RHYTHMTHE NEW VOGUE

Dominion, Volume 29, Issue 208, 30 May 1936, Page 25

RHYTHM—THE NEW VOGUE

Bi-

Swing Bass.

Swing Bass Suggests . . . “The Broken Record” (by Cliff Edward's, Charlie Tobias and Boyd Bunch). —Something of a novelty number, “The Broken Record” is unusual in that it has 52 bars instead of the customary 32. The reason for this lies in the story—a needle stuck in tbe crack of a gramophone record and repeating set phrases. The number has a certain attraction if only because of its oddity, but apart from that the melody is bright and snappy. “When tlie Leaves Bid the Trees Good-bye.” (Words by Tot Seymour, music by Vee Lawnhurst.) To find any degree of popularity a waltz song must lie of outstanding merit—in many months “When I Grow too Old to Dream” has been the only waltz to meet with any success. “When the Leaves Bid the Trees Good-bye,” however, has much to recommend it. A slow aud sweetly sentimental little melody, it swings along with an attractive Hit. The piano score, too, is unusually good, and much of it may be retained in the building up of an attractive solo. “The General’s Fast Asleep.” (Words

and music by Jimmy Kennedy and Michael Carr. ) The composers of “Isle of Capri” fame have written something on entirely different lines this time. A simple, whimsical song, despite its semi-martial air it has none of the robustness of “Something About a Soldier.” Rather it. is intended to be played quietly aud smoothly, without any semblance of syncopation. As well as its virtues as a melody It is admirably suited to be rendered as a ballad (it is charmingly sung by Gracie Fields), for which there is a rythmic little epologue. “Wyoming in the Gloaming” (by Maurice Sigler, Al Goodhart and Al Hoffman). While this song possesses no outstanding virtues, it is a good example of tbe simple attractive, melodies which are greatly appreciated. As a piano solo it lends itself to plenty of embellishment, and it can be played with a swing, but it is unlikely to no raised above the ruck. To see whether English orchestras and musicians could complete with tbe Americans at their own game of playing “hot rhythm,” a gramophone company in England recently conducted a campaign among British artists in a “rhythm-style” series. Writing of tbe tests’ in “The Gramophone,” Edgar Jackson says:

“Apart from certain critics, who apparently labour under the misapprehension that the only way to appear clever in the eyes of their readers is to pick holes in everything, the majority seem agreed that the British musicians have put up a fine show, and perhaps co greater compliment could have been paid to them than toe many heated arguments which‘have taken place among the fans on whether our lads have, or have not, held their own against the Americans. “Personally I see little reason to attempt to answer the question, because, although some of our boys have obviously tried to emulate the American example, others hare wisely endeavoured to branch out on lines of their own;, and if in so doing they have occasionally failed to capture to the full the Americans’ inherent sense of swing, Jhey have certainly provided compensations. “One of these is the novel and very refreshing flavour that they have managed to give tho music; another is that particular kind of tunefulness that always appeals to British taste: and yet a third is the unusually high degree of honest-to-goodness musicianship.”