clean orchestral tone, distorted by a perpetual
A crisp " pianoforte " touch is, of"wobble," the resultant effect being
course, most essential, particularly in · that of a glorified harmonium, and a
fox-trot playing. Avoid all suspicion
consequent ridiculing of the Unitof " legato " pedalling, and do riot
organ as a serious musical instrument.
overdo the 16 ft. pedal tone- nothing
The tremulant is a most valuable
will so readily give a " church " effect.
adjunct to the kinema organ and,

CZ,el Onol/ier,,:li , M••tru'hld JIO.d
Croydon.
S-\lr--NJ' .

- JO~• i..q.,u , Untt. ~san•.

t. Yo"4E IWl•d• r. '1.

The Compton Organ gives the effect of aSymphony- Orchestra, Dance Band and a fin eOrgan, at the instant control of the organist .
There is a Compton model for every building,of what <;ver capacity. In small theatres organchambers are not necessary.

TWENTY THREEt bAd U~ opport,u\Ui)' ot •Nl'l<llng • -1'1\tng N♦. .u.17.... t.1.n.g th• •cN"hU• Ot-gt.a• at Uw R•i•l J;orwood, 1>114 ~ ·ltk• to c,onw•1 IQ' 111:PNnlon.• to yCN.

COMPTON ORGANS•J.~"1•-ne•1111
ot l:r\&11'b t'nlt OTcw.. h NthtJ" 11-lttod
bUt ln AM,:"1U, I ..... pl.t.7ed Cit!- Or-e;t.n• by al l U-... lMd.tns
01=~~~-~
o~~~ 111:-r!oo,i~~::,~;
Ort•;;

tam-

the Perfect Theatre Organ

Opinionof the'snare-drum,

COMPTON

cf Unbiased

~

upon

bourine, castanets, tom-tom, woodblock, etc., on " off " beats (suitingthe " effect " to the style of music, cf
course), reserving bass drum, and,particularly, cymbals, mainly forstrong beats.
When estimating the " weight " oftone necessary for a dance number, do
not forget the noise made by thedancers' feet on the ballroom floor.
Finally, and most important pointof all, play, and play constantly, tothe metronome, remembering that one
second's variation in the rhythms may
have disastrous effects upon the
success of the dance.

are now under conslruclion including the following :-::e:..! Jr:;~~.!e:ti!ri::r! ~~}~t;! ·~ ~t:"k:l@.!t;.,t§Lp,:~!!~,t~4~t:..fN.::if~•:;:nt~!~ lnolwted lti tiw
0~p=~!=n~t~ueiion,, and !oN•A Jtt•ct,. d l ot 111b1ob &N ot ,..,..,. ii.-

t\tm1ftg to tbo DOC,1-nlet.1 atd:, , J tOliUl4 \ht aotlon t,0 c..
perte,c,t ln N•JIOfl•• • lt t.t1tW11r.d lnt'-nt.&n•o-.uly to tN ao,t•xae tlng
wtl.leb f =-.d.. 1 ••• llrprtHtod I.hob:, \be.cuon of tr..o &'lflllll Sll!Jtten, .o '1U..H7 lapovt-.nt u, • ClM•
OT611-ft: ._, 1.ho the TN911.Lh,nt,t••t.•?bo :It.ope -.rl4 Controh are eo,t oonv•nlantl7 •rT•l'.\Pll.
and I f•lt '1,l1t• at hoM 1.ti.r • lH' atnv~• OJ\17 at ~Ccmeoh, tho dadg,i ot .tltoh U •p.Ulo• M ·..,.4 111 UIJ.1
41Notlon u-.. •c2ir.t1Ue ~• r., dotrtnlta l7 oaul>Um.4
a latd.
111 oonolu,ton --, I oon.gre.tt.uat, J"OU.1' >'l"' .,. tht
procl\1c.t1oe or ,uch • 1plt l'ldld C1ntc,t Ot-eant•For P .C.T .
•Capitol, H aymarket, S.W .
•New Super, Victoria, S.W .
Trooadero, Southport
The Plaza. Birk enhead
Bear wood Cinema, Birmingham•Rink Cinema, Smethwick•Coliseum, Burslem
Piccadilly, Birmingham
tA.B.C. Cinema, New Street,
Birmingham

tFor A .B .C .
tA.B. C. Cinema, Brighton
Central, Folkestone
Carlton, E ssex R oad, N.
Astoria, Finsbury Park
Astoria, Streatham
Capitol, St. Albans
Globe, Clapham
Empir e, Aldershot
Capitol, Wembley

THE

JOHN COMPTON ORGAN COMPANY, LTD.,CHASE ROAD, WILLESDEN, N.W. 10.
Telephone: WiHesde n 6666 (th r e e fines).

-56~-

The Melotfy Maker (Music in the Kinema and the Light Orchestra). June, 1930.

AROUND THE PUBLISHERS.
CHAPPELL & CO., LTD.
Important new issues from this firm
include, in the Cocert Edition, " CINOERELLA," by Eric Coates, a phantasy
which can be used either as a concert
piece, or as a ballet.
It is dedicated to the " Cinderella "of our imagination.
A concise a nd
. descriptive synopsis is given on t he
P.C. copy, and should be included in theprinted programme whenever presented.
The phantasy is full of bright andoriginal composition, well contrasted intone colours and effectively arranged.
It adds to the com1-oser's already excellent reputation.
F.O. 7/6, S.O. 5/-, P.C. 1/6, E.-P. 8d.

Chappell's Orchestral J oiwnal.
" MARCH OF THE MUSKETEERS .. and"1\fa BELLE," by Rudolf Friml, are two
numbers from "The Three Musketeers,"
both arranged by Walter Paul. They are
the two outstanding numbers of the stage
success, and will prove popular interlude
numbers when presented by either
orchestra or organ.
F.O. 3 /4, S.O. z /8, P.C. 1/-, E.P. 4d.

"THE SHADOW OF A ROSE," by Vivian
Ellis, is a valse lente inter mezzo, withmodern orchestration by Kennedy
Russell.
"UNE AFFAIRE D'AMOUR," by Citthbert Clarke, is an a.ndant.e con m oto,
Serenade passionelle, that will be usefulfor hotel and cafe orchestras, presented
as a violin solo with salon orchestral
accompaniment.
"JUST As VlE U SED TO Do ..
(" Maruska "), by Dino Ritlli, and" WHATHAVE I DONE," by Walter Ju-r yman,are both popular valse numbers which
unit organists will welcome for interlude
use and light orchestras for hotel work.
Single numbers, F .O. 2 /8, S.O. z/-, P.C. 8d., S .P. 3d,

FELDMAN & CO.
Important new numbers are' issued
from the" Lyra" editicn of C. F. Peters,
Leipzig, which _appear to be speciallysuitable for restaurant, hotel and light
concert presentation. They include :"SPANISH DANCE" Suite, 11-loritz Moszl1owsl1i, in five separate numbers, arranged by Gottfr. Huppertz. Two or
three numbers from this fine suite shouldmake an outstandir.5 orchestral stage
interlude in the kinema, while salon hot elorchestras will find each number wellcued for effective performance. The organ
or harmonium part; as it is usually calledin these Continental arrangements, is amodel of what is required for either themustel, or modern unit organ.
F.O. z/6,Salon •1-, Quartette 1 /3.
"SERENADE IN THE RAIN," A. Gamoin,
a 3/ 4 allegretto in Valse Boston style,contains dainty and melodic themes
which offer the " hotel " solo violinfst" temperamental possibilities.""MORNING SERENADE," Italo Arzoni,
an a11dantin<> modemto with gracefulflowing melodies, a new number whichmight with advantage replace some of the ·hackneyed Italian seren'.ldes so often
played in first-class hotels and restaurants.
"HALLOREN "-March, Max ](cempfert,
a 4/ 4 novelty, opening with tambour andpiccolo duet.
The strings and wood wind instruments
gradually join in. A few bars tambour
solo is followed by an ambitious fanfare
of trumpets, leading to a brilliant marcia
ensemble.
Sym, Orch . 3/- F.O. 2/6, S.O. 2/ -, Quart tte 1/6

Kinema organists will find a volumecontaining fifteen of the famous Johann
Strai,ss' valses useful for recital andinterlude presentation.
Price 3/ -.

HAWKES & SON, LTD.
New issues of the Hawkes' Concert
and Oct avo Editions include :. "NAUTICAL MOMENTS," a selection by
Ai,brey Winter, in troducing popular
nautical melodies, adapted and arranged
in march rhythm, forms a spirited concer t
or interlude number.
F.O. sf-, S.O. 4/-, E.P. 6d., P.C. 1/6.

" MELODIE n'AMOUR," by Jan Hurst,
arranged ·by Adolf Lotter, is an andante
con espressione, with a poco piu mosso
movement as a secondary theme. Thisis a very musicianly composition, modern
but melodic in conception.
F .O. 3 /-. S.O. 2 /6, P.C. 8d., E.P. 3d.

KEITH PROWSE & CO..
LTD.
" NEGRO SPIRITUALS " Potpourri, harmonised and arranged by Herman Finck,

is an excellent selection of these popular
melodies. As an original stage interlude
this potpourri should b e an outstanding success.
"GEE Wmzz," by Byron Brooke, is a
xvlophone solo, with orchestral accom•
paniment. The solo part is well written
and contains a brilliant cadenza as an
introduction to a presto gallop movement.
Unit Organists will find the following
useful for interlude or r ecital presentation.
"DARK RED ROSES," by Philip
Braham, is a theme valse much above theaverage, lending itself easily to adaptation.
" KEWPIE," by Gene Rose, is a novelty
fox-trot, giving a chance for effective useof marimba and glockenspiel solo effects
in addition to the usu al orchestral imita-tion.
" THE LITTLE DUTCH DoLL," by Pierre
Blauu.w and Harry Revel, is a novelty
Unit Organ solo number.
The above Crgan solo numbers are z /- net.

J. R. LAFLEUR & SON,LTD.
A varied assortment of new numbers
are submitted for review by this firm.

For the R inema Orchestra.
"Six ExcLAMATIONs," by Jean Beghon.
No. 3 is an allegro con fuoco of aninteresting dramatic nature, providing-- 567-

suitable synchronisation for duels or
dangerous rescue episodes.
No. 6 is a work with numbered sectionsof contra.sting tone colour, and offers
facilities for synchronising brutal ortimid characterisation in detail.
Each number is published separately.
F.O. 3/-, S.O. z /- , P.C. 1/-, E.P. 8d.
"POMP AND GLORY," by Ernest F .
Jones, is a Marcia maestoso in 3/4, whichis played in Polonaise tempo. Country
scenes of splendour are suggested by thisoriginal number, which is melodic andyet quite modern in style and scoring.
"EMOTIONAL NARRATIVE," by Wm. W .
Lowitz, is an andante con dolore in 3/4,
gradually leading to an appassionata piu
mosso section, and returning to theoriginal theme and tempo for finale. Thisis a type of composition which, whenplayed in a listesso tempo, can synchronise
perfectly with the varied emotions
expressed on the screen.
" BACCHANALIAN DANCE," by Guiseppe
Ferraro, is a 2/ 4 presto number, with apoco meno section in the centre withcurious rhythmic sequence.
Al)Qve tbree number<;;

I /6, Ex. P. 1od.

F ,O. 4 /-, s.o. 3/- , P,C.

For the Organist.
"FrLM-PIANO-THEK "is a bound volume
of fourteen numbers by Jacob Gade, in
piano score.
The contents include threeromantic love themes, Oriental numbers,
ballet music, etc., all useful for film
.synchronisation and requiring little adaptation for Unit Organ.
Price 2/- complete.
" ORCHEST-ORGAN " is a loose-leaf albumof six numbers in organ score.
The
contents include : " LITTLE FLOWER GARDEN," a capriceby Carl Breit, " LOVE'S DECLARATION,"
a romance by Maurice Baron, and"EXTASE MELODIEUSE," by Joseph
Littan, etc.
_
These numbers are suitable for interlude
presentation,· and orchestral instrumentation cues a re given which enable the Unit
Organist to secure satisfactory orchestral
imitation.
•
Price 3 /- complete.

"BELWIN FoLio " is a bound volumeof eight numbers in piano score, containing" Romances and Serenades;" by R. Dr-igo
and other eminent composers.
Price 2 /6 complo!te.

For Dance and Light Orchestras whichr equire straight numbers arranged inmodern style, including banjo, alto andtenor saxophone parts : " LA MrDINETTE," by Herman l(ahn,
is a Parisian one-step, a characteristic ·bright and melodic n umber.
"EMPIRE SrATE MARCH," by I se Joels,
is a rousing American number in C, witha melodic trio and alto saxophone solo.
F.O. 3/6, s.o. 2 / -, P.C. 1 /-. E,c. P. 6d.

" THE DRUMMER'S DELIGHT," by Steve
Edwards, is a snappy drum novelty
number, cleverly arranged by the composer.
F.O. 3 /6, S.O. z/6, P.C. 1 i-, Ex. P. 6d.

The Melorjy Maker. June, 1930.

THE

Members of the prof0$sion and all othefll are cord iallyinvited to submit articles, M SS., informat ion and p l::otographs for publication.
Wlw:reas every care is taken, the proprietors cannot be respoos;iNe ,_.
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IMPORTANT.-The editorial contents of thispaper, unless other wise denoted, a re copyrigh t ,and must not be reproduced without permission.
T/16 ,-,ly _p,,p,,,U sfMJ<Uriplio" lo /Ju M 1/oily Mdu•"" Brilislo M .,,,,_
1, 15/.
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A limil# ""mbu of bou,s,i vol-, 0/1/u 192~ ;,,..,, • •a.~. J>riu .,,. />OSI , ,. . m U.K. («m1pl1u ,n ,.,,. p,i,ts kt

ftC•

....

,,,..., ,,.,,1 ......,,..,,).

,➔

68ri•1•h Me.frond ... •Index to Contents
Editorial

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CURRENT ORCHESTRATIONS

486

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504

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...

516

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JOIN THE ConA CLUB

493
497

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514

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BRITISH SONG SOCIETY

484

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501
503

BURNS, LTD. , ALEX.

483

THINGS THEY SA y

505

CAMPBELL, CONNELLY & Co. , LTD.

481

HAWKES & SON, LTD.

TALKIE TOPICALITIES505

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496

HESSY'S

554

FROM THE SOAP Box

506

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502

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504

WORDS ON \¥JRELESS

508

COLUMBIA GRAPHOPHONE Co ., LTD .

iv.

INTERNATIONAL Music Co.

486

COMPTON ORGAN Co.

566

KEECH, ALVIN D.

556

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530,

AN ERROR OF J UDGMENT .. .
A

" LITTLE BIT EXTRA ""MELODY MAKER "D-1.NCE BAND

509

CONTESTS ...
SYNCOPATION

AND

DA:-!CE486, 548

BAND

521
523

AMERICAN NEWSGRAMOPHONE REVIEW" GooD-MORNING,

MR.

Ev.ERY-546

Jo1sr" (BANJO)AN ABRIDGED COURSE ON MODERNMUSIC" BY THE BEND OF THE RIVER "(HOT CHORUS FOR SAXOPHONE{S))535"\VHY Do You SUPPOSE ? " (Hor" 'LEVEN-

THIRTYON

CHORUS

Rnz "

(Hor

TRUMPET(S)

AND

THE

FOR

I

CHORUS

FouND
FOR

553

You "

VIOLIN,

555
557

THE TENOR SAXOPHONE" Ro- Ro- ROLLIN ' ALONG "(PIANO540

INSTRUCTIONAL ARTICLESTUNES FROM A TOY (OCARINA)

GREY & SONS, JOHN

435, 487.. .

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R.

504

LANGHAM RADIO, LTD.

524
514

LENNO.X L TD ., CECIL
LEVINE, B. M.

552

LEWIN BROS.

512
494
566

MAYERL SCHOOL (BILLY)& BEARD, LTD.

OWEN, REX.

558

PARLOPH9NE Co., LTD.

528
522

DROPPING THE PILOT

562

542
544

ORGAN

AND

LIGHT

CHESTRAL RECORDS

550
556
REGAL RECORDS
532
RUSHWORTH & DREAPER, LTD .
550
S AXOPHONE SHOP, LTD.
534
484, 520, 556
SELMER, HENRI, & Co.
REEVES, Aus .

559

LATEST

500

PREMIER DRUM Co.

,, DOWN BEATS"

563

GENERAL NEWS AND NOTES539

CYMBAL·CUM·SIDE·DRUM (DRUMS)THE KINEMA

THE LIGHT ORCHESTRA(HoT

SONG COPY)MUSIC INANDTRUMPETAND CLARINET)

532
484

NORMANTHE THEORY AND PRACTICE OF THE

526

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PICCADILLY RECORDS

537

538

TROMBONE)" SrncE

STYLE ON THE HAWAIIAN GUITAR . ..

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549

PIANO-ACCORDION

536

CHORUS FOR VIOL!N(s) ) ...

DANCE BAND ORCHESTRATION .. .

ii and iii

GRAMOPHONE, THE ...

LAFLEU R & SON, J .

5 13

NEWS

533
483, 552

& SoN

OR-

564

TJIE KINEMA ORGANIST565

AROUND THE PUBLISHERS . . .

567

S UBSCRIPTION FORM

506

SJIEVILL, LEN
V rcT0RIA Music Co., LTD . ...
VIRTUOSO Music SCHOOL . . .
WHERE To BUY WHAT You WANT

548
496
486
507

\V~IGHT, LAWRENCE, Music Co.

-568-

512 and Inset

Supplenmrt to The Melody Maker. June, 1930.

Im,ed ; ,. M •y , 1930.

LAZI' LOU'SIANA

The following Number$ are iuued to Club Member3 thi3 month :-, MOONIT GREAT TO
BE HO!IE AGAIN
BARLEU JIADN•;ss
AIN' T l'OU BABYHANDSOUE GIGOLO
WHEN l'OU' RE IN
LOVE"RO-RO-ROLLIN' ·ALONG"

AIN'

Fox-trot b y Moll, Richman l\nd Mencher.

Issued in Ap,il, 1930.
MOANIN' FOR l'OU
ALONE I N THE RAlN
MOLL\'ROMAN(,'£<JARISSUIAGEE l IT !lllJST BE
LOVE

Three Great Hits from Paul Whiteman's "KlNG OF JAZZ" Talkie"SONG OF THE DAWN"
Fox-trot by Jack Y ellen and Milton Age r.

Arranged by Milton Ager,"A ·BENCH IN THE PARK"

I ssued in Marr.h, 1030.

or

SUNSUJNEJIAJISE ILLESSILV'RV MOON
HUSB · A-B\'E BAB\'SWEET NOTHINGSOF LOVE
CAN'T \'OU
UNDERSTAND ?
SPE.\ KING or
KENTU'1KV DAVSTHERE'S SO~IETIJL~GABOUT l'Oll THAT'S
DIFFt: RENT

Fox-trot by Jaek Yellen and Milton Ager.

Arranged b y Milton Ager.

"I LIKE TO DO THINGS FOR YOU"
Fox-trot by J ack Yellen and Milton Ager.

Arranged by Milton Ager.

"THE CROWNING OF THE COTTON QUEEN"

Issued ;,. Feb. , 1930 .
BUNKE\' DOODLt: I
OOH
Ml<JKtll' ~IOt\SE
TUN' T NO SIN(THINK OF l'OU,
THL~ K OF
HAPP\' DA VS ARt:
HERE AGAL~LU<JKl' !rE,
LOVABLE l'OU

Fox-trot by J. P. Long.

Arranged Stan. Bows h e r.

"Oh-Oh-Ob-Oh-Oh-OH ! WHAT ASILLY PLACE TO KISS AGIRL"

NlJ~l1~::~

Fox-trot by Jos. Geo. Gilbert,

ORCHESTRALl sui,d i n Jn.n 11:u-y, 19 30

Arranged Stan. Bowsh e r.

SUBSCRIPTIONCLUBBY BE()OUJNG A JIEI.IBER 1'00 WILL BE E~1'1TLED TO FIRST I SSUES OF Nf; Altl,Y ALL
OUlt NEW NUMBERS (UP TO 48 l'Elt YEAR) TIJE JIO.U ENT THEY AltE POBl,ISm :o . AND YOU
WILL ltE<JtJIVE AT ALL 1'Ulf;S l'ltf:Ft:RENTIAL TltF.A TJIENT OVf:Jt NON·S URSClt1Bt11tS.

I MAY RJ<J WRONGNOW l'~I I N LOVE
JOl,LITY FARMWONT<JHA.?
IF I RAO Ml' WAY
l'MTHATWAY ABOUT
BABY

l ssiud in Dtcen-.lJer, 1929
EVER\' DAl' AWAY
FROM YOU .
DREUIV HONOLULU
WO!tLO'S GllRATF.ST
SWEETHEART JS YOU
YO U WAN1' LO VIN'TONDF.LEYOSUNSIIINE OF HY
HF.ART
DON' T BE SO UNKINDWE TODDLtlD UP THE
HILL

Arranged b y Brew ster-Reph.

SUBSCRIPTION for TWELVE MONTHS' MEMBERSHIP :-FOLi, OltCIIES1'1U (with s mall Orchestral Piano part)
S!IALL
"
,,
,,
y
..
TlllO
(Piano and auy oUler two nstrurnents)
PIANO SOLO (lncludin~ Songs) . .
..
..
..
..
..
••
EXTRA } t:X'fRA PIANO (s mall Orchestral) to Subserlpllon n ernbers only
PARTS Isi VIOLIN, 2nd VIOLIN and otlier extra parts..
.•£2 8 OI 16 0
I 4 0

••

••

I O o
0 12 0• • per annum eaeb O 6

O

Foreign Subscri.bcrs 5 /· c<tra for additional postage.
Please }'Ill in and return I bis Subscription Form.

-------------------------------- --....
To : THE LAWRENCE WRIGHT MUSIC CO., 19, Denmark St., Charing Cross Road, London, W.C.2.
1'c lcphone : Temple llar 2141.
Please enrol me as ,1ember of your Orchestral Subscription (:(ub lor lwelve months from dale fo r whleb I enclose

Iss11ed in Noven-.lJer,1929
AIN'T lITTSBF.DA VIN'
J ' M FEATHf: RING A
NESTHOTIIER Goos•:l'ARADF.
LOOKIN' FOR LOVES ANTINAGOMUCKING ABOUT THE
GARDEN£ •••••••••••••• Tl;e 0.i rra0nce·.{ie~i "i req;aiie' is •• •• • °FlJLL Olt Cllf:STUASIIIALL ORCIIESTR,l(Mark Arr. ltequlred XJ
f:rtra Paris ftequired ..... . .......... . . ..... . .. .. . . ...... . .... . ......... . . .
NA~U: .•.••••• ••••••• •• •. •·. · • · • · · • • ••• •• • • • • • ••• •• •· •· • • • • •• •• • · • · • · •• •• • · • • • · • •• • • • .. ••• • ••••••••••••• · •ADDRF.SS .•.•••••••• •.. .•.•• •••• ••••• •• • • • ••• • ••• • ••• ••••• •••• •• •• •• • • ••• • • • • ••• • • •• ••• • • •••••• •• • • • •·•• • ••- -DA'tB - - - - - - - - - - - - - --!.!..!J~•.:.:,.:.,•.:..;..:.·.:..:.,:.•..:..:.:~:..:.:!.!.:.•.:.:-•:,.:.•!.:,.! •.:.:.:~•--

" NEW-METHOD" DANCE RECORDINGSFAMOUS AMERICAN DANCE BANDS

JACK PAYNE and His B.B.C. Dance Orchestra

TED LEWIS and Hts Bend

Why 1 Waltz• (Tempo 38).
~
10-lncht-ke !lend ol the ftlver, Pox Trot• (Tempo 46)
CB 55 { lJlyW11nder
f Sreln Soug, G-S One-Stept ('l"empo 62)••
3/is netter Than Sunshine, Fox Trot•each
CB 62 , ~loooshinc(Tempo 50) .
.
•
·
·
·
~

DEBROY SOMERS BAND

CB 56
CB 57

WalJah-Jlala. ka-. Lucy, ti /8 One-Step• (Tempo 62 ) •There's SomeU1i11g About You That's OIIT•runl,t 'ox Trot• (Thenu, Song, " The Song of Soho "){(T~mpo 56)

•

•

ol

~lary.

CB 59

Waitz•·.

•.
Suudav Attcruoon, Slow t'ox Trot• (Tempo 40)
JTho ~l omcnt I Saw You, Slow Fox Trot• (Bothlfrom " The Co-Optimists•') (Tempo 40).

l

CB 52 110-lndleaeb

110-lnch3/cachSongs, "Hit The Deck"') (Tempo 44) .

•

3/-

l

The SEVEN "HOT AIR·• MEN
to lochAbout Women"') (Tempo 5!) •• '•CB 53 { NavyLearned
Bines, Fox Trot (Theme Song," Navy Blues") ·3/ •(Tem[)O 52)
.
.
•
.
.
• I

The COLUMBIA PHOTO PLAYERS}l arch of The Old Guard, Fox Trot• (Theme Song, }f(• Wilh Vocal thorus,)• For lull list-sec this Hont h's Supplem~nl.~

10-lnch3/-•

PAUL SPECHT and His Or,1le1tra
1 Kccpitt' ~lyscll For \'011, Fox Trot• (Tempo 38) . l 10-lnch. The Harbor of ~ly Heart, t'ox Trot• (Bolh ThemeIO•lncblllay Care") Tempo 56) .
.
•CB 54 { SIUlni;" Devil
Jly The Window, ~ox Trol• (Theme Song,( Goodbye to All Thal, Slow Fox Trot• (l'empo 40) . l, RIO ll lTA- l'd Hathcr Have a .u ,mory of You,l
Slow Fox Trot• (Tempo 32) ••.
.
(t With Vocal Trio.)

V

l 3/

Harlem Jla,lrrnss, Fox Trot (Theme Song, " They

10-lnchVAN PHILLIPS and His BandCB 60

1'hcrc Will Never Be ,loolher l lary, Waltz• (Theme
Song, •· They Learned About Women")
rr~mpo 42)
•
•
.
.
.
Watching ~ly Dreams Go By, Fox 1'rot (Theme
Song, "She Couldn't Say No") (Tempo 48)(Merle Johnston and His Ceco Couriers)
•

1 3/-

RAY STARITA and H_is Ambassadors Bandf I 'll Always Be Dreaming

WltL

Cu 61

.
•
•
·
J,-0,t I~ a Drramcr, Fox Trot• (l'hemc Song," Lucky 1'
in Love") (Tempo 50).
.
,.
Har■touy Heaven, t'ox Trot• (Theme Song, " Har' {mony Heaven") (Tempo 50).
.
. J(Tempo 40).
··•
CB 58 \ llnsh-a-ByeBaby, Waltz• (Tempo 40)

f The Lonesome ltoad, Fox Trot• (Theme Song,}

Show Boat ") .
.
.
•.
10-loeh
CB 63 l .San, "Fox
Trot .
.
.
.
.
.
3/Fox Trot
} with Talking by Tedb
CB 64 <Oinabj
01
0,B6RNE and HitOrcheitra eae.

' A Song of Kentucky") (Tempo 40) .

3/-•

1• With Vocal Chorus.)

WriU Jor !'veio De$cripuve Li~ ofthis uu>11Jh's Ne1r Da tJU
Records a,id Complete Catalogue of C olmnbi4 Ruo,ds,
post free fro,,. COLUMBIA, 102-108. C/er•
Road. L,01idon. E.C.t.

.,.,,,uColumbia~llECOllDS
ELECTRIC RECORDING WITHOUT SCRATCH~......~ ~ ~ ~ & ~ . . @ } ' # . ~ ~Prtnte,1 !l.nd Published Montbi y l>y Lhc Prop,·ietors O DRAMS PJtESS L1·0 .• Long Acre,,_ London, W .C. 2, England. l ost Free all overthfl Wif,·jo {~xcep,. ".anada)
l 5/· per s.nnuro , for Canada., 13/6 per annum ; Registered for transmission by ua,nadian Magazine Post. Agencies O· ,rsra..-: "'1.dcn & Got«b Ltd
A- nst rnlia and !\'cw Zealand. For South Africa: Central :-lews Agency. Ltct. Canada: Canadian Wbolesa:c New~.rea,era' Association, Ltd.'•J

f cl;i;7;,; IJJ'JJ,J IJiitJ J IJ J.

H,,J.,=, Gis~ -lo, Dw,a up ..n for,lww , W!..d a wci o! lif, "'""' J..J . ing.

7kese ~ must be on eue">".!f Proqr-am.me /!
HAPPY DAYS APlF, HEB.F, AGAIN II

11'~UNSHINt OF M.AMEILL~''':SILVB.Y MOON''''MOLLY"''HUSH:A-BYE BABY''''LUCKY Mt LOVABLE YOU II"lMAY B~ WRONG''''TONDEtI.t]!YO" ·''MIC!<EY MOUSE,'''' l\.OMAN C.E 11~LONE, IN THE 1\AIN''\\\TAINT NO SIN 11
MOANIN'FOl\ YOU II

~~l 1:rS~-, ~ J.lrmv"~ 1J.l rGrw r; JI O IWhencaie~pursue me

l'm never gloomy,

I keep on sin.g-in'a~ong , -tJOT a, jtMSatimt.
Nora.
butjust t/11, 9Plafest

H«tal'at hit wt/ut wer.

handB:tyou* WhenZf_ou8uhscribe,rs
you.r •
1:arc{lsmonth-won·t
open

yo~
be pleased you are »umberJ' //1/
thi$

_ofthe WPt.IGHT CLUB //,I

N ET

JACK
HYLTON
Souvenir

CALENDAR
BAND

PARTS
of

TWO HITS
from

"WILD
VIOLETS"and the film

WHERE
IS THI
LADY?

Tbt Mtlod.J Mahr. Dmmbtr, 19).1..
The Melody Maker.

Det:ember, 1932f¢ldmantsm

•
•

•

•

•

:I

lii!lisbts l!ltmbrrs of tbt 1tlbmsn OJrrbtstrsl ~h,b
anb ~II 1rinobs tbrouglJout lb• iiilorlb

i

~£tty

OLbrisilnas

WITH

SWEETHEARTS FOREVER
THREE'S A CROWDp··oFm '~if "TDREAMSWITHIN YOUR HEART OF HEARTSJ...r:FEATURES OF FELDMANISM
111111 111111

11111111 111

The World Famous

L~VA. 1:UITIOl'llllThis wonderful cataloCue contains the World's best Orchestral :arran gements <,t <:laHieol, srnndard and Ilg ht works
by le-ai:llng composers.
A FEW FAVOURITE LYRA ITF,MS.
HEYKEN'S SERENA.DE. KISSES IN THE OARK. RUS'rlCANELLA, SONGS MY MOTHER TAUGHT ME( D vorak). PARAPHRASE ON HUNGARIAN MELODIES, MUSICAL SNUFF DOX. URITELODIA (Selection).
WITH THE RUSSIAN GYPSY ORCHESTRA. NINNA NANNA. KEMPNER'$ CZARDAS. MOONLIGHT
ON RlO DE JANEIRO. SERE NADJ:: O'Al\lOUR. STRAUSS WALTZES and OVERTURES. etc., etc.
LINDENSTADT'S PIANO-ACCORDEON SCHOOL. DUMCKE'S SAXOPHONE STUDIF,S.
SAXOPHONE SCHOOL. S•:YDOLD'S NEW VIOLIN STUDY SCHOOL.
Write tor full P~rtl<:ulars of Educ.itlonal Serie~.

111 1111111

111111111111

Tt-11:.

f'l:.LUM4.lliil [ll)4.§§ ll4.llii!U JOUl:illiil4.L
The Pre-eminent Service for Brass and Military Bands .

REGUlAR ISSUES OF LATEST HITS, LlGHT MUSIC, SElECTIONS, ETC·
Full partlcul:art :and &:amptes will be. forwarded on application.

111111111111

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IN A SHANTY IN OLD SHANTY TOWN
BANKING ON THE WEATHERTHE GAG SONGGOODNIGHT BABYPAGAN MOONFROM ONE PAIR OF ARMS TO ANOTHER
A GREAT BIG BUNCH OF YOU
BY A RIPPLING STREAM".III'I.' ICE .Jl.1Tlr1L !!tli,'ICI.l!-'S"(New aru.ngeoents of old favourites)
DINAH
MARGIEAFTER THE STORM
THE SHEI K OF ARABY
CANADI AN CAPERS
FOR ME ANO MY GALYAAKA HULA HICKY DULASINGI N' T HE BLUES
WHO'S SORRY NOWJUST A BABY'S PRAYER AT TWILIGHT
MY SWEETIE WENT AWAY
Airanyd bv JIMMY DALE, AR'fHUR LANGE, FRANK SKINNER. etc.

JAPANESE SANDMAN. . . .ctAL .... o,.••••oNAL PftJCC

3 ' • p • r •H

B. FELDMAN &125, 127, 129, Shaftesbury Ave nue, London , W .C.2.
'Pfton&:Tempi• Bar 55J2.

Gems fromWITMAVI\ l~CIUl:l'llllTAL LIST
THE TEDDY DEARS' PICNIC, IN A ~AGODA, MON D(JOU. LOVE DANCE. PlROUET'TE. R0l'o1ANCE
OF THE ROSE. BUSY DEE. AISHA. A SOUTH ERN REVERIE . NODDI NG T ULIP. PAN AM£RICANA,HUNGARIAN ROl'olANCE, etc., etc.
s. d,
fl, d.
,.
I2
2 8
Trio (P.C., VloUn and 'CelloFull Orehestro ond Plano . .
I 0
2 0
F.xtra Plano Conductor
Small Orchestra and Plano"
O ther Extra Parts 4d.
Musical Directors I Write for complete ll11t of Wltmark Serles.

'Crc,m,: "Humfrid, London. '111111111111

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lo, '"',~~• monlfu.

Nam, ....., ... - - -- - - - Full Orc:h. 48/· per year
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