RHYTHMTHE NEW VOGUE

Dominion, Volume 30, Issue 131, 27 February 1937, Page 25

RHYTHM—THE NEW VOGUE

By

Swing Bass.

Stving Bass Suggests . . . “Tell Me, Little Dream Girl” (by Benny Davis, and J. Fred Coots). A delightfully charming waltz, wjbich has become deservedly popular in America and England. Also 'Australia, where Jimmy Davidson has made it a featured item of his famous dance band. Once it Is better known in this country it should gain equal popularity here, for It is a very pretty composition, qnd an excellent piece of jazz music. Set in G major, the theme runs dreamily, yet sweetly and lightly, from the opening bar to the final chord. The verse is simple and straightforward, but in the chorus, the writers have broken up the timing with marked success and delightful effect. The bass calls for augmentation, but that is not at all difficult to supply, and when that is done and a few “breaks” are added, one of the most attractive pianoforte solo items that jazz pianists can hope for is theirs for the taking. This number ranks among the best I have yet had the pleasure to review.

“Tliis’U Make You Whistle” (by Maurice Sigler, Al Goodhart and Al Hoffman). Most certainly it will. It has a rhythm that makes you feel you want to “go into your dance” as Al Jolson puts it. This is the theme song of a musical picture of the same name, starring the ever-popular Jack Buchanan, and the song is typical of that lively comedian. It moves along at a smart pace, and doesn’t let up till the finish—and even then you fteel like playing the Oliver Twist! However, it is not the simplest of compositions, although I don’t think players will have much trouble with it, if they take care from the start. The timing is tricky and there are little embellishments which attract attention. The bass is good, and altogether this Is a bright and snappy solo, and an excellent number for playing at a party.

“There Isn’t Any Limit to My Love” (by Maurice Sigler, Al Goodhart and Al Hoffman). Another song from the same picture, which, by the way, abounds with songs, written specially for the star who has his own inimitable manner of “putting them over.” And it is a manner which has a wide appeal, but a limited application. This second selection, in my opinion, does not compare with the theme song. However, it has its bright spots, sections of the refrain being quite attractive. It is a far more difficult composition, and not one which I would recommend to all and sundry. It has not nearly as much rhythm as the first song, except in parts of the chorus. The timing is definitely very tricky and complicated, calling for careful study. The bass needs much attention. Despite these drawbacks, however, I think the number has possibilities in the hands of an advanced pianist, who might be able to make quite a good solo from it. Answers to Correspondents.

“H.N.J.,” Wanganui: Your queries were duly handed on to me. So yon want to know what swing music is, and you want to know all about me. I hope to see you during your projected visit to Wellington, so your latter question will be answered then. Regarding your first, please don’t ask me to try to define “swing music.” First-class musicians have tried and failed. It just can’t be done on paper.

“E.G.,” Manganiaire: See if yo.u can secure a copy of “First Steps in Melody Making,” by Read. I am forwarding you a list of publications procurable in Wellington from the firm mentioned, and have marked what I think should be most suitable for you.

Two Weeks’ Hit Parades. Because of lack of space, I have not been able to “squeeze” in the popular “Hit” parades for some weeks. However, I have found room for the two recent parades from America this week, and here they are: 1. In the Chapel in the .Moonlight. 2. It's de-lovely. 3. Pennies From Heaven. •1. I’ve Got You Under My Skin. 5. When My Dream Boat Comes Home.

6. I'm Tn a Dancing Mood. 7. I’ll Sing You a Thousand Love

Songs. This second list is the latest:-— 1. In the Chapel In the Moonlight. 2. It’s De-Lovely. 3. I’ve Got You Under My Skin. 4. Pennies From Heaven. 5. I’ll Sing You a Thousand Love

Songs. 6. I'm in a Dancing Mood. 7. Tho Night Is Young and You’re So Beautiful.

1936 Dreary and Uneventful. Here is something that should set you thinking! Read this and see what ‘Mike,” writing in a recent issue of "The Melody Maker,” London, thinks of jazz in .1936. "Am I right in thinking that the year 1936 was about the most dreary and uneventful in the history of jazz?” he says. “Perhaps. not unconnected witli this dreariness is the fact that ‘Swing’ became generally known to the public during the past 12 months. “ ‘Swing,’ as the term is generally used, means—or so it seems to me—■ the mass production of-fast, noisy jazz with a fancy title. I am not sure the majority of the stuff produced as ‘swing’ is not worse than the straight' commercial dance music. ‘Swing’ in so many cases is such an obviously faked and put-up job that I prefer the ‘straight’ jazz. With the pop songs at least the writers have (a) to try to compose a tune and (b) believe heart-and-soul in it when they have composed it. "Perhaps you do not think that pop song-writers are sincere. Believe me they are. They believe with a childlike faith that each and every opus they create is really something great. That is what makes them such laughable, pathetic creatures. But your concocter of ‘swing’ is different. He is a faker of the worst kind. He knows a few tricks and trots them out ‘ad nauseam.’ Just how monotonous and mass-produced this sounds you can gather if you listen to some of our local bands’ broadcasts, in which every other number is played for the public’s benefit —the benefit of the great New Public of ‘Swing.’

“Though these compositions have different titles there is very little hi them that differentiates one from another—the same orchestral cliches adorn each one, they include inevitably one overworn phrase extensively used by the Dorsey Brothers in their day; and through it all runs a rather semiticsounding tune, which is probably the most sincere thing about the whole J°b- . , “With the world of jazz occupied more fully than ever before with this sort of tiling, it is small wonder that 1936 has produced little or nothing of note.

“There was a time, you see,” continues the writer, “when there was only one sort of commercial jazz—the jazz springing from the ballad barracks of Tin Pan Alley. Now the hitherto uncommercial has become commercial. People no longer produce ‘hot’ jazz for fun and a few fans. They produce it because the public wants it. But the public doesn’t want it to be too good. It must conform to a pattern. Jazz is running up and down a tunnel closed at both ends, which is inside another tunnel also closed at both ends.

“So the talent of the jazz world is wasted in the production of mediocre music, lowering jazz to the level of a low public instead of raising the public up to the level of good jazz. “The sooner the public tires of ‘swing’ the better for all of us. I am only surprised that it has tolerated the monotony as long as it has.” There now, what do you think of that? With all due regard to “Mike,” I think he has got a bit too “hot” himself. It would appear that he is no lover of “swing” music! However, be that as it may, I think it is scarcely fair to make such a sweeping statement as his final sentence, because, after all, there are several types of public to please, not just one section with ideas similar- to those held by “Mike.”