THE GRAMOPHONE

Southland Times, Issue 19462, 29 January 1925, Page 13

THE GRAMOPHONE

RECORDS OF THE RECORDINGS. (By “Needle.” Among the Parlophones I received from Dickey’s last week were two dancing records. E 5252 bears “Innocent Eyes,” done by the Lanin Orchestra, a good fox trot and well suited for dancing. On the back is an excellent waltz, “Nightingale,” with a whistling obbligato, done by Vincent Rizzo and the Hotel Syivanic Orchestra. “Sally Lou,” a swinging fox trot with a Hawaiian flavour, appears oji E 5254, played by Vincent Lopez and the Hotel Pennsylvania Orchestra. The other side carries “Rubetown Frolics,” apparently a parody on the efforts of a country dance band, and in this there is some excellent work on the trombone. It is possible to get a good laugh out of this record, which is a 10incher. Marek Weber’s Orchestra does some pleasing work in “Erato,” a Boston, waltz inscribed on a 12-inch double-sided Parlophone. This is a fine waltz but its suitability for dancing is practically nil, owing to the prolonged pauses which mark the end of the various phrases. On the back in “Crescendo,” also a waltz, but not nearly so impressive as the other one (E 10192 The introduction to Act 1 of Parsifal is done on three double-sided 12-inchers by the Opera House Orchestra, which records very well in a fine piece of orchestration. Three other discs contain the Good Friday music from the same opera. The same orchestra does the dance music from Strauss’s “Salome” in tw'o parts on ElOlBB. This is a fine piece of work and should prove popular with lovers of Strauss. The name of Paul Whiteman is usually associated with jazz music; recordings by his famous orchestra being popular favourites in dance rooms the world over. But recently he has introduced his concert orchestra to the recording room, in a “Rhapsody in Blue.” The record is not here yet, but it should be an interesting one to hear when it does arrive, to judge from the remarks of a reviewer, who says:— This is a decided novelty. In addition to its undoubted originality and its striking piquancy of instrumentation, the “rhapsody” is not without genuine musical interest. That it contains the elements of either the “music of the future” or the foundations of a real American school, may be doubted. There is a certain amount of melodic inspiration in the music, and a great deal of technical skill, and the combination of piano and orchestra has been handled very effectively. For the rest it may be summed up as the essence of latterday fox-trot music expanded to symphonic dimensions. The piano part is glorified “Kitten on the Keys,” with a dash of Falla. The orchestration is augmented fox-trot, with the usual cheeky saxophone tricks, flavoured with a dash of ultra-modernism. It is interesting, amusing, and rather exciting; also, it contains definite musical possibilities. From the recording point of view it is a triumph. The recent demonstration in Wellington of the new “Pleated Diaphragm” gramophone (H.M.V.) reminds one, in the words of the philosopher in “Mr Britling Sees It Through,” that ‘this ’ere progress, it keeps on,” says a northern writer. Perfection is never reached. When the next pinnacle has been climbed there appears to the vision another, a higher one. The pleated diaphragm grainophone opens up possibilities—great possibilities. Instead of working along the old paths, and attempting, further improvements in the existing designs of sound boxes, sound chambers, and tone arms, the British Gramophone Company has struck out a new angle and scrapped present devices, and so we have the pleated diaphragm, the first sight of which gives an impression of freakishness. In appearance it is like a circular fan, about 15 inches across. It is made of—paper! As a protective measure the paper Is mounted on a circular frame, and the disc, when playing, sits up perpendicularly. There is no doubt about the result. The music comes away from the instrument with great freedom. The room in which the demonstration took place was not at all suitable for the purpose. I should imagine that in a suitable room some very near perfection in recorded music would be the result. I should like to hear it in a large hall. It certainly has this advantage over existing types—there is no such thing as favoured positions for the listeners—the sound is radiated in all directions. Something between the present half-tone and soft needle would appear to be the best, as the former is too loud and the latter too thin. Two fine little ballads are contained on ' Vocation X 9445, a 10-incher included in a parcel that came up from Beggs yesterday. These are “Speak to me” and “The Curtain Falls,” both by Guy d’ Hardelot, whose many compositions are heard all over the country. They are sung by Eric : Marshall, whose fine baritone comes out well, with nice feeling interpretation. Popular dance tunes well sung by artists of more than average ability are contained on X 9446 and X 9447. On the first is “Memory Lane,” and “Blind Love,” done by Chrissie Melville (soprano), while the second has “Don’t mind the rain,” and “Sleep,” both of which suit to perfection Sydney Hamilton’s clear tenor. Both records are good, though I preferred the latter. A feature of both is the catchy accompaniment by piano, violin and saxophone. In dance music the latest Vocalion issues are strongly represented as follows: X 9451—Wirginia” (Don’t go too far) by Emil Coleman and his Club Trocadero Orchestra; and “I wonder who’s dancing with you to-night,” by Ben Selvin and his Moulin Rouge Orchestra. X 9452—“ Chickie,” by the Bar Harbour Society Orchestra; and “There’s Yes, Yes’ in your eyes,” by the Roy B. Carson Orchestra. X 9453—“Remem’bring” by The Ambassadors ; and “After the storm” by Ben Selvin and his Moulin Rouge Orchestra. These are all good danceable records. The Emil Coleman orchestra is a combination new to me, blit they play well, with a good tone and in great time. Ben Selvin’s band is of course well known, and he does not disappoint his admirers in the numbers he has done for the new Vocalion list.

Sasha Culbertson, a violinist of whom I had not previously heard, rather took my fancy in two light numbers by Richard Drigo, inscribed on a 10-inch Vocalion. These are ‘Yalse Bluette” and “Serenade,” two pretty numbers which he interprets well, with a display of feeling and a good tone. (X 9448.)

Suppe’s well-known “Poet and Peasant” overture has been done once again. This time it is by Gallarini, whose accordeon records have earned fcr that somewhat unpopular instrument a considerable amount of respect, as showing what can be done by a fine artist. Galiarinj’s latest —this record is a double sider—will still further enhance his reputation with followers of the magic needle. (Vocation X 9449).

Under the direction of Lieut. Eldridge, the band of H.M. Life Guards has given us, in two parts on K 05102 the famous BerIfoz overture “Le Carnaval Romain.” This magnificent number loses nothing of its beauty on the record, and the performance given by this well-known military band is excellent. A fine rousing piece, and one of the most attractive of the new Vocalion. On X 9450 the same band does Dr Vaughan William’s clever march arrangement cf well-known sea chanties. On the back of this is the ever popular “Parade of the Tin

Soldiers,” also very well done. These two make this record a most desirable one. Interest in the recorded work of Malcolm McEachern will no doubt be stimulated considerably by the news that this famous basso is shortly to pay the people of New Zealand a visit. In the time he has been recording for the gramophone, he has been some magnificent things. I heard a good one during the week. It was a Vocalion record (R 6116) with “Bells of the Sea,” and ‘You along o’ me.” This is a disc well worth hearing.

The London December catalogue of Regal records contains dozens of foxtrot titles, some new, some old. One that caught my eye was G 8234, containing “Heartaches,” and “Midnight Rose,” done by the Regal Novelty Orchestra. The first number is not known to me, but I have heard “Midnight Rose,” and for those who want

a good dancing record, it can be safely recomended as one that will give satisfaction to almost all. It has a fine swing and appealing melody. This number is also contained on a Brunswick record, the number of which I cannot remember, by one of the finest and most even dance bands I have heard on the records. The Corona Dance Orchestra is also listed on the Regal releases in several numbers, some of which I have heard. A good one is G 8259—“ Nightingale” waltz and “Chili Bom-Bom,” a catchy foxtrot, while G 8100 is also worthy of notice. It contains “Marcheta”—which by the way has been sung, and sung well toe, by John McCormack—and “The Oom-pah Blues, a good foxtrot novelty.