’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 20 June 1931, Page 3

’NEATH THE NEEDLE

A Clever Male Quintet. Those who have not yet heard “The Maestros”—England's leading group of live male voices should on no account miss this —one of the finest harmonised settings ever heard of Harford and Marshall's “I Hear You Calling Me,” and Mills and Lemon’s “My Ain Folk.” The wonderful expression, the appropriate harmony, and tlie exquisite combined phrasing of this quintet are a real pleasure to listen to. Not only an astonishing performance, hut also a splendid piece of recording.

Kefelbey’s “Sacred Hour.” There is probably no better known English writer of salon music than Albert W. Ketelhey. His “Persian ’Market” and “.Monastery Garden” are household favourites that are known almost bar h t v bar from numberless recordings and performances in pre-talkie picture theatres. His “Sacred Hour,” styled a ‘Reverie,’ is well adapted to its organ version, and the male quartet intoning a Latin chant adds subtly to the devotional flavour. Quentin McLean, one of the highest paid wurlitzer artists in the world, plays on his Christie Unit Organ in the London Regal Cinema, llis playing of the “Sacred Hour” is instinct with feeling.

Three Don Cossack Items. Most recent records by the Don Cossacks have made use of Gretchaninoff's arrangement of folk-songs. Here are two old wedding songs of unknown title and unexplained theme —both as exciting as you like. The pinging staccato chords that introduce most Don Cossacks items these days must lie in the nature of a trade marks—something like Mr Jetsam’s signing-off “Ha-ha-ha!” Both of these “Hochzcitlieder” are on the ono side, and on the reverse is Aljoscha’s Song from Gretchaninoff’s opera, “Dodrynja Nikititscli.” In spite of our not knowing what all these things are about, we must admire once again the rich vocal resources of the Cossack Choir—unaccompanied male voice singing of a kind quite unequalled in the world.

Terance Casey’s Irish Organ Medley. “The Irish' Organist” is the title Terance Casey has given to this medley of Erin's airs—The Minstrel Boy; Terence’s Farewell to Kathleen; Norah Creina; Paddy Whack; Londonderry Air; St. Patrick’s Day; Wcarin’ o’ the Green; Garry Owen; Rory o’ More; Kathleen Mavourncen; The Harp that Once Thro’ Tara’s Hall. This is worthy to take a place alongside Casey’s other famous wurlitzer potpourris—a splendid example of cinema organ registration. Casey is an artist at the Compton console, and now that he has done his own.nationality justice, lie should ho more popular than ever.

A Popular Selection of Dance Titles. ’The ingenious hirelings who are responsible for the output of the fox-trot factories continue to give us cheerful tunes and four-square (and sometimes three-square) rhythms to dance to. Ray Starita’s pairing, is a foxtrot and a waltz —“Songs I Heard at Mother’s Knee,” and “Down the Lane to Home, Sweet Home.”

The Buckingham String Players give us a couple of waltzes—“’Tis I’ Myself” (based on the Londonderry air) and “Forget-me-not.” These are charmingly lyrical. “Yoi! Yoi! Mr Cohen” is a one-step played by Jack Payne and his 8.8. C. Dance Orchestra. It is coupled with another item of Hebrew flavour—tlie foxtrot, “What’s the matter, Abia?”

“Eat, Drink and be Merry.” A popular record reminiscent of the old days is a vocal medley by the Jolly Old Fellows in “Drinking Songs.” This record contains all the old traditional melodies such as “Drinking,” “Here’s a Health Unto His Majesty,” “Pour Out the Rhine Wine,” “There is a Tavern,” “Come, Landlord, Fill the Flowing Bowl,” “Here’s to the Maiden,” “Little Brown Jug,” “The More We are Together.” For a rollicking cheerful record crammed full of spirited singing, this record is exceptional value.

Heard at the Pictures. « Talkie tunes are not yet done for. In spite of a falling off in the spate of motion picture melody, the following tunes more than hold their own in popular esteem. All the discs quoted below are played and sung in tiptop style and recorded to perfection:— “To-morrow is Another Day,” from the film “Big Boy,” is given by Layton and Johnstone and by Ted Wallace and his Campus Boys. “Maybe It’s Love,” from the talkie of the same name, is given in its foxtrot version by Bert Lowu and his Hotel Biltmore Orchestra. Paired with this is the foxtrot “I’ll be Blue, Just Thinking of You.” Oil Deoli and his Orchestra give us a selection of the most popular tunes from “Monte Carlo” splendidly played; and Van Phillips comes to light with a pair of the “Monte” foxtrot songs. These are “Always in All Ways” and “Beyond the Blue Horizon.”