RHYTHMTHE NEW VOGUE

Dominion, Volume 30, Issue 154, 27 March 1937, Page VIII (Supplement)

RHYTHM—THE NEW VOGUE

By

Swing Bass,

Swing Bass Suggests . . . “Strings That Held Your Heart” (words aud music by Sybil York). —A modern waltz, this number is very easily rearranged as a sweet, piano solo. Although hardly original, the melody is quite good, aud it should find favour with “crooners.” Try the melody in the left, hand for your own transcription, at the same time playing broken chords in the right hand. Although the key is A flat, most of the chords are easily worked out. “Love Marches On” (Tobias aud Loeb). —‘‘Love Marches On” was probably prompted by the well-known moving pictures. -Vs a song it is quite fair, and should enjoy a reasonable measure of popularity. In a piano solo excellent use c.an be made of the back tenths. A march effect may be obtained by a roll, in the bass, and this would make a good introduction to your own transcription. Spanish guitar chords are an unusual addition to the sheet music. “Take Me Back to Dream by the Old Mill Stream” (Cross, Howard, and Tracy).—Tlie title is too long, but don’t let that worry you. Written in the easy key of C, this number is another “commercial” waltz which should be popular with dancers. Tlie melody is not startling by any means, but it sounds much better when filled in. To this end there is a piano solo ready and waiting for you on the back page. This is arranged by Mervyn Breo’s Modern School of Music,‘and does not require very much study before it is mastered.

New .'llbum. “Davis’s Broadcast Album No. 4.”— Albums are always welcomed by the public which likes popular songs, aud “Davis’s Broadcast Album No. 4” contains a good selection, complete witli words and ukelele accompaniments. These albums are especially popular with those who enjoy “a song round the piano.” In this latest album the following tunes arc given: “Saddle Tour Blues to a Wild Mustang,” “Old Ship o’ Mine,” “My Shadow’s Where My Sweetheart Used to Be,” “Don't Save Your Smiles,” “in Your Own Little Innocent Wav,” “Moonrise on the Lowlands,” “Still in Luck With You,” “Say I Wasn’t Dreaming,” “Promise Me,” and "Heads or Tails?”

"Hot'’ Records Net £7. For some years past, second-hand values of some of the rarer examples of early recorded hot jazz have been soaring, both at Home and abroad. Early Dixielanders in England arc the most in demand and have changed

hands at as much as 20/- a time. This, however, pales into insignificance against the market values of second-hand jazz dises in America. In racing parlance, for favourites the quotation is £7 to one. taken and offered. At the Hot Record Exchange on West 56th Street, New York City, a big traffic goes ou in such records, and the firm issues a catalogue pricing out each offer at figures ranging from 25 cents to 35 dollars each. The firm says: “Our prices are based ou our own experience as to rarity, and in no case should be taken as a judgment on the musical value of the recording artists.” In the .lists in the possession of the “Melody Maker,” London, three Louis Armstrong records are on offer at £5 each. These are couplings of “Gutbucket Blues” aud “Yes, I'm in the Barrel”; “Oriental Strut”, and “You’re Next”: “Cornet Chopsuey” and "My Heart.”

By contrast, the price asked for the ‘‘Bucktown Five” playing “Steady Roll Blues” and “Really a Fain” are a gift at £2/10/-. Even more so is Bud Freeman's Orchestra iu “Crazeology” and “Can’t Help Lovin’ Dat Man.” This goes for a. mere 25/-. Wingy Mannone and his Orchestra playing “Cat’s Head” and “Sadness Will Be Gladness” represent 50/- worth. So does “Sugar Foot Stomp” by King Oliver and his Creole Jazz Band, and “Milenburg Joys” or “Angry” backing “Sobbin’ Blues,” or “Mr. Jelly Lord” coupling “Clarinet Marmalade," all by the New Orleans Rhythm Kings. The Original Dixieland Jazz Band records are also prime favourites among American collectors. Five pounds each is the amount asked for “Resenweber Rag" with “Look at Me Doin’ it Now” or “Oriental Jazz.” Records featuring the Wolverines fetch the following prices: “Sensation” backing “Lazy Daddy,” £2/10/-; “Prince of Wails” with “When My Sugar Walks Down the Street,” and “Riverboat Shuffle” backing “Susie,” £3/15/- each. Earl Hines, however, is the tops. For his piano solos backing “Panther Rag" with "Just Too Soon,” or “Monday Date” with “Chicago High Life,” £7 each is asked and quite willingly paid. Meade Lux Lewis, for bis "1 Got Some of That" backing “The Preacher Must Get Some Sometime,” fetches £5. How long it will be before such rarities fetch this price in England there is no knowing, but it certainly behoves lucky owners to stick to their gems against a rise in prices. Moro and more collectors are coming into the picture every day, and prices are sure to rise.