· 2 BUDDY DE FRAN CO's flawless technique and re-freshing style have again won him first place in...

official journal of the american federation of musicians of the united states and canada

MUSIC IN HAWAII SCE page 14

Internati ..nal Musician

2

BUDDY DE FRAN CO's flawless technique and re-freshing style have again won him first place in the Down Beatand Metronome polls. Of his Lehlanes he writes: "an excitingnew concept of the clarinet . . . beautiful sounc . . . so aliveand easy o control!" Your Leblanc dealer will be glad to arrangea trial with3ut cost or obligation. Make his acquaintancetoday, or write G. LEBLANC COMPANY, KENOSHA, WISCONSIN.

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OFFICIAL JOURNAL OF THEAMERICAN FEDERATION OF MUSICIANSOF THE UNITED STATES AND CANADA

Entered as Second Class Matter July 28, 1922,at the Post Office at Newark, N. J.

"Accepted for mailing at special rate of post-age provided for in Section 1103, Act ofOctober 3, 1917, authorized July 28, 1922."

Published Monthly at 39 Division Street,

Newark 2, New Jersey.44

LEO CLUESMANN Editor and Publisher

S. STEPHENSON SMITH Managing Editor

HOPE STODDARD Associate Editor

Subscription Price

Member 60 Cents a Year

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ADVERTISING RATES:

Apply to LEO CLUESMANN, Publisher

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Vol. L JANUARY, 1952 No. 7

International Officers of theAmerican Federation of Musicians

JAMES C. PETRILLO President

570 Lexington Avenue

New York 22, N. Y.

175 West Washington Street

Chicago 2, Illinois

C. L. BAGLEY Vice -President

900 Continental Bldg., 408 So. Spring St.

Los Angeles 13, California

LEO CLUESMANN Secretary

220 Mt. Pleasant Ave., Newark 4, N. J.

HARRY J. STEEPER Treasurer

220 Mt. Pleasant Ave., Newark 4, N. J.

Executive Committee

HERMAN D. KENIN 359 S. W. Morrison St.

Portland 4, Oregon

GEORGE V. CLANCY 5562 Second Blvd.

Detroit 2, Michigan

STANLEY BALLARD 32 Glenwood Ave.

Minneapolis 3, Minnesota

CHARLES R. IUCCI 1267 Sixth Ave.

New York 19, N Y.

WALTER M. MURDOCH 279 Yonge St.

Toronto 1, Ont., Canada

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JANUARY, 1952 5

ON A REGENT trip across the At-lantic aboard one of the greatest

Cunard White Star steamships, I no-ticed the absence of music at dinner.Is music with dinner now consideredold-fashioned, out of date, plebeianand unsophisticated? If music isprovided for tea, what is the objec-tion to music with dinner?

On this particular ship, the din-ing room was an apartment of theutmost splendor, as to size, decora-tions and fittings. It was two deckshigh, adorned with murals, mod-ern lighting fixtures, inlaid panel-ling of pale and dark woods. Thetables were set with cloths in pas-tel shades, there were fresh flowersfor centerpieces, the china and silverwere impeccable, the food could nothave been more varied or morepalatable.

In fact, the menu contained items,such as roast beef, steaks and chops,unobtainable in Great Britain andnot to be had in the United Statesexcept at great cost.

But there was no music. Thepassengers came to dinner en fete asto mood and costume, but there wasno music. The men wore dinnerjackets, the women evening dress

Music at Sea: Does It RuinConversation, Dinner, Both?

By Henry SuydamReprinted, with permission, from the Newark Sunday News,

December 2, 1951

with pearls, diamonds, emeralds,sapphires and mink capes, but therewas no music.

Stained Glass

There was a time when the diningsaloon, as it was then called, ofgreat ships boasted a stained glassdome and long tables at which pas-sengers sat in fixed, revolving chairswith carved backs and tapestriedseats. There was music then.

Let us grant that in this earlierera of oceanic elegance, the musicalprograms, as to taste, fitted thestained glass ceilings. While pas-sengers revolved through an arc of35 degrees as the ship plunged androlled, an orchestra composed ofstewards would perform the follow-ing, or its twin:

g-titan emeh.,

Have youtried onelately?

Cs.

qaa

Poet and Peasant Overture-von Suppe

The Angel's Serenade-BragaSelections from Robin Hood-

de KovenHumoresque-DvorakDance from King Henry VIII

-Sir Edward GermanBerceuse from Jocelyn -God-

dardSkaters' Waltz-WaldteufelThe Rosary-Nevin (violoncello

solo)El Capitan March-Sousa

Bugle, Too

Music such as this either restoredflagging appetites or wrecked whatwas left of them. But then it wasalso the custom for a steward witha bugle to blow flourishes up and

down the decks and through thepassages to announce meals. Onsome ships a small brass band gaveopen air deck concerts each morn-ing. That, of course, was beforedecks were glassed in and air-con-ditioned.

No one would expect Rossini'sWilliam Tell Overture (now thetheme of "Heigh-ho, Silver" on tele-vision) or the waltzes from Gounod'sFaust, to go tootling through therestaurant of ships like the CunardWhite Star's two "Queens." Butthe tunes of Cole Porter, of Gersh-win and of Noel Coward would bepleasant to hear . at dinner. TheEnglish composer Eric Coates haswritten delightful melodies, such ashis "Knightsbridge" march. AnotherEnglishman, Vaughan Williams, hasused folk tunes with great effect.There is lots of Franz Lehar's musicthat does not "date," and IrvingBerlin, in his less vociferous mood,would be good listening at sea, noless than on land... .

It might well be a fact that musicof the stained glass school of marinearchitecture, as outlined above,would kill conversation and ruin(Continued on page forty-seven)

MUSICAL INSTRUMENT CORPORATION

Send for descriptivebooklet s - or see yourdealer.

BOX 36 HUNTINGTON, N. Y.6 INTERNATIONAL MUSICIAN

How to Win Friends in 1952REGISTER. . . VOTE .. , CONTRIBUTE

Extracts from report by George Meanyto the meeting. of the National Committeeof Labor's League for Political Education,Hamilton Hotel, Washington, D. C.,November r, 1951.

LET'S be brutally frank about it. Why isthere no attention being paid to the repre-sentatives of the A. F. of L.? We are not

important. You people are not important inthe general scheme of things over there (onCapitol Hill). Now politicians are very prac-tical people. They have a way of measuring theimportance of the people who come over onCapitol Hill. Let me show you what I mean.

I think there is no better case to point thatup-and this isn't particularly a labor issue-than the case of the Federal Aid to MedicalEducation bill. It is a known fact that wehaven't enough doctors, internes, assistant nurses,technologists, et cetera, in the medical field inthis country. We haven't near enough. Every-body in the profession knows that, so a bill waspresented to provide for Federal aid in enlarg-ing our present medical schools, in other words,turning out more people in the medical pro-fession.

Now the American Medical Association is thedoctors' closed shop union. They have beenholding down the number of medical students.If you have any friends who have a boy whowants to be a doctor, just talk to them abouttheir experience.

A Bill With Strong BackingHowever, the pressure is so strong for this

increase of personnel in the medical field at thepresent time that even the AMA a year ago ap-proved this bill. The dean of every medicalschool in America approved this bill. PresidentTruman sent a special message to Congress ask-ing Congress to provide funds for Federal aid tomedical education. Secretary of Defense Mar-shall, when he was Secretary of Defense, sent aspecial message to Congress stressing the pointthat we needed this medical aid; not only for ournormal civilian economy, but we needed morepeople in the medical field because of the defenseneeds, because of the fact that we have thousandsof casualties and perhaps thousands more com-ing up.

The Senate Committee on Labor and PublicWelfare decided unanimously to approve thisbill. Every Democrat, every Republican ap-proved this bill. The American Legion, theCooperative League, the Disabled AmericanVeterans all approved. Every medical society inAmerica, including the American MedicalAssociation, also approved in the first instance.

JANUARY, 1952

By GEORGE MEANYSecretary -Treasurer

Labor's League for Political Education

How to Kill a BillBut a few months ago, the American Medical

Association switched its position. They saidthey were opposed to the bill because they saidit was a step in the direction of socialism, to aidthe medical schools to turn out more doctors andtechnicians and nurses, that was a step in thedirection of socialism.

We build up an air transport system in thiscountry with government money through sub-sidization. We build our railroads throughsubsidization; we subsidize cotton farmers; wesubsidize industry, and have through the entirehistory of this country. That is not socialism,but when you do something to affect, in a pro-gressive way, the welfare of all the people of thenation, it becomes socialism. Whatto this bill that had been approved by the com-mittee and everybody else?

Taft as ExecutionerSenator Taft killed the bill on the last day or

two of the Congressional session. He said hewas changing his position. Now, why did hechange his position? He changed his positionbecause of a change in the position of the Ameri-can Medical Association. And why did he dothat? Because they are important. The Ameri-

International MusicianJANUARY, 1952

Music at Sea-Suydam 6How to Win Friends in 1952-Meany 7Defense Department Backs Our Stand 8My Minstrel Days-Frank H. Carver 9New Musicals on Broadway 10Speaking of Music 12Islands Where Music Reigns 14Podium and Stage 16Where They Are Playing 17On Their Way Up 18Traveler's Guide to Live Music 19Technique of Percussion-Stone 20Violin: Views and Reviews-Babitz 22What Furrows Musicians' Brows 24Local Highlights 28Modern Harmony-Cesana 31In the Music News 32Book Notes 37Official Business 39Bookers' Licenses Revoked 40Defaulters List 42Unfair List 45

can Medical Association is a very importantorganization politically. They have the finestsystem of political pressure of any organizationin America today, and they assisted Mr. Taftmaterially in the campaign in Ohio last year.

So why did Taft switch? He made publicstatements on this as late as the 12th of lastMarch. He voted for it in committee. Heswitched because he fears the political influenceof the American Medical - Association. Hedoesn't fear the political influence of the Ameri-can Federation of Labor, the C.I.O., or any othergroup.

Influence Depends on Votes

Now, that is the brutal truth. We are notimportant. How are we going to become im-portant? We are going to become importantby getting our people to vote. Yes, we can beactive over on Capitol Hill. We can put thepressure on and put them on record, but it is notgoing to do the job. This is a major change thatis called for in the policy of the American

of to be done.We are going to get our people to vote. It isgoing to be done some day, and what theLeague is trying to do is to hasten that daywhen it will be done.

Politics Our Business

Now it is not an easy job. But I am not dis-couraged. I think we can do it. I'll tell youwhy I am not discouraged. I think I knowsomething of the traditional attitude of theAmerican worker. We have got to overcome atradition. We have got to overcome the tradi-tional thinking in the minds of Americancitizens, that their politics is their own business.You all belong to social organizations, fraternalorganizations, and you know that one of thecardinal rules in most of those organizations is"no politics." I can remember thirty years agositting in a little local union up in New YorkCity. Some fellow would come in and have afriend running for the Board of Aldermen, orsomething like that, some local candidate, andhe would get up and start to give the fellow aboost. There would be cries from all over theroom, "No politics in here." Social organiza-tions have it in their by-laws and constitutions.You are up against a traditional attitude of theAmerican worker and of the American citizengenerally, that politics, like his religion, is hisown business.

We have got to overcome that, we have gotto let our members know that politics now istrade union business, because we can't carry outthe purpose of a trade union unless we get intothe political picture. Í say to you, yes, we havegot to do all these things that we are talkingabout; but the one major job we have got to do

7

is to make ourselves important, and we can'tmake ourselves important until we get friendsón Capitol Hill; and we can't get friends onCapitol Hill until we convince ourselves, ourmembership, that they must vote on election day.That is the big job, that is the reason we areasking the International Unions to get behindthis program, because we know the importanceof the International Unions' assistance.

Labor Leaders Must Lead

It is part of the job of the organized labormovement, of the officers of unions throughoutthe country, to supply the leadership to let ourmembership know why they should vote. Afterall, we have certain objectives. We are notsocial clubs, we are not gathered together forour own amusement. We have objectives andwe have had them since the birth of this Americcan Federation of Labor, and the objectives areto build up the standards through collectivebargaining, through pressure for remedial legis-lation, for protective legislation for workers. Andwe have to carry out those objectives by whatevermethod the particular situation calls for.

Now, for many, many years we didn't bothertoo much about politics. We had our troubleson the economic front. Perhaps the methodback in the early days was for the people whobuilt these unions to go out and do a littleslugging. Perhaps they had to slug strike-breakers here and there to get their unionorganized. They had to fight the starvationmethods of industrialists, of the people whojust didn't allow unions to operate; they had tofight the court injunctions. They had to useevery possible method that they could use, butnow the people who oppose us have concentratedtheir activity in one field and one field alone.They no longer hire company guards to beatour people up; they no longer spend the millionsthat the LaFollette Committee records show thatthey spent in hiring labor spies and strike-

breaking agencies to keep people from carryingout effective trade union action. They don'tspend their money there, but they are active onCapitol Hill, and they are active in the Legisla-ture of every State in the Union.

How Management Lobbies

When the United States Chamber of Com-merce holds its annual convention here in Wash-ington, you can't get into a hotel dining roomin any of the first-class hotels, small, large or anyother kind, for a period of about eight days,because every member of the U. S. Chamber ofCommerce spends all his time entertaining andcontacting and propagandizing the members ofCongress from his own particular locality. Thatis their one important activity, that is the oneimportant activity of the NAM, that is the oneimportant activity of the American MedicalAssociation, pressure in the legislative field, thatis the one important field for us today.

We don't have to go out and slug, we don'thave to fight company guards, we don't havethe starvation problem where they try to starvepeople out, where they shut down plants andsay, "That is the end, you are going to starvenow." We don't have that problem any more,but the people that we have to meet are in thelegislative halls of the nation, and they arewriting restrictive legislation, and they are mak-ing it work.

The Menace of Taft -Hartley

They wrote a national law in 1947, and I amsure everybody in this room realizes that wehaven't felt the full effects of that law. It hastaken millions of dollars of trade union moneyto fight that law, but we haven't felt the fulleffects of that law, and you won't feel the fulleffects of that law until there is a turn in thelabor market. While the labor market is in ourfavor we are not going to get the real effects of

the Taft -Hartley law. We are not going to behit the way we can be hit in accordance with theterms of that law. The one field in which wehave got to be active to protect the very existencein our trade union movement is in the legislativefield, and it is up to us to get people into thehalls of Congress and into the halls of the vari-ous Legislatures in order to protect our unions.

We Need Friends

We don't have very many friends in eitherthe House or the Senate who go down the linefor the things that we represent. Sure, here andthere you will find a Congressman or a Senatorwho will take a particular interest in one typeof legislation, who may be interested in some-thing that is perhaps important to one Interna-tional Union, but the type of legislator that takesan interest in the ideals and principles that westand for are very few.

First Things First

So this meeting, as I say, is for the very pur-pose of soliciting the aid of the InternationalUnions. First, in the fund-raising drive fromindividual members to get that type of politicalmoney which we are legally allowed to spend ina campaign, which we can use to buy printing,and which we can use to pay mailing costs andbuy radio time for a candidate to help him in hiscampaign. Bear this in mind. In these contestsbetween liberal -minded candidates and peoplewho serve the interests of big business you findthis situation: The fellow who serves the interestof big business just has too much money; hedoesn't know how to spend it in a campaign;he has so much money he just doesn't knowwhat to do. And the fellow interested in ushasn't anything except what we are able to givehim and what the trade unionists are able togive him, and what the League is able to give

(Continued on page thirty-five)

Defense Department Backs Our StandDURING its fifty-five years of existence, the

Federation has advocated a strong role formusic in the armed forces of the country;

and nearly fifty thousand of its members haveserved during three wars, many of them inArmy, Navy, Marine, and Air Force musicalunits. Civilian members of the Federation havealso gladly furnished millions of dollars' worthof free musical services in connection with re-cruiting programs, morale -building, Veterans'Hospital entertainments, and the like.

At the same time, the Federation has hadto make a firm stand against the use of de-fense force musical units in unfair competitionwith its members. Earlier, Locals often had tomake strong representations against the practiceof uniformed musicians' changing into civiliandress and taking commercial engagements offthe post, thus displacing professional musicianswho were paying taxes to help support thearmed forces.

Finally, a law was passed by Congress toeliminate such unfair competition by the militarywith civilian workers; the various branches ofthe armed forces issued regulations which weresupposed to enforce this law. There was still agood deal of difficulty in getting the law and

regulations enforced at the local level; somecommanders still permitted musicians in theservices to be used for off -the -post events whichin the normal course would have afforded em-ployment for professional musicians. Usually,the issue had to be taken up with each newadministration, and it required constant vigilanceto safeguard members of the Federation againstthese encroachments.

In the light of this somewhat trying experi-ence, it is naturally of interest to the Federationto note the text of a new order which has been

NOTICE TO MEMBERS

On numerous occasions members of theFederation have expressed a desire for someform of insignia that could be worn in acoat lapel.

Gold-filled lapel buttons with the sealof the Federation are now available andmay be secured at a cost of 90 cents eachby applying to Harry J. Steeper, Treasurer,A. F. of M., 220 Mt. Pleasant Avenue,Newark 4, N. J.

issued by the Defense Department, limiting alloff -the -post employment of men in service tosuch part-time outside work as may be essentialto the national welfare. Also-and here's theprinciple which recognizes our longtime standon the problem-authorizations for outside em-ployment are dependent on certification by theappropriate Public Employment Service Oi9ìceof the existence of a local labor shortage, andsuch employment must not interfere with thecustomary employment of persons regularlyengaged in the same type of work.

This formulation of principle by the Depart-ment of Defense, as reported in the SelectiveService Bulletin for November, 1951, puts intoofficial language the policy for which the Fed-eration has always stood.

Only in emergency should the local command-ers be permitted to authorize military personnelto undertake part-time work while on pass,leave, or off duty, where the need is acute formore farm or industrial labor; but while civilianworkers are available, and need the jobs-whichis certainly the case with musicians-it isobviously most unfair to permit men in uniform,who are paid and provided for by the taxpayers,to compete.

8 INTERNATIONAL. MUSICIAN

t.h11 ftsia_--- ...

MY MINSTREL DAYSHAVE I the longest record as a musician

in minstrelsy or not? I believe I have. Iwill try, as briefly as possible, to say why.

Fifty-nine years ago, my two younger brothersand I were recommended to a fine pair of Amer-ican gentlemen, the brothers Montague and Ber-nard Soane Roby. I believe that Montaguewas the elder brother. They had entered Eng-land about a year before-that's sixty years ago-and had organized what they called "Monta-gue Roby's Famous Midget Minstrels."

The talent for the show was selected fromthe large cities of England and sometimes fromsmall towns, as we were. Any boy or girlwith the ability to sing, dance or play musicalinstruments who was recommended to them, iffound suitable after audition, was engaged fora season or two.

We Make Our First BowMy two younger brothers and myself, who

had been given a good schooling on brass in-struments, were accepted. George played theFrench horn, Percy the cornet, and I the eu-phonium. We were born eighteen months apart.George was fourteen -and -a -half, Percy thirteen,and I myself was sixteen. George and Percywere born musicians and were able to composeand arrange even at that early age. Percy wasbilled all through England as the "Boy Virtuoso,"playing Sullivan's "The Lost Chord" and othersimilar numbers. He was introduced to theaudience by an old man, Sergeant James O.Donoghue, who blew the trumpet for the cele-brated charge of the Light Brigade in the Cri-

By FRANK H. CARVERLife Member, Local 149,

Toronto, Ontario

mean War. The Sergeant was over six feettall and my brother was around four feet-which made for good showmanship.

Roby's Midget Minstrels

We had a company of fifty, twenty-five boysand twenty-five girls, all ranging between thirteenand sixteen years of age. The girls were all inRobin Hood -style bonnets of varied colors, andwore short dresses, short white socks, andslippers. The boys wore Eton suits and wigs andwere made up in black face. The front half -circle consisted of three boys on either end, thena boy and girl alternately to the center, wherethe interlocutor sat. The second row was thesame, without end men of course, and the or-chestra was on the third rostrum. It was reallya pretty sight when the curtain went up, I canassure you, and the talent was very good.

We played only the large towns and cities-often for two-week stands with packed houses.Our leader was a little fellow from Newcastle -on -Tyne called Jimmy Kenyon. His youngerbrother played the clarinet. They were bornmusicians, and extraordinarily clever.

We had a wonderful little vocalist calledLouise Freer, a plain looking girl with bowlegs, who later became one of England's finestcomedy artists. In fact, several of our members

became prominent on the stage in later years,among them, Johnny and Jimmy Richardson,two of England's clever clog dancers.

Life Off the Stage

To go back to my story, we had a gloriousseason with Mr. Roby. All the girls were underthe supervision of a matron. The boys werealso carefully looked after and well managed.We only had one matinee a week in those days,on Saturday, and Mr. Roby did all he could tomake it pleasant for us. We had a fine footballteam and had the honor of playing againstsome of England's topnotch seniors for the sakeof charity and a little gratuitous advertisement.On wet days Mr. Roby would arrange for somekind of indoor pastime, such as roller skating,shuttle cock, or gymnastics, to keep us in trim.He and his brother were a fine pair of Americangentlemen and we had a lovely season with them.

Playing To Get Out of the MillThat was the start of my Minstrel days. I

was the oldest of our family of seven boys andI was the one who had the privilege of joiningother minstrel shows later on to earn a livingand to help support my brothers. For at thistime we lost our dear father and had to go intodifferent mills to work, twelve hours a day andmore, to support our mother and the fouryoung ones.

In the meantime we started studying stringinstruments. George and Percy bought practice


MINSTRELS ON A PICNIC: George Primrose, the minstrel king (standing in the doorway), entertains the members of his minstrel troupe at hishome in Mount Vernon, New York, In the summer of 1909. The author of the article, Frank H. Carver, Is seated on the grass at the extreme right.

JANUARY. 1952 9

Bert Lahr and Dolores Gray (center) in a burlesque of Wagnerian opera, one of many amusingsketches in the revue, "Two on the Aisle," by Jule Styne, Betty Comden, and Adolph Green.

Two on the AísleADECADE ago one of the brighter night-

club acts around New York was a troupeof five kids from the College of the City ofNew York who called themselves "The Revuers."Two of the troupe, Betty Comden and AdolphGreen, who co-authored On the Town andBillion Dollar Baby, have now come up witha light and sparkling revue at the Mark Hel-linger Theatre, Two on the Aisle. They gothold of their friend Jule Styne to do the tunes,and Phil Lang to turn out the orchestrations.And having enlisted the veteran comedian BertLahr, and having inveigled Dolores Gray backfrom London, they proceeded to tailor thesketches and lyrics to the measure of these twostar performers.

The result is a good-humored ribbing of thecurrent follies, foibles, and vagaries of the amuse-ment world, and some oblique sideswipes at someof the funnier phases of the American socialscheme.

Bert Lahr ambles his quiet way through theshow, his comic style unforced and sure in touch.He is a little pathetic as an old ballplayer-RingLardner's Al grown old; he is touching as anaged clown; and uproarious as Siegfried in aparody of Wagnerian opera. As Captain Uni-verse of the Space Brigade, he lays waste science-fiction-and its TV offspring, the Buck Rogersspace -version of the comic strip. As Schneider,the aging park attendant who can no longerfill up his quota of bags with scrap paper andleaves, he is again the sort of comic who mingleslaughter and tears.

As for Dolores Gray-well, one expects theleading girl in a revue to be able to dance, andsing, and turn a hand spring. But when itappears that she can do real character acting,and that she has amazing comic force, with areal feeling for the kind of gentle satire atwhich Miss Comden and Mr. Green excel, theseare so many added merits.

Miss Gray did a notable job of acting theover -anxious mother, raising her child accordingto the psychological guides on molding the child'smind; she played the intellectual secretary inlove with her elderly boss, as a perfect foil

to Bert Lahr. And her way with a song ledthe important spectators who got their "two onthe aisle" free-the critics-to hail her as anotherEthel Merman. The mixture of comic andlyric effect which she achieved with songs like"Give a Little, Get a Little Love," and "ThereNever Was a Baby Like My Baby," found theaudience for once in complete agreement withthe critics.

Beside the stars, there were a good manyextra added attractions: six tall, elegant show-girls in the Ziegfeld tradition; singing and danc-ing choruses of high competence, and unusualcharm; and the sinuous, willowy star of theBallets de Paris, Colette Marchand, whose danc-ing in a French poodle costume in the Comden-Green version of a fashionable dog show was oneof the hits of the revue.-All in all, the contriversof this revue showed their skill in mixing a the-atrical cocktail that nobody would call old-fashioned.

HAROLD HASTINGSMusical Director of "Top Banana"

Top BananaGirls, gags, and a top comedian make up a

time-honored recipe for a successful Broadwaymusical show. Top Banana fits the formula. Inbackstage burlesque lingo, the leading comicwas styled the "top banana." In this show,he's Phil Silvers.

The thesis of this work of theatrical art seemsto be that television owes a great debt to bur-lesque, and that it's time for the lyric theaterto collect on that debt. Supposedly the leadingcomic in this musical. is meant as a take -off onMilton Berle-though there are touches of JerryLester, too. We get quick glimpses of the hectic,frantic routine in the life of a top comedian intelevision, with his swarm of "yesmen," hisbarber, masseur, and host of gagmen in attend-ance. He's always yelling at his writers to givehim some one -line jokes; and it must be saidthat they oblige quite often. The jokes in theshow are broader than they are long; and theattitude throughout is one of nostalgia towardthe old burlesque routines, rather than one ofsatire. Silvers and his colleagues perpetratemany of the old action gags as well as the verbalgags which were the stock -in -trade of burlesque,and they deliver these venerable, bewhiskeredjokes with loving care and superb timing.

Come to think of it, this musical has a plot,but it tends to get lost in the general hurly-burly and the grand rush to get an ever biggerNew York "build-up" for the old-time burlesquelead who has graduated into television comedy.

Needless to say, this show is a sell-out. JohnnyMercer's tunes and Don Walker's witty orches-trations carry the action along, and the wholeoffers eye -and -ear entertainment for the visitingfiremen and the solid New Yorkers who'vebeen patronizing this standard article in thetheatrical market for half a century. LikeStar and Garter some years ago, this is burlesquemoved up town.

HERBERT GREENMusical Director of "Two on the Aisle"


Can Hroadway

Paint Your WagonTHE music in Paint Your Wagon is a delight

from start to finish. This story of the lifeand death of a mining town in the days of theCalifornia Gold Rush calls for lusty Americantunes, and the composer, Frederick Loewe, ofBrigadoon fame, supplies them in profusion.The spirit of the Forty-niners, with all theirgusto and rugged humor, comes through inthe music.

Any spectator with even a rudimentary ideaof how musical shows are put together in pro-duction, when he hears a topflight score, wellsung and well played, knows that the result isa composite job, representing long, hard work;first by the composer laboring with his bookand lyric writer; then by the orchestrator, dancedirector, and musical director collaborating withthe dramatic director and the authors, to get thewhole thing to come right.

Curious to know just how the brilliantly suc-cessful result had been achieved in Paint YourWagon, we went around to the stage door ofthe Shubert Theatre after the show, and button-holed the musical director, Franz Allers.

"What's the story behind the music?" weasked him.

"Teamwork, I'd say," Allers answered. "When1 came back to work on Paint Your Wagon,after a year and a half on the road conducting forthe national company of South Pacific, it was akind of óld home week for me. I'd knownFritz Loewe and Alan Lerner in their saladdays, when I conducted their Day Before Spring.

Miners and girls frolicking at Jake's Dance Palace in "Paint Your Wagon," musical of the Cali.fornia Gold Rush Days by Frederick Loewe and Alan Jay Lerner.

I also conducted their first big hit, Brigadoon.I first worked with Agnes DeMille, the dancedirector, when she was doing Rodeo for the Bal-let Russe de Monte Carlo, for which I was thencondlucting. And I had more than a bowingacquaintance with Ted Royal, the orchestrator.

"Rehearsals were due to get under way intwo weeks, and we had a busy time auditioningfor the men's chorus, which I was also to direct.We listened to more than two hundred, sincewe needed singers with plenty of authority, andburly looking, too. Agnes checked the choruscandidates for movement, as she did every aspir-

Rose Marie (at the extreme right) sings "San Souci," one of Johnny Mercer's hit songs in "TopBanana," musical starring Phil Silvers.

ant for the cast. Over-all rhythm and movementare vitally important in a musical play.

"Soon all hands were at work on the partialrehearsals, for the various elements that wouldmake up the complete show. The process ofcutting and fitting, of working out transitionsfrom dialogue to song, from choral work todancing, went on all through the rehearsalperiod, and continued during the tryout runs inPhiladelphia and Boston. To get the moodsjust right, and to secure perfect timing on thedances, changes were constantly being made; andthis meant that Trude Rittman, Miss DeMille'smusical assistant, who was arranging the dancemusic, had to re -score two or three times onmany of the sequences. Two of the songs inAct II, "All for Him," and "Wand'rin' Star,"were added in Boston, only a little while beforethe show moved into New York. All thesechanges meant an heroic amount of work forthe orchestrator, Ted Royal, - and added re-hearsals for cast and principals. But it was allgreat fun, and everybody concerned felt that theshow was getting better all the time.

"I was glad to find that the producer, CherylCrawford, planned on a pit orchestra of thirty-the only other show in town enjoying as largeforces being South Pacific. Half the men in theorchestra had played with me before; the wholeroster is made up of expert, veteran players. Thefive woodwinds play eighteen instruments amongthem."

"And how," we asked Allers, "do you manageto keep the orchestra and singers on their toesduring a long run?"

"Well," the conductor said, "our motto isÈvery night is opening night.' Then, we'reall stimulated by the fine musical quality ofthe score. From overture to finale it's of finetexture, and the melodic lines which Loewegave Royal to work with are long and sustained.

"Also, the orchestra plans, beginning January8th, to meet once a week in the ANTA Play-house to play little known symphonic scores.We're doing Dvorak's Fourth, and some newAmerican works. The chorus is also gettingtogether twice a week to do spirituals and other


11

JACQUES MARGOLIES

Hack Zrtumphaut

ORGANIZEDlast season with the primary

aim of presenting complete and authenticperformances of J. S. Bach, the American BachSociety again attained their goal by beautifullyperforming, December 11th in New York'sTown Hall, three of Bach's cantatas and thewell known and loved Concerto No. 2 in Emajor for Violin and Orchestra. The well -trained chorus and the orchestra of accom-plished instrumentalists, under the direction ofClifford Richter as guest conductor, were as-sisted by Barbara Troxell, soprano; SandraWarfield, alto; Leslie Chabay, tenor; PaulMatthen, bass; Jacques Margolies, violin, andRobert Conant, harpsichord. The trumpeter,Murray Karpilovsky, received long and warmapplause for his accompaniment of Miss Troxellin Solo Cantata No. 51. The society hopesto continue to feature Bach's cantatas. Of thesome two hundred that he wrote, a few arewell known, but the majority of them, equallygreat, have been infrequently performed. Agroup dedicated to this work cannot but bewarmly welcome. -G. A.

Composer's ConcertBY ALL odds the most interesting composition

at the California Composer's Concert offeredby Evenings on the Roof in Los Angeles onNovember 19 was The Fisherman and HisWife, a 1951 composition by George Hyde,horn -player. A theme with variations for so-prano, narrator, seven woodwinds, percussion,piano and harp, it tells Hugo Grimm's fairystory of the couple who lived in a vinegar jug.This is as fine a bit of orchestral whimsey ashas been achieved since Peter and the Wolf.It is full of good melody and fresh instrumentaleffects. We liked particularly the march move-ment when the Fisherman's wife demands thatshe be treated as royalty. Also she stirs up afearful musical storm when she determines tobecome like God. Faith Kruger and WilliamVennard handled the vocal parts with greatskill. The instrumentalists were Archie Wade,

12

Speaking of Music.Lloyd Rathbun, Hugo Raimondi, William UI-yate, Don Christlieb, Paula Schertzinger, La -Verne Dayton and Forrest Clarke.

Of equal originality was Andrew Imbrie'sSonata for Piano which Zenia Chaman playedbrilliantly. William Smith's Quintet for Clari-net and Strings was played by Franklin Stokesand the Coriolan Quartet. Some of the stringwriting seemed muddy in the lower ranges,but the piece was full of promising thematicmaterial.

A skillfully wrought if somewhat cautiousSonata for Violin and Piano by Paul Pisk wasplayed by John Ferrell and Herbert Horn. Twocleverly conceived pieces in quarter -tones whosemusical content did not quite live up to theirmedium were played by the composer, MildredCouper, and Ingolf Dahl. -P. A.

Duo -Midst in Solo ConcertMICHAEL FIELD, pianist, gave his first solo

recital in Town Hall on December 13. Al-though well known to both Town Hall andCarnegie Hall audiences as a member of thetwo -piano team, Appleton and Field, this markedhis first appearance alone in New York.

A feature of Mr. Field's program was Schoen-berg's "Three Piano Pieces," Op. 11, played inmemory of the composer. In the Bach-BusoniChaconne, Mr. Field managed at times to makethe piano sound like a harpsichord. Works byBartok, Schubert, and Schumann's Fantasy inC Major Op. 17 comprised the rest of theprogram. -G. S.

,Miracle at the CrossroadsGIAN-CARLO MENOTTI'S Amahl and the

Night Visitors, the first opera ever writtenespecially for television, premiered in a nation-wide telecast December 24th, involved severalmiracles. First there was the miracle presentedin the plot itself, the young boy being suddenlycured of his lameness. Then there was theobvious miracle of television-light formed intopictures slanting into valleys or skimmingmountains and shorelines the nation over.Finally there was the miracle-most spectacularof the three-of a within -the -hour erected operahouse extending the length and breadth of ourland, its beams, nails and plaster the sheer geniusof the composer Menotti.

For only genius could have so made that foot-

square bulge of glass dominate and absorbapartment houses, farms, mansions, studios; out -sound hum of refrigerators, tick of clocks, beat ofhousehold hearts. Only genius could have madethat simple story-a crippled boy called awayfrom his star -gazing by his distraught mother,going to sleep on his bed of straw, awakeningto answer the knock of the Magi-thrill theselisteners half of whom never had seen opera,never wanted to see opera, did not know thatthey now were seeing opera.

The working of this genius was simplicityitself. Besides Menotti's excellent choice ofsingers-Rosemary Kuhlmann as the sopranoand twelve -year -old Chet Allen as the boy

soprano-besides his excellent staging and his ex-cellent instrumentation, he was wise enough toproduce verses naked of any extraneous "style":

The Magi:May we rest awhile in your houseAnd warm ourselves at your fireplace?

The Boy:I was a shepherd,I had a flock of sheep,But my mother sold them, sold them,And I have no sheep left.

MICHAEL FIELD

The Mother:All that gold,All that gold!Do they know a houseCan be kept warmAll day with burning logs?Do they knowWhat I could doFor my child with that gold?

The plot also was as plain as a path: thethree Kings-so appearing to boy and mother-came for shelter. Real kings or no, theyserved their purpose-transformed the hut'soccupants, received homage in song and dance,caused a miracle to take place.

Throughout the whole opera instrumentalmusic, like a staunch trellis, kept the songs inline-the piping by the boy as he star -gazed,the bagpipes for the shepherds' frolic, the good-night chorus of the shepherds, the chorales, theprocessionals. The voices of all the characterswere clear, ringing, poignant, rather thanmellow, subtle.

Most effective of the dramatic situations wasthat moment-now the child speaks alone-when he offers his crutch to the Kings to taketo the Holy Child, and finds he can walkwithout it! I watched the opera with a familyin a small town in the upper SusquehannaValley. They confessedly had never listened to


concert and Stageor seen an opera before-wouldn't have botheredto tune in on this but for my presence there.Opera or no, however, they recognized a climaxwhen they saw one. "Good for the little guy!"I heard one of them murmur. Then a clearingof throats and a general stir.

But the plot presses on. The boy follows theMagi into parts unknown; the invisible curtainfalls in the invisible opera house; clocks beginto tick again, refrigerators to rumble. Yet witha difference. As the families in Montclair, andLaPorte and Oneonta crowd out on the porchesto wave guests good-bye, the stars in the sky

Tanaquil LeClercq and Nicholas Magallanaesin "La Valse" at the City Center.

seem to arrange themselves in a pattern able toguide to their destination three Kings solemnlymarching, and, trailing behind, the small boywith a crutch strapped across his back.

-H. E. S.

Levant Plays LisztMUSIC both forthright and robust was the

Suite No. 2 from the ballet, Romeo andJuliet, as played by the Philadelphia Orchestraon December 11th. Dissonance here again servesits rightful purpose, as a foil to consonance. Nordoes it slight one of the modern's chief contri-butions to the tonal art-percussive opulence.For percussion comes in all shapes and sizes,from violin pizzicatos (how delicately deliveredby the violins!) to the gong's deep shiver. Be-times you find melody which continues to stirin your head and heart for days after. Proko-fiev by his own statement relegates dissonance"to its proper place as one element of musiccontingent principally upon the meeting ofmelodic lines."

Oscar Levant's performance of Tchaikovsky'sConcerto No. 1 in B -flat minor would have in-trigued Liszt, I'm sure, given him a startlingsense of having been transplanted to a crisper,

JANUARY, 1952

more incisive age. We ourselves received a sortof composite astral photo of Liszt and GeorgeGershwin hovering over Levant's head, the oneguiding him to pianistic opulence, the other toa rambunctiousness that kept him just barelywithin orchestral bounds. -H. E. S.

13rtlllant 13allet SeasonNEITHER rats nor children turn up on stage

in The Pied Piper, one of the five new bal-lets presented by the New York City BalletCompany during its five -week midwinter sea-son at the City Center. The piper is clarinetistEdmond Wall, who saunters across the stage,seats himself casually at the left of the prosceniumarch, and begins giving out with the strainsof Aaron Copland's Concerto for Clarinet andString Orchestra - which was choreographerJerome Robbins' inspiration for the ballet. Thenonto a stage bare of scenery the members ofthe ballet company, in rehearsal costumes-tri-cots, shorts, and T-shirts-meander in. Theyquickly come under the spell of the piper. Firstone couple and then another drifts over to thevicinity of the music. They respond in differentways to its varied moods and humors, ad-libbinga pas de deux, or a ballet version of a tap dance,as the fancy strikes them. Some swoon at thepiper's phrases, others are galvanized into franticmotion. Finally the company's leading come-dienne, Tanaquil LeClercq, comes in, partneredby Jerome Robbins, and they lead the wholecompany in a ballet -style jitterbug routine thatbrings down the house.

All the while the clarinetist, supported bythe orchestra, plays on, unconcerned by thehavoc he is causing. The whole effect is atriumph of the spirit of improvisation, so charac-teristic of the modern idiom. It's a back -stagepiece, full of fun and frolic.

Quite a different brand of humor is in evi-dence in the second of the new ballets, TylUlenspiegel, George Balanchine's version of thehalf -mad, quixotic fantast, the Flemish folk -hero who inspired Richard Strauss' famous tonepoem. The setting for the ballet, conceived bythe young Catalan painter Esteban Frances, isa mixture of the styles of classic Spanish artwith the grim fantasy of Hieronymus Bosch-a contrast of styles which sets the stage forBalanchine's dance -story of Tyl's successful fightto expel the Spanish from the Low Countries.

After a short prologue showing both Tyland the Spanish ruler Philip II as children,the main action of the ballet, starring JeromeRobbins as Ulenspiegel, goes on its fantasticcourse, to chronicle the kind of conflict betweencultures and temperaments which Balanchinehandles so well in dance idiom. The wholeis a riot of color and motion.

Jerome Robbins dances Tyl as a poetic, intro-spective character, whose inward drive towardfreedom from convention reinforces his zeal forthrowing off political tyranny. His bursts ofwild gayety alternate with very serious moments;but he carries off triumphantly the climaxes ofStrauss's and Balanchine's scenario, respond -

Jerome Robbins as Tyl Ulenspiegel in GeorgeBalanchine's new ballet.

ing with particular finesse to the challenge ofthe very blue music toward the end.

The third novelty on the season's programwas a new version of Swan Lake, Act II, byGeorge Balanchine, with scenery and costumesby Cecil Beaton. This is the first traditionalballet to be revived by the New York CityCompany, and it is completely transformedinto a modern work, with a new dimensionsomehow added to the classic geometry. Onlytwo short sections come from the earlier versionof Lev Ivanov and Petina; the rest is Balan -chine's own. He has even employed a hithertounused part of the score which Tchaikovskywrote for Swan Lake, the Prince's Variations.

As the Swan Queen, Maria Tallchief showsthat she can easily meet the challenge of thegreat nineteenth century ballerinas in the fieldof "white" ballet. Her technical resources areas great, and she has an equal feeling for form,precision, and restrained power-all needed inthe classic roles. She was admirably partnered byAndre Eglevsky, as Prince Siegfried, and theother supporting roles were in keeping. Theensemble work of the corps de ballet, as theswans and little swans, showed how well theyhad mastered the new mode which Balanchinehad created, putting fresh meaning into anold classic.

It was interesting to contrast with Swan Lakeanother work of Balanchine's which was broughtinto the New York company's repertory forthe first time this season: Apollo, Leader of theMuses. This is a neo-classic ballet in the strict, sense, with music by Stravinsky. It was afine vehicle also for Eglevsky, and made anexcellent addition to the all -Stravinsky programdanced by the company on November 25th,with the composer himself conducting his musicfor The Fairy Kiss.

Still another work new to the company,though a favorite modern ballet, was The LilacGarden, by Anthony Tudor. This modernsociety piece, with music by Ernest Chausson,tells in elegant and casual dance patterns ofthe strong emotional undercurrents that maybe at work during a fashionable garden party.The hostess, danced by Nora Kaye with her

(Continued on page thirty-six)

13

The Hawaiian Islands, "the crossroads of thePacific," are twenty in number, of which nineare inhabited. Lying 2,000 miles from the near-est mainland, the group extends for 390 milesfrom northwest to southeast, comprising 6,407square miles, of which 4,030 square miles arein Hawaii, the westernmost Island. The largestcity of the Island group, Honolulu, is on Oahu.

The author is indebted for much of thissource material to Miss Edith Spencer andWalt Christie of Honolulu, as well as toI. B. Peterson, President of Local 677 ofthat city.

HAWAII aspires to being the forty-ninthState. As such she would certainly havethe distinction of being the single State

in our Union which all but subsists on musicand the dance. To think of Hawaii is to thinkof the Hula. Aloha Oe, written by a queen ofearlier days, has become a theme song of long-ing and love the world over. The thousandsof passengers who crowded the decks of the122 steamers arriving in Hawaii during theyear 1950 heard this song played by the RoyalHawaiian Band. Then the band played Songof the Islands, composed by another Hawaiian,the late Charles King. After that a Hula. Thenmore Hawaiian songs. What State of the Unioncould welcome guests with whole programs ofhome -created dance and song? What State of

The

Islands Wherethe Union Could express its unique individualitythrough its own art forms, in its very first en-counter with the stranger:

We welcome you!Already we like you!Be our friends as we are yours!

With this message, Hawaii's credo, the na-tives hailed the first boat arriving there in Jan-uary, 1778, when Captain James Cook, search-ing for a short cut to the East, discovered theIslands. The inhabitants chanted old songs asthey assembled on the beach and swarmed upthe sides of the vessel. Today's tourists, if theycatch some inexplicable cadence or peculiarvocal manipulation in the otherwise quite dia-tonic music of Hawaiians, may thank the in-fluence of these early mete tunes, each basedon a three -note scale, hymning valiant deeds ofgods and chiefs.

The sailors on Captain Cook's vessel wereregaled with instrumental music, too. Theymust have examined with quite as much inter-est as Mozart was concurrently examining thenew "piano -forte" on display in Europe, theHawaiian ukeke, a strip of wood bent into theshape of a bow to keep taut the three stringsstretched from end to end-the player pressedone end of the bow against his lips and "talked"into the strings as he plucked them-and thenose flute made of a small elongated gourdpierced with three holes, one put to the nostril,two stopped by fingers.

The Tune ChangesCaptain Cook's men did not, unfortunately,

confine their activities to those of observers.For one thing, they stole part of a sacred edifice,using it as firewood, thus violating one of theIsland's strictest tabus. As a result of this dese-cration they heard, before they departed, soundsquite different from the welcoming chants thatfirst fell on their ears-the deep boom of war-

drums made from hollowed -out logs covered

The cover picture shows musicians (leftto right (Thomas Castro. Ben Kalama.Alvin Kaleolani Isaacs and George Kai-napau, all members of Local 677.

with shark skin. On their return to the out-side world, they had such tales to tell as madethe stay -at -homers decide something must bedone about the Hawaiian Islands.

Thus it was that in 1819 two ordained minis-ters, a physician, two teachers, a printer, afarmer and such wives as they had managedto secure to brave "a savage heathen country,"set out from Boston, spent six months voyagingaround Cape Horn and arrived early in Aprilat the Islands. Shortly thereafter King Liholihoand his five wives were being entertained bythe singing of hymns on the missionary ship.The singing pleased the royal guests. The mis-sionaries were allowed to remain. One of themany far-reaching results of this intermingling

Instruments of old Hawaii: LEFT, nose flute,RIGHT, the Pahu, ceremonial kettledrum,played by Makalei Montgomery who specializesin ancient instruments.

of cultures was that the diatonic scale on whichthe hymn tunes were based became an integralpart of Hawaiian music.

The process of culture mergings, however,was not without íts hitches. States an old re-port, "Conferences between the New England-ers and the king and his chiefs were constantlybeing interrupted, to the scandal of the former,by intrusions of Hula dancers, whereupon theking would wave aside the missionaries andwatch the dance." What eluded the mission-aries, briefed in hymnology, husbandry andpossibly Haydn-his "Creation" had that veryyear been performed in their home -town, Boston-but sadly ignorant of the ways of the natives,was that the Hula was as much an expressionof the Islanders' religion as hymns were of the

Royal Hawaiian Band, Bandmaster, Domenico Moro.

Music ReignsNew Englanders. The Hula dance-or ratherdances, since there are some 262 varieties ofthem-embody the whole psychology of the-Hawaiians, their beliefs, their customs, theirapproach to life. Each bodily motion has itsmeaning, portrays to the initiate flight of birds,ripple of waves, paddling of canoe, throwingof fish net, swaying of coconut palm. Throughthese dances, heroic legends are related.Hawaiian history was recorded, as surely as ifit had been traced by pens on parchment, inthe motions of trained dancers and musiciansof the king's court-the flight of their fore-fathers from Asia, the voyage in canoes, theclash of battle. As these dances are dancedtoday, they may express light and transient

Left, Alfred Apaka, one of Hawaii's foremostentertainers; right, George Barati, conductorof the Honolulu Symphony Orchestra.

ideas; but every now and then comes the poign-ant gesture, the arresting symbol, which givesthe spectator a sense of An art form perfectlyand fully developed.'

The Band Strikes Up!

If the missionaries failed to catch undertonesof Hawaiian culture, the Hawaiians were morereceptive. They quickly developed a taste forWestern melodies. When in 1868 an Austrianfrigate put into Honolulu harbor for repairs,the ship's band so entranced the reigning KingKamehameha V, that he determined to get aband of his own. After the ship left, the gov-ernment ordered twelve instruments from themainland. Thus was founded, in 1870, theRoyal Hawaiian Band. But the islanders justcouldn't make themselves sound like the Euro-

pean instrumentalists. The King, determinedto have his wish realized, asked the Germangovernment to lend them a bandmaster. A cer-tain Captain Henry Berger was selected. Whenhe arrived in 1872 he found twenty instruments-and but ten musicians to play on them! Buthe was of the stuff pioneers are made of. Fourdays later he conducted his first concert. Hestayed on for forty-three years, serving underthree kings, a queen, a provisional government,the republic, the territorial government. Hecomposed seventy-five original Hawaiian pieces,wrote several others in the European traditionand arranged 200 other Hawaiian songs forband.

The King Wields Drumsticks

This band was the secret passion of anotherking, Kamehameha V's successor, Lunalilo. Asa boy Lunalilo had always wanted to play thebass drum in the band, but was forbidden toon the grounds that it was unbecoming in ahigh chief. When he became king, though,he made the fulfillment of his desire his firstpublic act. He summoned the band to thepalace, took the bass drum from its player,strapped it across his own chest, and led theband in a triumphal march around the palacesquare. Finally, he ordered drinks "on thehouse" for all members of the band. There isno indication that his dignity was in the leastinjured by all this fun.

On Mr. Berger's retirement, C. Kalani Petersbecame the band's leader. He was followed by

a succession of leaders:Robert H. Baker, MediaKealakai, John Amasiu,Charles E. King, Frank J.Vierra. Since 1940 Do-menico Moro has been theband's leader. A native ofSicily, he served twentyyears as a bandmaster inthe United States Navy,was flute player in theHonolulu Symphony for

twenty-five years, as well as that organization'sassistant conductor. He is the first and oldestmember of Local 677 (founded in 1923), forseveral years acted as its president. A few years

Domenico Moro

Hawaii's Hula dance is a song in itself.

ago, in an impressive ceremony, he was madean honorary life member.

Mr. Moro has brought the band to a highlevel of attainment. It is now supported bycity and county taxes and operates on a five-day per week basis. During 1950 it played atotal of 343 concerts of which forty-seven wereheld Sunday afternoons at Kapiolani Park.There were nineteen concerts at other parks onOahu, and forty-five concerts at hospitals. Be-sides, there were the ship arrival concerts playedfrom the upper lift of the pier, level with theship's promenade deck. Then there were theconcerts played in schools, for charitable gath-erings and for sports events.

Band Membership

The band's personnel of forty-nine membershas representatives of Japanese, Chinese andFilipino peoples, as well as of Caucasian and,of course, of Hawaiian-is, in fact, as goodan example as any of the fine way in which allraces live and work in harmony in these Islands.Two singers are regularly employed with theband, Miriani Leilani, soprano-she "doubles"as a Hula dancer-and Miulan Naiwi, con-tralto. Every program closes either with theStar-Spangled Banner or Aloha Oe.

Aloha Oe, in fact, appears on practically everymusical program presented on the Islands. Thesong came to birth in 1878, the same year, inci-dentally, that brought Tchaikovsky's Fourth

(Continued on page twenty-six)

The Honolulu Symphony Orchestra, Conductor, George Barati.

PREMIERES. The Louisville Orchestra, underthe direction of Robert Whitney,

presented, on December 5th, the second of itscommissioned works. Norman Dello-Joio's TheTriumph of Saint Joan, a symphony in threemovements: "The Maid," "The Warrior," and"The Saint," with Martha Graham as soloist

.. Henry Brant's Dedication in Memory of aGreat Man is one of the works Dean Dixon ispremiering on his current European tour . . .

Audience reaction was unmistakably favorableto Roy Elihu Travis' Symphonic Allegro whenit was presented late in December by the NewYork Philharmonic -Symphony under DimitriMitropoulos.

BENEFIT. The program Arturo Toscaninipresented with the N.B.C. Sym-

phony December 22nd in Carnegie Hall wasfor the benefit of victims of the Italian floods... The campaign of fund-raising for the NewYork Philharmonic -Symphony to date is near-ing its goal, namely, to wipe out the 1950-51deficit.

TELEVISION. The Indianapolis SymphonyOrchestra, Dr. Fabien Sevitzky

conductor, took to the TV lanes December 18thfor a series of seven commercially sponsoredtelecasts via WFBM-TV. Reports Alan Meiss-ner, the orchestra's manager, "We are pleasedto be able to make the orchestra available tomusic lovers throughout central Indiana whomight not otherwise have the opportunity toview a performance, and we are naturally proudof the distinction of being the first symphonyorchestra in the nation to be commercially spon-sored on TV."

LAUNCHINGS. The Nashville (Tennessee)Civic Music Association, Lo-

cal 257 of that city, and the Nashville Bannerare proud to announce that a small orchestra,composed of the first chair players of the Nash-ville Symphony, are being heard in concertsthis season in four city and four county highschools. The orchestra is under the directionof the NCMA musical director, Guy Taylor... New Jersey boasts a new orchestra. It iscalled the Colonial Little Symphony and is spon-sored by Drew University. Conducted byThomas Scherman, it will make its debutJanuary 30th at Madison ... Now in its sec-ond season, the Inglewood (California) Sym-phony Orchestra is a genuine community ac-tivity. For instance, a local automobile dealerfoots the bill for the program booklets, proudlyadvertising that "We are promoting the con-tinuance of this community's greatest culturalasset." Concerts are played in Inglewood on thelast Sunday of each month and in nearby El Se-gundo the following Monday nights.

CONTESTS. The Mannes Music School, NewYork, has launched an orchestral

compositions contest for composers under thirty,its purpose "to foster the talent of young com-posers by bringing their works to the attentionof the public through a New York performancebefore a select musical audience." The com-petition specifies a "composition for smallchamber orchestra." The winning compositionwill receive a New York performance in Mayby the Mannes Orchestra under the directionof Carl Bamberger. Manuscripts are to be en -

16

Podium' aid Stage

tered anonymously and the closing date is Febru-ary 10th. For further information, write Con-test Board, Mannes Music School, 157 East 74thStreet, New York 21, New York ... The youngBrazilian composer, Henrique Gandelman, haswon the Miecio Horszowski prize for the bestSonatina for Piano submitted by a Brazilian.

SOLOISTS. The Dayton Daily News came outafter the December 5th concert of

the Dayton Philharmonic Orchestra, with "Themiracle of pianist Aldo Ciccolini's affinity forthe third Rachmaninoff Concerto was an un-forgettable thing." ... Marcel Tabuteau, oboist,was soloist in the all -Viennese program of thePhiladelphia Orchestra December 21st . . .

Rafael Druian, concertmaster of the MinneapolisSymphony Orchestra, was that orchestra's solo-ist at its December 21st concert, featuring in itsfirst performance in that city Paul Hindeinith'sConcerto for Violin . . . Grant Johannesen,American pianist, who won First Grand Prizeat the International Piano Festival in Belgium,in competition with artists from thirty-twocountries, was soloist December 9th with theMinneapolis Symphony Orchestra, Antal Doraticonducting. He played George Gershwin's Con-certo in F ... Maryan Filar, Polish pianist, ap-peared with the Philadelphia Orchestra for theDecember 28th concert. He played Chopin'sSecond (F minor) Concerto ... Tossy Spiva-kovsky was assisting artist at the December 27thand 28th concerts of the Cleveland Orchestra ledby its Associate Conductor, Rudolph Ringwall.

CURTAIN. Gian-Carlo Menotti's new shortopera, Amahl and the Night Visi-

tors, will have its first stage performance Feb-ruary 21st when it will be presented by theMusic School of Indiana University. The con-ductor will be Ernst Hoffman, and the stagedirector, Hans Busch. The other opera on thedouble bill will be A Parfait for Irene, by WalterKaufmann, conductor of the Winnipeg SymphonyOrchestra . . . The first performance at the

Metropolitan Opera since April 11, 1928, andthe first ever to be given in English at the OperaHouse of Mozart's Cosi Fan Tutte was presentedDecember 28th.

HORIZONS. The Indianapolis Symphony Or-chestra began on January 15th

an extended tour of twenty-seven Eastern citiesduring a thirty -day period ... Charles Munch,music director of the Boston Symphony Orches-tra, will serve as director of the Berkshire MusicCenter next year. He succeeds the late SergeKoussevitzky in this post.

SOURCE. The Minneapolis Symphony Orches-tra thoughtfully prints in its pro-

gram leaflets the organizations from which itborrows scores for use at concerts. The Cheru-bim Overture to Ali Baba and the Forty Thieves,played at the December 14th concert, was"loaned through the courtesy of the EdwinFleisher Music Collection in the Free Libraryof Philadelphia," and scores of Tchaikovsky'sSymphony No. 4 in F minor, played on Decem-ber 28th, were obtained from the collection ofthe Minneapolis Public Library.

GUESTS. Leopold Stokowski was guest con-ductor of the Cleveland Orchestra

at the symphony concerts on December 20th and22nd . . . Pierre Monteux made his first ap-pearance as guest conductor of the ClevelandOrchestra at the concerts of December 13th and15th. Earlier in the month he had led theBoston Symphony at Carnegie Hall ... WithBruno Walter as visiting conductor, the ChicagoSymphony Orchestra on January 15th will pre-sent Strauss' tone poem, Death and Trans-figuration.

DOLLARS AND SENSE. John Rosenfield,Amusements Edi-

tor of The Dallas Morning News, has writtenan editorial which was reprinted in the Austin(Texas) Symphony Orchestra program notesand which we feel should be broadcast throughevery medium possible. We therefore give it,in part, herewith:

"Our favorite musical story has nothing to dowith music and yet everything to do with it.Five years ago our office was visited by a perfectmodel of a junior executive.

(Continued on page twenty-seven)

The Jacksonville (Florida) Symphony Orchestra, founded and conducted by Van Lier Lanning,has had, since its origin in 1949, the enthusiastic support of the whole community. The Sym-phony Association, consisting of fifty of the city's prominent citizens, are not only furtheringthe orchestra's opportunities but are bettering conditions for musicians throughout the country.It has, for one thing, successfully seen passed an act in the Florida legislature to enable thecity of Jacksonville to contribute to the Symphony Association. Mr. Lanning has already tohis credit the introduction to the symphony audiences of many new works.


FREDDIE D'ALONSO

EAST. Buddy DeFranco finishes a one -weekengagement at the Howard Theater

in Washington, D. C., on January 17th. T -BoneWalker follows here from the 18th to the 24th,at which time Illinois Jacquet takes over forthe week of January 25th to 31st ... RamonRamos, at the Carlton Hotel in Washington,D. C., remains there indefinitely ... Dave Bru-beck plays a one -week engagement at Gamby'sin Baltimore, Md., starting January 14th.

The Jack Rossman Swingtette is currentlyappearing at the Club Aloha in Amsterdam,N. Y. Rossman, who plays the accordion, fea-tures Ray Brown (formerly with Francis "NearYou" Craig) on bass, vocals, and novelties, andJim Martin on guitar ... The Teddy CohenTrio, with Don Roberts on guitar, has been heldover at Squeezer's Musical Club in Rochester,N. Y.... Tommy Reed and his orchestrastarted at the Hotel Syracuse in Syracuse, N. Y.,last month.

Lucky Millinder will be at the ContinentalBar in Newark, N. J., January 18th ... HerbKenny, formerly with the Ink Spots, has organ-ized his own vocal quartet. They'll tour theEast on night club and theater appearances .. .Damiron and Chapaseaux continue at HotelLaurel -in -the -Pines, Lakewood, N. J., untilMarch 17th ... Jose Pillado providing rumbaand mambo music at the Grossinger Hotel in

WHERE THEYARE PLAYING

Ferndale, N. Y., for the winter season untilJune 2nd.

Stan Getz at the Show Boat in PhiladelphiaJanuary 21st to 26th ... Lenny Herman andhis orchestra start an eight -week engagementon January 4th at the Warwick Hotel in Phila-delphia, and Tiny Davis plays Pep's MusicalBar January 7th for two weeks.

Count Basic doing one -niters throughout theNew England area . Former Flip Phillipsdrummer Joe McDonald has returned to Boston... The Rainbeaux Trio has been held overat the Marador in Framingham, Mass.... TheAl Vega Trio will do a series of club datesand then move into the Hi -Hat Club in Bostonsome time in February ... Larry Green con-tinues at Boston's Copley -Plaza indefinitely .. .Chris Powell booked for a two-week engage-ment at the Sportsman's Lounge in Newport,R. I., January 4th.

NEW YORK CITY. Following is the latestlisting of musicians ap-

pearing in the regular all-star orchestra at LouTerrasi's: Buck Clayton, trumpet; Buster Bailey,clarinet; "Ken" Kersey, piano; Charlie Bateman,relief pianist; Arthur Herbert, drums; and inplace of Chief Moore is "Nicci" El -Michelle,trombone, better known as Herb Flemming

. Sidney Bechet will be at the Cafe Metro -pole until January 22nd ... The Three Flamescurrently appearing at the Bon Soir.

Pianist Eugene Smith will do a series of videodates in New York City for two weeks duringthe month of January. Also set for the boogie-woogie pianist are location dates in upstate NewYork ... Erskine Hawkins plays the ParamountTheater some time in the middle of January... Pianist Ray Grismer doing singles in cocktail

Send advance information for thiscolumn to the Managing Editor, Inter-national Musician, 39 Division Street,Newark 2, New Jersey.

MUGGSY SPANIER

lounges in the city ... Irving Fields, back fromhis honeymoon, is playing simultaneously at twoplaces in New York-the Embers for cocktails,and the Raleigh Room of the Hotel Warwickfor evening dancing.

Emilio Reyes stays on at the Havana Madridindefinitely ... Freddie De Alonso and his or-chestra scoring at the Chateau Madrid ... Alsoproviding Latin American music are Nino andMaria Morales at the Hotel Ambassador.

Al Morgan started his new coast -to -coast half-hour TV show on ABC-TV. The show featuresAl fronting and singing with his own orchestrawith heavy emphasis on his fantastic piano play-ing technique ... Ray McKinley closes at Rose-land Ballroom on January 18th ... Dizzie Gil-lespie opens at the Apollo January 11th for oneweek and then goes to Boston. Starting Feb-ruary 4th he'll be appearing at the Show Boatin Philadelphia ... Gene Ammons will be atthe Apollo Theater February 1st to 7th.

The Melino Trio are booked indefinitely atthe Celebrity Club ... The Georgie Kaye Trio,with Ernie Raid on guitar and Dick Terry onbass, on indefinitely at the Dimlit Cafe in Rich-mond Hill ... Lester Young plays the ChateauGardens January 18th. From January 28th toFebruary 3rd he'll be at Gamby's in Balti-more, Md.

(Continued on page thirty)

ALONG TIN PAN ALLEY *th" 41°'

A KISS TO BUILD A DREAM ONBELA BIMBABESIDE YOU

Millertoday

Paull -Pioneer

LOVE IS HERE TO STAYMANHATTANMORE MORE MORE

DeSylvia-BrownMarks

RemickCALIFORNIA MOON Robbins MY LOVE FOR YOU MelomusicCHARMAINE Lion NEVER RobbinsCRY Mellow NEVER BEFORE ParamountFOR ALL WE KNOW Feist ONCE Walt DisneyGETTING TO KNOW YOU Williamson SOLITAIRE R M. I.I REMEMBER YOU, LOVE George Paxton STILL SEE ELISA ChappellIF I CAN LOVE YOU IN THE MORNING Frank THE BLUEST WORD I KNOW IS LONESOME Leo TalentI LIKE IT, I LIKE IT Frank THE RAINBOW TRAIL MelomusicI'LL SEE YOU IN MY DREAMS Feist THIRTY-TWO FEET AND EIGHT TAILS MillerI'M IN LOVE WITH MOLLY Leo Talent UNFORGETTABLE A. B. C.I'M SENDING YOU ROSES Hawthorne Music Corp. WAITING FOR THE SUNRISE CrawfordIT'S ALL IN THE GAME Witmark WOULD YOU DANCE WITH A STRANGER? BourneJUST ONE MORE CHANCE Famous YES YOU ARE Oxford Music Corp.

JANUARY, 1952 17

Bandleader Elliot Lawrence likes modern inno-vations He was among the first of the newcrop of bandleaders to use French and English

horns, oboe and bassoon.

ALTHOUGH he is not yet twenty-seven, ElliotLawrence has been the leader of a band for

almost fifteen years, and enjoyed professionalrecognition since the age of nineteen. Knownfor his artistic precociousness and progressiveinnovations in the dance -band field, he has beenrightfully described as "young, capable, and fullof young ideas." Currently touring the Mid-west, his orchestra, whose members' ages aver-age twenty-four, returns to New York soon tostart work in radio, television, and movies.

Elliot Lawrence was born in Philadelphia in1925, the son of Esther and Stan Lee Broza,both of whom were connected with radio. Hebegan playing the piano at the age of two, andby the time he was four was touring the localtheaters with his father's "Children's Hour"shows. By 1931 he was entertaining on theradio and at recitals with regularity, until anattack of infantile paralysis threatened to endhis career. However, he was back at the key-board within a year, and from that time onstarted a series of developments that startledhis teachers, parents, and other musicians.

Elliot, incidentally, has donated the servicesof his band generously to the National Founda-tion for Infantile Paralysis, for whom he servedas Chairman of the Bandleaders' Division in1950.

He began serious arranging and composingas a high school student, and when he wastwelve years old, recruited young musiciansfrom all the schools in Philadelphia to form agroup known as the "Band Busters." The en-tire unit was accepted for membership in Local77, started playing for proms in and aroundPhiladelphia, and was soon featured on WCAU,an affiliate of C. B. S., every Sunday. RozalindPatton, still with Lawrence, was the vocalistthen. Buddy DeFranco and Johnny Dee werealso among the original group.

Graduating at the age of fifteen, Elliot en-rolled at the University of Pennsylvania. He ledthe U. of P. band and school orchestra, contrib-uting dance arrangements for all the marchingsongs made famous by Penn bands, earned the

On Their Way Up

Alumni Prize for his outstanding school spirit,and at graduation became the first music stu-dent ever to win the Thornton Oakley GoldMedal for creative art.

Immediately after graduation, at the age ofnineteen, he was appointed musical director ofWCAU. In 1945, C. B. S. started the "Listento Lawrence" series on its nation-wide network,and by the Spring of 1946, more than one hun-dred thousand fan letters had been received hail-ing Elliot Lawrence and his orchestra.

In July of the same year he opened at theCafe Rouge of the Hotel Pennsylvania in NewYork, now the Statler, following at FrankDailey's Meadowbrook in New Jersey. Whilehere he was selected for the New York DailyNews' Harvest Moon Ball, and in 1947 tookhis group to the famed Hollywood Palladium.The band had also scored records for collegedates, winning the annual campus poll.

There are sixteen men in Lawrence's band,plus two vocalists, Rozalind Patton and DannyRiccardo. The instrumentation is made up ofseven brass, including French horn; wood-winds, including oboe, English horn and bas-soon, on which the men double; piano, bass,and drums. Lawrence plays the piano. His experimentation with concert instruments

in a dance band has created considerable inter-est in music circles, and in 1949 he introducedthe electronic theremin, an instrument helearned from a social registerite in New York.Musical arrangements are done by Lawrence,John Mandel, and Gerry Mulligan.

Elliot's love for music extends far beyond thepopular vein. Some day, he says, he would liketo be the conductor of a symphony orchestra.His band recently appeared with the RochesterCivic Symphony Orchestra at the Eastman Audi-torium in Rochester in an unusual concert whichcombined the popular and classical. Both thesymphonic and swing band units played separ-ately, and then combined for a series of semi-classical numbers. Several of Elliot Lawrence'soriginal compositions were played, including"Suite for Animals," a classical opus runningfifteen minutes. In March of 1951 he performeda piano solo at the Annual Piano Fair in Bos-ton's Symphony Hall under Arthur Fiedler.

Lawrence has studied conducting with LeonBarzin of the National Orchestral Association,and piano with Erno Balogh. For several yearshe has been conducting concerts, and he lectureson music both on and off radio.

LEO PIEPER

ONE band which shouldn't run into any con-tractual or legal difficulties is the Leo Pieper

orchestra. Its leader is an attorney-an attor-ney who spent ten months at his profession,removed the shingle from the door, and re-turned to the music business.

Born in Albion, Nebraska, Leo Pieper is notthe first in his family to organize a group ofinstrumentalists. His grandparents were lead-ers and participants in what was known as theHyland Family Orchestra, a group of seven

Bandleader Leo Pieper plays one of the twopianos in his band, and does vocals. He has alsotaught all ten of his players to double on accor-dions, to lend variety to their novelty numbers.

musicians, all related, who played throughoutNebraska and the surrounding territory beforethe turn of the century. A lapse of some fortyyears, however, has added sixths and syncopa-tion to the style, but no relatives.

Leo got started in the band business while asenior at Creighton University in Omaha. Hedecided to visit Europe, and in order to raisethe funds, formed a six -piece outfit to workas a ship's band. They were hired by theCunard steamship line and assigned to theBerengaria, hoping to continue working on theContinent. However, the vessel reached Francejust as a stringent labor law was designed tostop the inroad of foreign labor, making itimpossible for the newly arrived Americanmusicians to find work. Pieper split the bandup and managed to secure a job as a solo pian-ist for himself. After returning to the U. S.a year later, this time with his band aboard theSamaria, another Cunard vessel, he went backto Creighton and continued there until he re-ceived his law degree.

At about the same time he left for Europehis brother Gene formed his own band. Aftera few months as a practicing attorney, Leojoined his brother to form the Pieper Brothers,an orchestra which rapidly became a favoritein the Midwest. In 1938 he left his brotherand organized his own band.

The Pieper band today includes four saxes,two trumpets, a trombone, bass, drums, andtwo pianos, one handled by the leader. Thevocal section, besides Leo, who does the stand-ard novelties, includes Patti Regan and bass -man Chuck Bindig. An outstanding noveltyintroduced by Leo is the accordion band. Heinstructed the ten men in his band in this in-strument and arranged numbers featuring theten accordions.

Leo concentrates strictly on dance music. Herecently finished a stay at the Aragon Ballroomin Chicago, and is now doing one-nightersthroughout the Midwest, a territory in whichthe Leo Pieper orchestra has gained so muchpopularity.


LLOYD KIBBLER'S ORCHESTRA: (Left to right) Doug Robertson,Lloyd Kibbler, Lewis MacDonald, Gene MacDonald, saxes; Percy Hoad-ley, bass; George Alderman, trombone; Jack Jerome, Fraser Lobben,Ken Bowes, trumpets; Everett Smith, drums; Len George, piano. Theorchestra has played the same summer spot for the past eight years

and their specialty is music on the sweet and low side.

Owen Sound, Ontario. The Balmy Beach Pa-vilion has been the summer headquarters ofLloyd Kibbler and his orchestra for the pasteight years. During the winter months the boys,who are members of 'Local 226, play the OwenSound Auditorium for Saturday night dancing.They also play for clubs and private dances.

Bayside, L. I. The Murray Greene Trio of Local802 has a lot of colleges on its engagementlist. They recently completed a session at theTown Club in Great Neck, and are now movingaround Long Island doing dates.

Miami Beach, Fla. The Melodairs who havebeen together since 1946 play the cocktail ses-sion at the Nautilus Hotel and then move on tothe Isle of Capri Hotel for the rest of the evening.Michael Bari sings in Spanish and Italian-andEnglish of course.

MURRAY GREENE TRIO: (Left to right) MoeOberfierd, sax; Leo Spelvin, pianaccord; Mur-ray Greene, bass and leader.

JANUARY, 1 9 5 2

THE ALABAMA CAVALIERS: (Left to right) Gene Cartledge, vibra-

harp; Betty Bostwick, vocalist; Leo Gilberg, Gilbert Norwood, Ira Beal,Laurence Morgan, Glenn Schroeder, saxes; Don McMillan, John Marks,Cliff Hurter, trombones; Bobby Collins, French horn; Willie Thomas,Walter Moeck, Earl Hadaway, McCarty Oliver, trumpets; Hershal

Vickers, bass; Terry Both, piano; Mike O'Hara, drums.

Traveler's Guíde

to LIve Musíc

Pictures for this department shouldbe sent to the Managing Editor, Inter-national Musician, 39 Division Street,Newark 2, N. J., with names of playersand their instruments indicated fromleft to right. Include biographical in-formation, and an account of thespot where the orchestra is playing.

THE MELODAIRS: (Left to right) Ray Moretti,bass and violin; Michael Bari, guitar andvocals; Irving Herman, piano and accordion.

Tuscaloosa, Ala. The Alabama Cavaliers areusually around when something is going on atthe University of Alabama music -wise. GeneCartledge, who heads up the team, plays thevibraharp and was formerly featured withKenny Sargent. Willy Thomas used to playthe trumpet on the Horace Heidt bandstand.The boys, all members of Local 435, have playedmany of the air bases in Ala., Miss., Fla., andhave also been entertaining G.I.'s in veterans'hospitals.

Framingham, Mass. Currently appearing at theMaridor, the Rainbeaux are displaying a varietyof vocals, novelty arrangements and specialties.They recently completed a twelve -week engage-ment on the Chevrolet television show andtheir radio appearances have included a stint withSid Caesar on the Night of Stars Show and withBob and Rav on NBC.

THE RAINBEAUX TRIO: (Left to right) JohnDenaro, guitar; Kenny Karry, bass; MonteMarrocco, piano.

-15-HNIQuE of pCuStON

4

By GEORGE LAWRENCE STONE

THE black camel has knelt before the tent of one of our mostrespected and beloved drummers, J. Burns Moore of Hamden, Con-necticut; who died suddenly from a heart attack on November 2

at the age of seventy-nine.Called "the Dean of Drummers" for his outstanding contributions

to the art, and one of my dearest friends. Burns made a life-long careerof drumming. He was born in North Sydney, Cape Breton, Nova Scotia,on March 17, 1872. There he was raised on a farm and in his sparetime worked in a mill, sawing shingles.

He began to drum at an early age, pounding out his drumbeats onthe household pots and pans and later, at the age of ten, on his firstreal drum-a crude instrument, indeed-fashioned from a short sectionof hollow tree -trunk with skins stretched across the ends. This was thecontribution of an uncle who thought he detected talent in the boy.

When Burns was sixteen the family came to the United States,settling in New Haven. It was there, during a Labor Day parade, thatthe boy heard his first real drumming. Any doubts he may previouslyhave had about the selection of a career were dispelled on that day-he knew then and there that he must be a drummer-and he lost notime in seeking an instructor. He soon found one in the person of JackLynehan, whom he heard drumming Assembly in the Second RegimentArmory at a drill of the old Sarsefield Guards. After studying under Jackfor a year, young Moore joined a Regimental Drum Corps at New Haven.

This was the beginning of a professional life dedicated to the drums;a life that carried Burns from corps drumming to individual drumming(in contests, for which Connecticut is famous). Later he branched outinto the dance field and the local theater pits. Later still, he became amember of the Governor's Foot Guard Band and finally he landed inthe New Haven Symphony Orchestra where, as tympanist, he remainedfor over forty years.

Although eminently successful as a player, Burns became doubly soas an instructor, and in later years specialized in judging individualdrumming and drum corps contests, both in this country and in Canada.One of the highlights of his career came in 1933, when he was electedpresident of the National Association of Rudimental Drummers (ourNARD). His book, The Art of Drumming, is considered a standardmanual for the rudimentalist.

The passing of J. Burns Moore represents a distinct loss to drummersand drumming, and he will be missed by a host of friends.

THE MUFFLED DRUMA Wisconsin reader writes: "I have been told that 'muffled drum'

means with the snares released, but then what is the difference betweenthat and a torn torn? In funeral marches the boom of an unsnared drumseems out of place and contrary to the spirit of the music."

There is no appreciable difference between the sound of an unsnareddrum and that of a modern torn tom of similar size and proportions.Therefore, a drummer may, and often does, use his muffled drum inlieu of a tom tom.

But you are mistaken about the muffled drum sounding out of placein the funeral march. Here it is the snare tone, not the head (muffled)tone that is out of place, for the function of snares is to impart a brilliant,sharp, crisp tone to a drum and this is exactly opposite to the funerealmood, which is sad and solemn. Here the music needs the boom, notthe snap.

You will find the unsnared drum written for in the music of thegreat masters. Muffled drum is called for at military funerals, as we readin Bruce and Emmett (1862) and Strube (1869). The English writer,Forsythe, in his Orchestration, puts it nicely: "No one who has ever beenpresent at a military funeral can have failed to be struck with the inde-scribably solemn effect of the muffled side drums."

AL MILLER Chooses

Al Miller, prominent LongIsland teacher, and drummer withEnric Madriguera Orchestra is shown here with hisnew Leedy & Ludwig "KNOB TENSION" drums.Al, a graduate of the Henry Adler School of New YorkCity, says-"Leedy & Ludwig KNOB TENSIONdrums have all anyone can ask for in tone, responseand appearance." LEEDY &LUDWIG, Department 105,

Elkhart, Indiana.

See and try the revolutionary"KNOB TENSION" drums at yourfavorite Leedy & Ludwig dealers, orwrite today for free literature,

ELKHART IND. U.S.A.

" W O R L D' S FINEST DRUMMERS,' INSTRUMENTS''20 INTERNATIONAL MUSICIAN

NOW, PUTTING THE SNARES BACK AGAINIn American history the beat of the drum is credited with winning

more war victories than any other indirect agency. Military authoritieslong ago determined that soldiers will march farther and with less fatigueto the lilt of the drum than to the strains of a full military band. Untilrecently the drum and fife were the signaling instruments in the UnitedStates Army and, too, in the State Militia. Every regiment had its drum-mers and fifers, and not only did the soldiers of the Revolution, the Warof 1812, and the Civil War march into battle to the soul -stirring musicof these instruments, but practically every military duty in the army campshad to be preceded by its proper fife and drum signal. These signals,together with the marching music, are embodied in what still appearsin drumming textbooks as The Camp Duty of the United States Army.

PAINTED DRUMHEADSStill the letters come in from readers who inquire how to remove

paint from drumheads. I answered this one not too long ago. Eitherwe are taking in a lot of new members or some of you boys are notbothering to read this column too carefully. I hope, for the preservationof what little ego I possess, that it's the former.

Use a good paint remover, following directions on the can or bottle.Work as fast as you can and clean the head thoroughly after the job isdone. No, I cannot guarantee that the results will be satisfactory. Ahead may be smudgy after you have finished, especially if the old painthas penetrated into the fibres of the skin to any great extent. Yes, youcan paint over the entire surface of a bass drum head, but unless youare a pretty good painter, this is apt to turn out a botch job, too. Yesagain, such a coat of paint will muffle the tone of the drum to somedegree, but not more than the tone controls which most of us apply todo exactly this-to muffle the tone.

ANGELIC TYMPANINice letter from Malcolm J. Young, Wichita, Kansas. He mentions

the tympáni bit in "The Dance of the Angels," from Wolf -Ferrari'sLa Vita Nuova, which calls for kettles tuned in F -sharp, G, D, E, A, B,and C-sharp-seven kettles in all, to be played by two performers. Mal-colm remembers seeing and hearing Josef Zettleman and Max Wintrichonce "working like beavers on seven drums at Theodore Thomas Orches-tra Hall in Chicago" to play this bit. Years ago while touring the mid -west with a Boston Orchestra I heard the late Oskar Schwar, then myteacher, go through this number alone with four hand -tuning kettles.While it went well (anything would go well with Oskar), two playersand the full complement of instruments are definitely needed to do itfull musical justice.

It is unfortunate that a drummer on the road, or playing a fly-by-night, often has to double up and handle parts not intended for a singleperformer. This is a common situation, conducive to a get by style ofplaying which makes the would-be perfectionist writhe. I rememberonce playing a pop concert on the road which included Constant Lam-bert's On the Rio Grande, a novelty number featuring quite an extendedsolo for pianoforte with an accompanying part scored for some sevenpercussionists. The soloist for this number was Boston's talented andversatile Willie Frank. I found myself elected to take charge of thepercussion. When I learned that I was expected to do this without help,I yelped long and loud to contractor Joe Boetje, ending my perorationwith the declaration that "no living man could play all the parts calledfor in that score." Joe, who knows all about handling musicians, coun-tered by saying: "Of course, no man except you, George." That did it.I took the job.

The parts-for tympani, bells, xylophone, chimes, drums, cymbals.castanets, triangle, even a cow bell-were duly consolidated into a one-man score and I did the honors, so-called, but the makeshifts I had toemploy and the manner in which I had to jump around to get in asmuch of the score as possible constituted musical murder in the firstdegree. However, the audience (and a musical audience, too) loved it,and Willie and I had to do a repeat.

The payoff to this episode occurred later backstage when, with Williegrumbling over the fact that I, with that fake theater -pit setup, sharedequally with him, the soloist, in the applause, one of the boys congratu-lated him on the marvelous manner in which HE FOLLOWED ME!

Drumming, and indeed all percussion, is becoming more standard-ized each year. I meet more and more drummers who talk what isdeveloping into a universal drum language. I recently met Brother

(Continued on page twenty-three)

SPOTLIGHT ON SHELLY MANNE

TOP DRUM POPULARITY POLL WINNER SHELLYMANNE SAYS, "GRETSCH BROADKASTERS, GREATESTDRUMS I EVER OWNED," and backs it up by again choosinga Gretsch Outfit. Shelly has been a winner in both the Down Beat

and Metronome polls for the past four years, is "Mr.Drums" to the music world-and those drums havebeen Gretsch Broadkasters throughout the successfulstand. His newest outfit is spectacular black pearl,and if you'd like complete, detailed informationabout this-and other Gretsch Broadkaster Drums

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JANUARY, 1952 21

By SOL BABITZ

ON USING THE STRONG ANDWEAK PARTS OF THE BOW

The lower half of the bow, especially where it is closest to the hand,is naturally the stronger part of the bow, while the upper part is naturallyweaker. It is for this reason that the average violinist in setting the bow-íngs for a piece is most likely to play loud, strongly accented notes nearthe frog and very delicate, soft notes near the point of the bow. Of courseit is possible for a skillful player to play strong accents at the point andsoftly at the frog, but it is not natural, requiring very much additionaleffort and sounding inferior.

There is a feeble sort of "progressivism" based on the idea of beingdifferent at all costs. Violinists who lack new interpretative ideas fancythat they have made a great discovery when they play up-bow that whichhas always been played down and vice versa. Changes in bowing whichhave no musical reason for existence are mere tricks, serving to makethe already difficult violin more difficult technically and less interestingmusically.

PROBLEMS OF FITTING THE NATURAL BOWINGEvery violinist is trained from the beginning to play the first note

in the measure down -bow. There can be no musical objection to thistraining because the first note in the measure is usually on the so-calledstrong or accented beat of the rhythm. By the same token the weakor up -beat should start on the weak upper part of the bow (up-bow) toenable the down beat to coincide with the down -bow. This can be calledthe simple -natural bowing, and in most cases is preferred.

In actual playing, however, things are sometimes not so simple.Syncopations may occur, accents on up -beats, strong chords which wouldsound best at the frog, but thanks to previous passages come out at thepoint. All these force the violinist to abandon the simple -natural bowingand adjust his playing to what might be called the complex -naturalbowing, complex because it often reverses the simple bowing, natural,because it continues to play the strong notes in the naturally strong partof the bow, and the weak motes in the weak part.

EXAMPLES OF COMPLEX -NATURAL BOWINGSBeethoven's music with its frequent asymmetrical accents offers many

examples where the simple -natural bowing does not sound as good asthe more complex procedure.

In the last movement of his Seventh Symphony, the most importantfactor in the following example is to bring out strong uniform sforzandoaccents on the second beat.

Allcgr. ca Irr./ .n

°fst

if

(V}

9' 9 rf IillrjiSince this can best be done by playing the accents down -bow in the lowerpart of the bow, the simple -natural bowing must be reversed to accom-modate this accent. To be sure, this bowing necessitates quickly repeatedbows at the places marked with asterisks, but this mild difficulty is a

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small price to pay for the great improvement in sqund and spirit whichthis complex -natural bowing affords.

In the following excerpts from the first movement of the Bruch Gminor Concerto, the upper bowings show the advantages in power andexpressiveness gained by reversing the traditional simple -natural bowing:

to .pfer--hatsral rlbowery V

tr/,tióplif vbo.rle9 narcafo

V

r1

if,F13Irtfr rr1

In the "Ragtime" movement of Stravinsky's L'Histoire du Soldatone cannot cite a "traditional" bowing. The violinist must simply makethe percussive accents come out down -bow, even if it is necessary to playtwo successive up -bows in the second measure:

rtp nPnPvn vf> pp4t; t V V p rtvnfrtIL7

USING THE UP -BOW'S NATURAL WEAKNESSTO ADVANTAGE

Because the point of the bow is naturally weak, it can be used forthe production of a convincing sudden piano, even where the traditionalsimple -natural bowing closes our eyes to its possibilities.

In the last movement of the Beethoven Concerto there is a powerfulcrescendo passage in octaves which must develop great intensity, andthen suddenly without pause vanish to a light piano. With the simple(lower) bowing the sudden piano comes out in the strong lower partof the bow, and the performer worried about this unnatural problemmakes a slight diminuendo on the last sixteenth notes, thus destroyingthe effect of the crescendo at the very moment when it should be at itsheight. With the reversed (upper) bowing, the crescendo can developfreely to the end and the soft d can enter without a moment's pause.

tr+ V n)V n v n (at ir t

PI i_(n )'/rntet: - t ,1;2,1's>t J. _ r, ,Beethoven was one of'the few composers who frequently indicated

a sudden piano after a crescendo even in quiet passages. In the followingexample from the slow movement of the Sixth Sonata, the use of up -bowsfor these pianos facilitates the synchronization of bowing and dynamicsin a natural, flowing manner:

Adaila y VME A.rti111111.MMIIMMENar t71í ~IN/ )iEtiwa "111W41~ SAZIfiwIIILIMMINtaMtiw~~~~...ii WRY WIMP _"ter INIA!Al - MME - 7M PAM ~Ina ~If r1mf!-M

mowimmazp Cresc. .. ' p j

eresc.Readers should have no difficulty in finding many additional prac-

tical applications of the bowing principles described here.

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Technique of Percussion(Continued from page twenty-one)

Fred Hartley, percussionist, instructor, member NARD, from Spokane,Washington. There was a time when a drummer from another sectionwas a complete stranger, so far as thoughts and opinions on the art areconcerned, but that is not so today. In five minutes Fred and I foundthat we had the same ideas, problems. In short, we, too, talked thesame language. At the expense of being accused of pulling out thevox humana, I'm going to say that it is gratifying to find such unityof thought among the brethren.

JANUARY. 1952

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23

FluteWilliam Kincaid

ClarinetCharles Torode

EVERY once in a while you read in periodi-cals, on the pages set aside for poeticaleffusions, some eulogy on music, beginning,

"I am Music; I am the rustle of trees; I am thebird's song . . ." and ending, "I am made inheaven; my harmonies float above the sphereof human sorrows."

Unfortunately musicians themselves cannotgo along with this sentiment. The actualmaterials of music, they tell us, are anythingbut heaven-sent or heaven -blessed. Wood,leather, tin, brass, gut, skin-these are keptsmooth, dry, polished, dentless and intact throughthe sweat and tears of their owners. If musicbegins in heaven, it has to make a considerabledetour through earthly turmoil before it reachesthe hearts of listeners. If it does finally getthere the result is due to instrumentalists' sheergrit and ingenuity. Even the singer who hashis instrument nicely tucked away in his throathas to gargle, breathe deep and watch his diet.As for the players on man-made instruments ...!

Let's have a look at the mere gadgets in thekits of these instrumentalists. Here's the Frenchhorn player with his cork, string, slide grease,valve oil, exacto knives, screw -drivers, metalpolish, polishing rags, tuning slides, springs andscrews; the oboist with his reed cane, brassstaples, nylon cord, screw -drivers, knives, files,shapers, spring adjusters, dusting brush, oil, sandpaper, polishing cloth; the accordionist with hisleather straps, fine sand paper, small pair ofpliers, screw -driver, razor blades, chamois cloth,polish, whisk broom, small reed file, spring steelblade, reed leathers, valve leathers, reed tongues,cake of wax, and soldering iron; the harpistwith her string gauge, tuning keys, pair ofscissors, pair of clippers, three screw -drivers ofvarious sizes, small hammer, pliers with wire

24

What FurrowsMusicians have a real problem on their hands, aside from actual

cutting edges, new springs, felts, oil, rubbershoes, disk pins; the flutist with his small screw-driver, spring hook, fine oil, fine abrasivé paper,chamois skin, camel's hair brush, small leadblock, and small punch. -

Bassoon English HornGeorge Leach Vincent Schipilliti

Glancing down the equally long lists of con-trivances serving other instrumentalists, one isforced to the conclusion that music subsists onchamois skin as well as on inspiration, on finesand paper, screw -drivers and oil as well as onshivers up the spine.

In the matter of accessories, instruments fallpretty clearly into two categories: the ones thathave to be periodically replenished, and the onesmore or less sufficient unto themselves. In theformer category are the violin, viola, cello, doublebass, harp, piano, guitar and harpsichord (allof which have to have regular replacements ofstrings); the oboe, saxophone, bagpipe, bassoon,contra -bassoon, clarinet and accordion (whichneed periodical servicing for reeds) and the tym-pani which every so often must have head re-placements. In the latter category-instrumentsthat can go for years without added parts-arethe French horn, flute, trombone, trumpet andtuba. This, however, is not to say that theytoo do not need nursing and repairing, that they,as well as the others, do not suffer, for instance,from that bugbear of all instruments, the weather!

You think non -musicians talk about the

It's all in a day's workfor Philip Sklar. doublebass player of the N. B. C.Symphony.

weather? You should hear instrumentalists!Here are just a few of the remarks I have col-lected during the past week:

William Polisi (New York Philharmonic-

Symphony Orchestra): "The bassoon expands insummer and contracts in winter. At the turn ofthe seasons, therefore, you should see a repair-man. Besides this, you have to make sure theinstrument isn't too hot or too cold-ever. Lastyear during the drchestra's trip to Edinburgh,when the ship went over the Gulf Stream, thewhole bottom fell right out of my bassoon. Ihad to get it fixed before we played the firstconcert."

Elsa Hilger (cellist, Philadelphia Orchestra):"Since strings become lax or taut according to

OboeBert Gassman

TympaniVictor Luff

temperature changes, a change of bridge is anecessity with the change of the season."'

Philip Sklar (N.B.C. Symphony): "In summerthe wood of the double bass expands, causingmaladjustments between strings, bridge andfingerboard. And watch out for those radia-tors! Once back stage they moved my bassto a spot near a radiator. Next morning youshould have seen it! That one crack cost me$180.00!"

Vladimir Bobri (guitarist): "Keep the guitar,when not in use, in a closed case at an eventemperature. All guitars of foreign make willeasily split in American climate."

Arthur Bery (N.B.C. Symphony): "A Frenchhorn icy cold or a French horn over -heated is aFrench horn off -pitch."

Virginia Morgan (San Francisco Symphony):"A felt cover should be used to preserve thestrings and mechanism of the' harp during in-clement weather."

Mary Spalding (Indianapolis Symphony):"Atmospheric conditions in different climateshave tremendous influence on harp strings."

Paul de Vergie (writing in the SaturdayEvening Post of the vicissitudes of his father,Jean de Vergie, first oboist in the Boston Sym-phony Orchestra): "A thousand devils of fearbeset the oboist. Heat will crack his oboe fromtop to bottom; so will cold. Let it get dampand it may split ..."

Grace Castagnetta (concert pianist): "Pianosshould be tuned with each change of season."

Robert Elmore (Philadelphia concert organ-ist): "My pipe organ, being in my own home,is spared the wide fluctuations in temperaturewhich occur in some churches. I have, how-ever, installed a de -humidifier in my basement


Musicians' Browsperformance the care and conditioning of their instruments.

where the organ's mechanism is situated." Ed-ward Dreibelbies (Philadelphia church organ-ist): "Even temperature and humidity shouldbe maintained as nearly as possible. Water inopen containers is kept in critical parts of theinstrument."

Saul Goodman (New York Philharmonic -Symphony): "When tympani are not in use,they should be placed away from heat of anykind." Victor Luff (Vancouver Symphony):"In winter when there is artificial heat, it is anecessity to keep plenty of pressure on thelarger tympani, as they dry out."

Violinist Hans Muenzer (Los Angeles):"Strings get false and dull from climatic con-ditions and should be changed at least oncea month."

Weather-cold, hot, dry, damp-may be saidwithout exaggeration to have actually broughtabout various types of musical ensembles. Bandsand orchestras took separate roads for the simplereason some instruments can stand out-of-doorweather and others can't. "Chamber" musiceven shows in its very name that it is of thestrictly indoor variety.

If temperature is a headache, the problem oftransporting musical instruments is a heartache.Here, small compact instruments - the flute,clarinet, oboe, even the trombone and trumpet-come out best, the fragile and unwieldyones worst.

French HornFrank Brouk

TromboneStephen Miller

Violins and violas have sturdy cases whichprotect them from major buffetings. Besidesthey can be carried right along in the solicitoushands of their players. Accordions offer fewproblems, except that they are undeniably heavy.The cellist gets by somehow, though Miss Hilgertells me, "I have two hard cases for carrying andfour cloth cases-these besides the trunk for or-chestral shipment." But, alas for the doublebass player! His whole professional life is astruggle to lick the transportation problem."You can't carry a bass in a hard case," Mr.Sklar explains resignedly, "and the soft water-proof case just doesn't give adequate protection.Every time I get into a cab something happens.Just today the edge of a door hit my bridge andslid it over to one side! Going through aswinging door-your hands are full-you'rehelpless. And what do folks do? They justlet the door swing! I have to back away quickly.And then the elevators!" Here he pauses, rollshis eves up and is eloquently silent.

JANUARY. 1952

As if getting the double bass around werenot enough trouble in itself, there's another com-plication, according to bassist Joe Dillon-thehabit policemen have of stopping automobilescarrying double basses, to enquire into the na-ture of the contents. (Detective novelists, pleasenote!)

As a partial solution to their transportationproblems double bass players have several in-struments placed at key points. Mr. Sklar, forinstance, has a bass kept in readiness for himat the N.B.C. rehearsal hall, another at CarnegieHall, a third at Center Theatre and still anotherat his home.

Wind instruments, though sturdier than thestrings, generate problems, too. Robert Sensale(New York Philharmonic -Symphony) tells me,"Since the contrabassoon is an awkward instru-ment to carry around, you must be extremelycareful that the long keys are not bent, and besure that the posts are steady and oiled." Dents,which can queer the tone of any brass instru-ment, are nearly always contracted duringtransportation bouts.

Switch over to the percussion and you haveexpress charges on your hands. The same withthe harp. Miss Morgan is not just beingfacetious when she lists under harp accessories"a truck." One of the strange paradoxes of themusicians' world is that the instrument mostoften essayed by women is the instrument ittakes a stevedore to lug around. However, herethat feminine knack of adjusting to the inevitablecomes in handy. "The harp case," writes MissMorgan, "is ideal as a private dressing room.That black silk dress-another `must' for theharpist-can be hung up in it and kept freshfor the concert. A collapsible stool may alsobe fitted in the case."

Pianists and pipe organists solve the problemby leaving their instruments where they are,and taking pot luck on various concert hallvarieties. This solution, however, is not possiblefor the harpsichordist, what with the scarcity of

ViolaElizabeth Bell

CelloMarion Davies

instruments. As matters stand, for each concertengagement the harpsichordist has to have his in-strument freighted to the concert hall, a processnot only extremely expensive but, what with theinstrument's delicate mechanism, extremelyhazardous. Miss Marlowe tells me she spends agoodly hour or so before each concert repairingminor injuries resulting from the bumps andjolts of the trip. In view of these facts, I wouldgo so far as to say that the very survival of this

TrumpetLloyd Geisler

HarpVirginia Morgan

instrument is contingent on finding a way tosurmount transportation difficulties.

Doffing the cap in respect to temperature andtransportation, still one must place above them inpoint of cantankerousness the ornery nature ofmaterials themselves. This will come out moreexplicitly in future articles presenting pointson the care and upkeep of instruments. Ap-parent, however, to all, is the fact that gut

Is there a piano tuner in the house?

strings grow lax with age, that they fray easilyand snap without warning; that skin and leatherget flabby and brittle, that tin rusts and woodwarps; that brass tarnishes, glue comes apart,ivory yellows; that felts flatten down, that horse-hair gets slick, that reeds split, harden, soften anddo a number of other embarrassing things.

Then there are those other ills that musiciansfall heir to-perspiration, excess saliva, callouses.carbuncles, not to speak of those pests, moths-and worms! "A very grave danger to thedouble bass," reports Roger Smith (PhiladelphiaOrchestra) "is termites. Their eradication en-tails a lengthy process of chemically killing theworms and then plugging the holes."

Heavenly Muse, while you are dispensing yourglorious harmonies and transporting listeners torealms of felicity, remember this, our New Yearprayer for the much -beset musician! Protecthim, we beg you, from moth, rust, icy pavements,sharp corners, hot radiators and worms!

-Hope Stoddard.

Contra -bassoonWilbur Simpson

TubaBruce Holcomb

25

Bill Lincoln and his Troupe dress Island style-Aloha shirts, lei's, that free -and -easy air.

Islands WhereMusic Reigns

(Continued front page fifteen)

Symphony and Gilbert and Sullivan's H. M. S.Pinafore into being. When Princess Liliuoka-lani, who afterward became the islands' queen,was returning on horseback to Honolulu froma ranch in the interior, she heard a youngwoman call back a young man of her party,saw the lovers linger over a fond farewell. Thisset the Princess humming a little melody whichthe next day she put down on paper. Uncon-sciously she was adapting tunes she had heardin her childhood-The Lone Rock by the Sea,an old English ballad, and strains of earlyHawaiian melodies. But the words were in-dubitably hers and they have become all Ha-waii's. By universal consent, Aloha Oe ex-presses the very spirit of Hawaii. After theQueen had abdicated, her song lived on, sway-ing the hearts of the people more than couldany royal mandate.

Hawaii Becomes American

The song survived the events, too, of August12, 1898, when, at high noon the Hawaiianflag was taken down from all the public build-ings and the Stars and Stripes raised in itsplace. The Islands thereafter were to be Amer-ican territory. Aloha Oe, however, had only

broadened its influence, to become an Americansong of love and yearning.

The other music of this Hawaii of the Twen-tieth Century? It comprises the strummingukuleles of Waikiki beach boys; the ceremonialbells of Buddhist temples (Buddhism is by farthe most widespread of Eastern faiths of theHawaiian Islands); the hymns in the Christianchurches; the songs of geisha girls in Honolulutea houses; the throb of the guitar during thepiazza parties; the highly organized music ofcomposer Dai-keong Lee; Mendelssohn's Wed-ding March played softly on a saxophone at aChinese wedding party; Jascha Heifetz as visit-ing artist obliging with Aloha Oe as the finalnumber on his program; a Korean girl singingthe songs of her native land at a Koreanthe shuffle of Chinese slippers and the clop -clopof wooden getas (Japanese shoes); the resound-ing strokes of the gong in the temple of Con-fucius; Japanese venders in Honolulu shouting"Frow-ers! frow-ers!" a Chinese orchestra froma balcony swirling out strains of The Jade Prin-cess; the ear-splitting clang of machinery in theHonolulu Iron Works; children with a be-wildering number of dialects singing, in schools,Land where our fathers died, land of the Pil-grim's pride! and, on the street, London Bridgeis falling down; boy -and -girl jitterbugs flingingthrough their paces in dance halls; hotel orches-tras playing adapted Hawaiian melodies; Verdi'sRequiem sung by the Oratorio Sociéty of Hono-lulu -200 voices led l y John EcmLnd Murphy;

Beethoven and Bach at McKinley Auditorium,played by the Honolulu Symphony Orchestfa.

Half -Century Orchestra

This seventy -piece Honolulu Orchestra isactually now in its fifty-first season, which putsit on an age level with the Philadelphia Or-chestra. Fritz Hart was its conductor for eight-een years. George Barati is now in his secondyear as its director. The orchestra has just comesuccessfully through a fund-raising campaign.The concerts, thanks to the cooperation of Local677, are being broadcast complete for the firsttime to all the eight major islands of the Ha-waiian group. This season two series of sixprograms each are being presented. The Tues-day series is devoted to symphonic works, theFamily Hour series, given on Sunday after-noons, to programs of lighter music. Pop con-certs, children's concerts and a chamber orches-

Floral ukulele and lei -wearingHawaiian girls made up this floatin a recent Honolulu parade.

tra series are also part of the season. Soloiststhis year are Yi-Kwei baritone;Maxim Schapiro; Barbara Smith; Joseph Szigeti;Suwas, Japanese violinist; and the KamehamehaChorus. As in the band, the personnel includesChinese, Japanese, Filipinos, Hawaiians andCaucasians.

The Pops Orchestra's initial concert, stagedrecently outdoors on the Kapiolani Park band-stand, and financed by Local 677 through agrant from the Music Performance Trust Fundof the Recording Industry, was attended by10,000 persons. The pop concerts in the parkin the summer are looked on by older andyounger folks as gala occasions. Stage businessis used, such as costuming actors who panto-mime Peter and the Wolf. The conductor isRobin McQuesten.

26

Honolulu Pops Orchestra. Director, Rcbir McQuesten.


Dai-keong Lee

The Honolulu Symphony has also to its con-siderable credit the encouragement of nativetalent. In 1937 it presented in premiere per-formance Valse penseroso, a work of a twenty-two -year -old native son, Dai-keong Lee. The

young man, encour-aged by its success,abandoned his pre-medical studies at theUniversity of Hawaiiand became a scholar-ship pupil in compo-sition with Roger Ses-sions at Princeton Uni-versity. Later he stud-ied under FrederickJacobi and Aaron Cop-land. In 1940 he wascommissioned by theInstitute of Musical

Art in New York to compose a one -act operafor the annual student production. The Poet'sDilemma was presented at the Juilliard Schoolof Music on April 12, 1940, and the composer'sPrelude and Hula the same year by the Chau-tauqua Symphony Orchestra, its thematic ma-terial derived from the early chants and dancesof Hawaii. His Hawaiian Festival Overture,which was performed by the New York Phil-harmonic Symphony in 1942, also has a basisin the Islands' music.

Mr. Lee's three years overseas with the AirForce scarcely curtailed his creative output.Lately he has turned to opera, encouraged byDouglas Moore. His Open the Gates ran for

Dai-keong Lee

thirty days last year at Blackfriars' Guild. Nowhe is at work on a television opera.

Ukulele, Guitar, Saxophone

As in every country, music in Hawaii is con-veyed to great numbers of pleasure seekers bythe small dance bands playing in large down-town and midtown restaurants. The saxophone(it was introduced to the Islands by JohnnyNoble) is often a major feature of these groups,but the ukulele is inextricably associated withthem. This instrument first appeared in 1878,brought by early Portuguese laborers. The namesignifies in Hawaiian "jumping flea," suggestedby the way the fingers skip over the strings.The steel guitar is said to have been "dis-covered" in 1895 when Joseph Kekuku, playinghis regulation guitar, accidentally let his metalcomb fall on the strings. The peculiar wailingsound appealed to him-it seemed to resemblethe ancient chants-and he began to use a thinbar of steel.

Local 677 figures in the musical scene throughthe supervision by I. B. "Buddy" Peterson, itspresident, of the contest held each year to securea theme song for Aloha Week. One of theoutcomes of the contest has been to spur inter-est in Island ballads.

From Deepening Valleys

Numberless ballads there are, which rise fromthe hearts of this people. Turn a moment fromHonolulu's more sophisticated music and youwill hear other sounds seeping in from theisland valleys. The music of their hauntingsongs is heard everywhere, sung by the rice

pickers, by the workers on the pineapple plan-tations. The double -gourd, played by strikingon the, ground and beating with the fingersbetween drops, is still used, as is the kalaauvibrating sticks tapped together by Hula girls,and the iliili or pebble castanets.

Then there is that music, inaudible to out-siders, but an unmistakable part of the islanders'inner life. Get into conversation with thesefolk. "Dim figures like men," one islander willtell you, "come out of the water and walk alongthe beach. They chant the old songs!" An-other Hawaiian will relate, "I first heard thedrums when I was a young girl. Along aboutmidnight I heard drums beating out in thefront yard. I got up and went out-and therewere the spirits walking along and chanting."Ask another Hawaiian, that gay guitar -strum-ming youth over there, for instance. "No, Idon't believe in spirits," he'll tell you, "butmy horse does." It is common report that inthe Island of Nolikai the drums of ancientHawaii are often heard. At Kapoho, where"the waters of the gods" run underground formiles, then suddenly come open to the sky,listeners can hear, in an area of warm pools,long dead lovers whisper over the bubblingwaters, Aloha, Aloha!

Old warriors chanting their battle cries, wardrums sounding through muffled tread, whis-pered songs near pools-what program of Bee-thoven or Bach or Wagner can mean more toHawaiians? What music, even that of immortals.can compete with the chanting of ghosts pass-ing down moonlit roads past lonely farmhousesin the dead of night? -Hope Stoddard.

Podium axd Stage(Continued from page sixteen)

" The Chamber of Commerce sent me toyou,' he said.

"He then asked detailed information aboutthe Dallas Symphony Orchestra, the number ofconcerts, the quality of the soloists, the size ofthe budget, the qualifications of the conductor.

" `What's this for?' we asked, always havingquestions of our own.

" `You know that the big Chance -Vaught Cor-poration, makers of seaplanes, is considering Dal-las as a factory location. This will involvemoving 1,500 families from Connecticut toTexas. The wives and mothers are makingstatic. They don't want to live in a hitchingpost town; they refuse to bring up their childrenin a cultural wilderness. We've got to proveby facts and figures that the Southwest is alsothe home of a mature civilization, represented byits educational and fine arts institutions.'

" `Thank you, Keith Baker,' we proclaimedat the top of our voice. 'And may I use thisstatement of yours in print?'

" ' Why not?' he said. Ìt's the truth.'"We had known that cultural institutions

had a dollars and cents value to the proceduresof city building. Never before had we got ourhands on the open and shut case. Now wehad it.

"Chance -Vaught did locate in Dallas; KeithBaker came with it. He is still an enormoushelp in that fearsome job of selling the fine artsto business men who had to grow up withoutit. This has bred in Dallas a new approach to

JANUARY, 1952

the funding of fine arts subsidy. The businessman who declines to contribute to the symphonyby saying, Ì don't care anything about highbrowmusic,' has had to face another ineluctableargument.

" `Give us the thousand dollars,' says GordonRupe, president, 'and I promise you nobodywill ever try to sell you a ticket. Audienceswe have. What we need is money.'

"This experience epitomizes the status of thearts in mid -American communities that haverecently arrived at metropolitan size. Austinis one of them. The arts must go on the pay-rolls of the larger firms and bigger business menno less than storm sewers, culverts, bridges andsewage disposal plants, no less than water lines,charities, libraries, schools and the new rotarystreet sweeper.

"Why the arts? They are a language thatexpresses the depth of human feeling, the range

Mary and Reg Barrows

of human thought, the mystery of man's innerspirit (sometimes called soul) beyond the abilityof words, grammar and rhetoric. Any com-munity without the arts has only a tenuous one-

line connection with the spirit of mankind."So the arts are indispensable in our utilitarian

scheme of things. Without them people won'tstay at home, without them new people won'tcome to make a home. The gifts to the artsare not largess, although the solicitors willcertainly say, `Thank you.'

"They are investments. They pay off. In afew years the investor can keep ledgers on it."

TEAM. It is not unusual to find two membersof the same family, even husband and

wife, playing in the same musical group. It isunusual, however, to find a married team bothmembers of which play French horn in the sameorganization. Such is the case, however, withthe Barrows, Mary and Reg, of the TorontoSymphony Orchestra conducted by Sir ErnestMacMillan. They began playing French horntogether when they were children, since theyboth took instruction from the same teacher-Reg's father. Mary played first horn with theToronto Symphony while still in her 'teens. Inaddition to their work with the symphony, theBarrows are engaged in a great deal of radiowork in programs emanating over the CanadianBroadcasting Company network. Reg teaches atthe Royal Conservatory of Music of Toronto andis well known as a French horn soloist. Whenthe Barrows sit side -by -side on stage with theToronto Symphony, it makes no difference whoplays the solo parts, for they feel that "it's allin the family."

27

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Musicians cf Local 178, A. F. of M., Galesburj, Ill., shown iLa"irg fcra crowd of 2,C00 children being entertained at 3 community pa ly g venby the .433oc ated Clubs o= Galesburg in tie city's armory. Aus c fcrthe third annual party was furnished througu the A. F. of lb.'s freemusic pr.grar in conjunction witl- the Music Performance Tr..ist Fund

of tl-e Recording Industry.

The Ch_)enns Municipal Sand of Cheyenne, Wyoming, has beer inexistence now for twenty-seven years. Thomas Restivo has ce.duetedthe bind sinca its inception. Ea21- summer it presents a serial ofweekly c3uce-ts under the sponsorship of the City of Cheyenne inaddition b apiea-ances, su:h as at the Wyoming State Fair at Cocclas,in nearby towns. The band is one of the most active groups in theCheyenne Local 590.

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/sr., t. .i y N.rs/;d' /Bandmaster Professor E. L. Meeker and his group were recently given acitation for the entertainment which they provided for the yitixens ofPontiac, Ill., during the 1951 summer concert season. The Mayor of Pon-tiac presented the citation on behalf of the Veterans of Foreign Wars.


Local 143 of Worcester, Mass,., held a Golden Jubilee celebration atthe Sheraton Hotel on October 7. Before the dinner there was a con-cert conducted by J. Earl Bley. and after dinner the Little Symphony,under the direction of Harry Levenson took over. The dance musicwhich finished off the gala evening was played by the orchestras of

Russ Cole, Harry Ellner and Eddy Sham.

The Laramie Municipal Band, Local 662, Laramie, Wyoming, played aseries of twelve engagements last summer at park concerts, parades,and rodeo shows. Financed by the city and partly by the Music Per-formance Trust Fund of the Recording Industry, the band concludeda successful season. The twenty -six -piece organization, which is con-ducted by A. O. Wheeler, includes twenty-five instrumentalists andDrum Majorette Jeannie Cote.

WALT BRINK and HIS BAND

Local 764,. Vincennes, Indiana, staged a number of successful projectsunder the auspices of the Music Performance Trust Fund of the Record-ing Industry. Most of the projects were teen-age dances sponsored jointlyby Local 764 and the Vincennes Recreation Council. The participatingbands were those of Nelson Clarke, Robert Risch, and Walt Brink.

JANUARY. 1952

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29

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Where They Are Playing(Continued from page seventeen)

SOUTH. Princess Whitecloud,swing and classical

Hammond organist, consideredone of the most popular enter-tainers in Baton Rouge, La.,where she appears nightly at theHunt Room of the HeidelbergHotel . . . "Happy Harvey,billed as "The Magician of theOrgan, played for the SouthCarolina finals of the Maid ofCotton contest held in the Me-morial Auditorium in Spartan-burg, S. C.... Johnny Long stilldoing one -niters through theSouth ... Miguelito Valdez atthe Saxony Hotel in MiamiBeach, Florida, until February28th.

MIDWEST. Austin Powell isplaying the Ebony

Club in Cleveland, Ohio, untilJanuary 20th. Paul Gayten fol-lows at the same night spot fromJanuary 21st to February 3rd . . .

George Shearing will be in thistown at Lindsay's Skybar fromJanuary 15th to 20th before mov-ing into the Blue Note in Chi-cago on January 25th for twoweeks ... Kirby Stone at Daffy'sStardust Room in Cleveland fortwo weeks starting January 17th... Claude Kelly plays the CourtCafe in Canton, Ohio, January7th for two weeks ... BuddyGreco starts at the Deshler-Wallick Hotel in Columbus,Ohio, on January 21st for twoweeks and will then be routedinto the Blue Note in Chicago.

The Griffin Brothers one-nit-ing through Ohio territory .. .Vaughn Monroe and crew doingsingle appearances in Iowa, Illi-nois, Wisconsin, Michigan, andIndiana, and then head southtowards Florida ... Joe Morrisone-niting through the MiddleWest . . . Tiny Hill one-nitingin same territory ... Lynn Hopenow at the Trocaveria Club inColumbus, Ohio.

In the Chicago area, organistGladys Keyes opened at the Mo-camba Club for an indefinitestay . . . The Bob Victor Trioremain indefinitely at the PostTime Club ... Ralph Rotgersstill at the Buttery, AmbassadorWest ... Frank York on indefi-nitely at the Sherman Hotel.

The Continentals, after beingheld over for five weeks at theLandis Tavern in Vineland, N. J.,head west again for a series oftwo-week locations in Illinois ..

The Art Tatum Trio at Angelo'sin Omaha, Neb., January 18th -31st.

The Tinker Trio, which justcompleted a six-month stay atthe Club Shangri La in Ander-son, Ind., opened at Herschell'sOasis in Muncie, Ind.. . . DelSimmons at the London ChopHouse in Detroit, Mich., startingJanuary 9th for seven weeks.

WEST. Louis Armstrong goesinto the Palomar Thea-

ter in Seattle, Wash., for oneweek on January 21st, and thenmoves into the Palomar SupperClub in Vancouver on January28th ... Oscar Peterson playsthe Tiffany Club in Los AngelesJanuary 18th for three weeks .. .Lowell Fulsom doing Texas dates... Harry Ranch plays the RiceHotel in Houston, Texas, forthree weeks starting January 10th... Duke Ellington, doing one -niters on the West Coast, is tobe routed into the Oasis in LosAngeles on March 7th ... AmosMillburn out on the West Coast.

CANADA. After finishing anengagement at the

Howard Theater in Washington,D. C., the Errol Garner Triogoes to the Colonial Tavern inToronto from January 28th toFebruary 2nd ... Muggsy Span-ier goes to the Colonial Tavernfor three weeks starting Febru-ary 4th ... Also slated for thisspot is Flip Phillips.

ALL OVER. Betty McGuireand her Bell -

Tones have caused a sensationat the Pearl City Club in Hono-lulu. They started at the end ofOctober and are still there .

Trumpeter Johnny Domenico hasjoined the King Guinon orches-tra ... Bassist Kenny O'Brien isnow with the Charlie Spivackoutfit ... Leon Merian, trum-peter, has joined the Elliot Law-rence orchestra . . . ClarinetistSam Most has organized a quar-tet for club dates starting inJanuary ... Former Red Norvobass player Charlie Mingusformed his own trio with HarryBiss on piano . . . TrumpeterJohnny Sunday will get up hisown Afro-Cuban combo for re-cording sessions ... ClarinetistAaron Sachs has organized atrio ... Louis Prima trumpeterBud Wilson is concentrating onarranging and composing.

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j'oeT'J°flcr.JJ0JB

By OTTO CESANA

With the current installment we begin the section on Ostinato.As the name implies, this is an "obstinate" idea which prevails while

the maid principal melody is introduced. Unquestionably, the ostinatois one of the most effective of modern musical devices. Horizontally, itcreates an independent point of interest. Thus, together with the mainmelody, two sources of interest are present. Furthermore, from a verticalstandpoint, it implies harmonies which even the most ingenious com-poser would have difficulty inventing consciously. These unusual har-monic effects are described under the heading of Incidental Harmony(see Lesson No. 41), and their number is infinite.

LESSON No. 54OSTINATO (OBSTINATE)

Ostinato consists of a definite melodic figure or phrase which maybe used in the same manner and places as organ point.

Ostinato, in its final stage of development, consists of a completeunit which embodies both harmony and movement, and which may beused as a complete accompaniment against which a melody may beintroduced.

It is advisable that the ostinato be established before the melody isintroduced.

Generally the ostinato is sounded twice before the melody appearsand continues once or twice after the melody has ceased.

* Tonic ostinato as:-

(

.t.

Ally,o

ILIW

1

L1.w.R ANT

n;.o:*-Prxr

rrrrr

uI/CR1a.yr

, > 3: 13c: t 3. : a o- el:J¿1^2%. - .._._. .45'... . .._._.-

r,' The tonic ostinato oscillates around the tonic note. The dominant osti-

mato oscillates around the dominant note.Exercise:-Write examples showing the tonic ostinato as lower,

middle and upper part.

LESSON No. 55Dominant ostinato as:-

ikÍr

%.t.

M.oeL( Puy,'

J1r r r -r 1 jJJ

~in P.rT

! JJ I J

~".1"1.11.1.1~~11111Tfsssss!ssss: tsstssssscsssrss.s.

>rJ,jr

JJJJ J -

Exercise:-Write examples showing dominant ostinato as lower,middle and upper part.

Copyright, 1939, by Otto Cesana, International Copyright Secured.All rights reserved.

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32

In the Music NewsFOLK -OPERETTA

Douglas Townsend's folk -operettaPaul Bunyan and the WhistlingRiver was featured at the children'sholiday party in New York's TownHall, Friday afternoon, December28th.

Balladeer Oscar Brand played thepart of Paul Bunyan, legendarylumberjack, and Eileen O'Connell,of WMGM's "For Children Only"program, portrayed the role ofSonny, the young detective hired toapprehend a sinister timber -thief.

Composer Townsend's music forthe folk -operetta is based on tra-ditional lumberjack songs. Hiscompositions have been presented byleading orchestral groups, includingNew York's Little Orchestra Society.His most recent commission was aballet for Nina Youskevitch.

Other features of the Town Hallprogram included games, play -partysongs, and singing stories sung anddirected by Oscar Brand, director offolk -music for New York City'sWNYC, and a regular performeron WPIX's Ted Steele Show.

Eileen. O'Connell, whose WMGMprogram has been a Saturday featurefor many years, sang the songs andtold the stories for which she hasbecome famous in the netherworldof non -adult listening.

The story of Paul Bunyan andthe Whistling River is an old folk -tale about a winding, crooked riverwhich upset the careful calculationsof the master logger. The script wasby Oscar Brand.

DIXIELAND IN CHICAGO

Johnny Lane's Dixieland Bandcelebrated the second anniversary oftheir record breaking engagementat the 1111 Jazz Club in Chicago.Johnny quit a bank teller's job in1947 to join Wingy Manone's band,and shortly afterwards organized hisown. He opened at Rupneck's Res-taurant in 1948, created a great de-mand for Dixieland music through-out the city, and in December, 1949,opened at the 1111 Club. Some ofthe men who were with him origi-nally, however, now have their ownbands.

LEONARD SMITH

It has been said of the LeonardSmith Band that it closely resemblesin composition that of Patrick Sars-field Gilmore. The band, whichpresents annual summer concerts atBelle Isle in Detroit, recently re=

corded for Bandland outstandingworks from its repertory in honorof Detroit's 250th Birthday Festival.

Included in these recent releasesare three works by Leonard Smith:Hail Detroit, march; Ecstasy, cor-net solo; and Belle Isle, march.

BILL COOPER

Society orchestra leader BillCooper, who has been described aslooking like a Norse hero, is cur-rently appearing at the WardmanPark Hotel in Washington, D. C.With a rich baritone voice and a

BILL COOPER

smooth saxophone technique, herates as a double asset to his owngroup. A graduate of St. ThomasCollege in Scranton, Pennsylvania,he was featured with Eddie Oliver,Al Donahue and Blue Barron beforeorganizing his own five -man unit.

RESIDENT ARTIST

Carl Fuerstner, internationallyknown piano virtuoso, composerand conductor, has joined the musicfaculty at Brigham Young Univer-sity, Provo, Utah, where he willcoach piano privately, teach a classin the art of accompanying and onein the art song, and appear as con-cert -artist -in -residence.

Formerly director of the CologneOpera Company and the operaworkshop at the Eastman Schoolof Music, University of Rochester,Mr. Fuerstner has been a memberof the Summer Music Festival atBrigham Young University for thepast eight years. On these festivalshe has appeared in solo concert, andwith such musicians as the PaganiniQuartet, Roth Quartet, Simeon Bel-lison, clarinetist; Luigi Silva, cellist;and Belva Kibler, contralto.

Mr. Fuerstner is in high demandas an assisting artist. Since his newappointment, he has made repeatedappearances with music artists con-certising in the intermountain area.

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He has appeared throughout theUnited States with such musiciansas Uta Graf, Helen Traubel, YehudiMenuhin, Henri Temianka, Rug-gieri Ricci, Igor Gorin and NinoMartini.

THE BACH ARIA GROUP

"While forms of speech change,the soul of man remains fundamen-tally the same . .. The old-fashionedcantatas and other works of Bachare works not only for, but virtuallyof, our own time."

The 200 cantatas that Bach wrotehave been seldom performed becauseof the unusual combinatión of in-struments and voices involved. In

H. Scheide, director. They are Rob-ert Bloom, oboe; Julius Baker, flute;and Norman Farrow, bass -baritone.

Participating vocal artists appear-ing this season are Marian Ander-son, Jennie Tourel, Erna Berger,Eileen Farrell, Blanche Thebom, JanPeerce, and Mack Harrell. Instru-mentalists of the Bach Aria Group,in addition to Mr. Bloom and Mr.Baker, are Bernard Greenhouse,cello; Maurice Wilk, violin; andErich Itor Kahn, piano.

The first concert, which was pre-sented on December 5th, drew thelargest audience yet to attend aconcert of this type, according toa report from Town Hall. The re-maining two concerts on January 9

Blanche Thebom

Marian Anderson

Eileen Farrell

REHEARSAL OF BACH ARIA GROUPLeft to right: Erna Berger, soprano: William H.

Scheide, director; Bernard Greenhouse, 'cello.

1946, a group of nine musicians-four vocalists and five instrumen-talists-met, under the directorshipof William H. Scheide, to form theBach Aria Group. Designed to per-form the neglected repertory, theypresented their first concert in the1947-48 season. This year, the BachAria Group, together with theChoral Art Society and Orchestra,William Jonson, conductor, is pre-senting a series of three programsat Town Hall in New York City.

Three members of the originalgroup are still with the present or-ganization in addition to William

JANUARY, 1952

and February 13, 1952, include:Trauer-Ode, a group of arias, andCantata 42, for the first program;and for the second Cantata 14, Can-tata 169, a group of arias, and Can-tata 79.

COMMISSIONED CONCERTO

Roy Harris, eminent Americancomposer, has been commissionedby The Louisville Philharmonic So-ciety to write a concerto for pianoand orchestra for the 1952-53 season.The concerto will be a major com-position and will be played by

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Harris' wife, Johanna Harris, andwill be conducted by the composer.This is the second time The Louis-ville Philharmonic Society has com-missioned Roy Harris. In 1949, TheLouisville Orchestra, under theleadership of the composer, playedhis "Kentucky Spring," a workbased on his impressions of theState.

CARMEL ALCARO

Carmel Alcaro, nineteen -year -oldconcert pianist, will make her secondNew York appearance in the Car-negie Recital Hall on January 20.

Carmel Alcaro

She made her debut last year inTimes Hall. Miss Alcaro began tostudy piano at an early age withher father. She is also an accom-plished accompanist and has per-formed with well-known instrumen-talists. Miss Alcaro's program willinclude selections by Moriz Rosen-thal, pianist -composer.

CONDUCTOR'S DEBUT

Richard Fischer, former memberof the Pittsburgh Symphony Or-chestra, the Rochester, N. Y., Phil-harmonic, the National SymphonyOrchestra of Washington, and theGrant Park Symphony Orchestraof Chicago, made his debut as aconductor on November 29, 1951,when he conducted his first concertwith the Hastings, Nebraska, CivicSymphony Orchestra. He joinedthe faculty of the Hastings CollegeConservatory of Music this Fall asinstructor in violin and theory, andwas invited by the executive boardof the Symphony to become its di-rector.

Mr. Fischer, who is a member ofLocal 10, Chicago, is a graduate ofthe Eastman School of Music, wherehe received his Bachelor's and Mas-ter's degrees in music, and the Per-former's Certificate in Viola. Hehas been a pupil of Samuel Belov

and Francis Tursi, both of Eastman,and of Sheppard Lehnoff, violinistwith the Fine Arts Quartet of theAmerican Broadcasting Company.

IVOR PETERSON

Ivor Peterson, accordionist, is cur-rently entertaining the armed forcesoverseas. In addition to his solowork, he accompanies the singersand dancers in the show.

Born in Sweden, Peterson learnedthe violin, piano, and accordion asa child, later amplifying his instru-mental background with a study ofcomposition and orchestration. Hesettled in Boston as a young man,and for many years pursued a suc-cessful career in vaudeville.

He has appeared in the elegantSert Room, Lounge, and PeacockAlley rooms of the Waldorf-Astoriain New York. Among his originalworks are the music for the Broad-way play Stepping Sisters and theever popular novelty solos, "RattlingKeys" and "Skating Queen."

Peterson recently played at thePenn Stroud, the Pococabana, andBuck Hill Falls in the Poconos, andat the completion of his current over-seas engagement will again return tothe Poconos for summer club dates.

Ivor Peterson

CHRISTMAS SALUTE

The seventh annual "Greetings tothe World" coast -to -coast Christmasbroadcast from Los Angeles, on De-cember 22nd featured the voices ofthe city's combined youth chorusesof approximately 1,000 voices, withsymphony orchestra under the di-rection of Roger Wagner. TheArmed Forces Radio Service beamedit by short wave to men and womenin all parts of the world. Mr.Ronald Colman, stage, screen andradio star, narrated the story of theNativity in Roy Ringwald's "Songof Christmas." Eileen Christy, NBCsoprano and screen starlet, appearedas guest soloist. Mayor FletcherBowron extended the special greet-ing from the city of Los Angeles.


Yew Jlduslcals ah Rroadway

Americana in keeping with the type of music inthe show. They have some TV dates in sight.

"Then, too, the whole company has lots ofenergy and gusto, in keeping with the Forty -finer spirit. In effect, we all work together tokeep the attack sharp, the timing precise, andthe tension high. You can't have any letdownsin a musical. And in Paint Your Wagon, themusic is geared to keep the action moving."

From this glimpse behind the musical scenes,we felt that we could all the more readily ac-count for our enjoyment while we watched theplay unfold.

The story of Paint Your Wagon-an originalon which Alan Jay Lerner spent nearly twoyears in research, to get authentic backgroundand flavor-is simplicity itself. It's the sagaof Ben Rumson and his mining town. Forabout the first third, it's a story of men withoutwomen, or strictly, with only one female, BenRumson's seventeen -year -old daughter, Jennifer.With seven hundred men, and only one girl,it's natural that she'd have a hard time engineer-ing her romance, particularly since she picks ona young Mexican; and it's equally natural thatthe men in the town should feel that they won'tbe a part of civilization until they get a dancehall, and the girls to go with it.

There's a complication when a Mormon ar-rives in his covered wagon, and turns out tohave two wives. The boys demand that heauction off the spare wife, and when Ben Rum -son makes the high bid, his daughter movesout on him, while Rumson has some difficultycarrying his newly acquired wife over the thresh-old, since he has celebrated his wedding inover -convivial style. This scene is very lively-though perhaps rather too long drawn out-

(Continued from page eleven)

since the part of Rumson is played by JamesBarton, star of vaudeville and Tobacco Road,and the veteran actor runs in his celebrated"drunk" routine.

High point in the action is the arrival of thedance -hall girls, upon the completion of Jake'sPalace. Wearing costumes by Motley which are

Franz Allers, musical director of the new hitshow "Paint Your Wagon," holds a rehearsalconference with the star, James Barton (seated),and the romantic male lead, Tony Bavaar.

a riot of color and elegance, they come downthe stage -coach steps one by one, and promenadealong the line of eagerly waiting miners. Theyjustify their name-the Fandangos-and stagein the town square a dance which is like nothingthe Wild West ever saw. But as Agnes DeMillechoreographs it, it is still the essence of theWestern spirit. One tall blonde, Joan Djorup,a Celeste Holm type, can kick higher thanCharlotte Greenwood, and you'd swear she'striple -jointed.

The dance in the square is only a sample,however. In Jake's Palace, for the first thirdor so of Act II, the Fandangos put on a can -canballet, in which the miners finally join-and thisis a triumph of Miss DeMille's art.

This marks the high point in the history ofthe town of Rumson. For soon after, the goldlode runs out, and one by one the miners leave.Finally the day comes when the dance hall isto close down, but just as the girls are gettingready to leave, there is a call of "Strike," andthere is great excitement over the discovery ofa rich lode only forty miles away. But Rumsonbecomes a ghost town, with only Rumson, hisdaughter, and four others to make up the census.Jennifer's long -lost Mexican lover returns, andthe two are reunited: finale.-As the younglovers, Olga San Juan and Tony Bavaar carrythe romantic line of the plot in capital fashion;and their songs are good counterpoint for therobust choruses of the bearded miners.

As for the songs themselves, which can makeor break a show, the opening number, "I'm OnMy Way," is already widely popular; "I Talkto the Trees" is on its way into the hit parade;and Barton's nostalgic lament for his dead wife,"I Still See Eliza," has the makings of a hit.Bavaar's number in the Spanish style, "CarinoMio," is a lovely melody, and "Wand'rin' Star"has a haunting quality. And many of theminers' choral numbers should be in demandby glee clubs.

Throughout, Paint Your Wagon is authenticAmericana; and Loewe has wisely followed theexample of Smetana and Bartok, composingoriginal tunes in the folk idiom, rather thanquoting existing melodies.

-S. Stephenson Smith.

How to Win Friends(Continued from page eight)

him. He does not get any contribution frombig business, and so it is a one-sided affair.

Get Members to Register

The second point where the International canhelp is to ask their Local Unions to set up aregistration committee or to appoint some indi-vidual in the smaller Local Unions to work asa registration officer charged with the duty ofsoliciting or asking the members of that organi-zation who don't vote to exercise their privilegeas American citizens by casting their vote onelection day.

Locals at the Grass Roots

I have said this many times, and I am goingto say it again. It has got to be done at the locallevel. There is no legal bar to the expenditureof trade union money for the purpose of induc-ing American citizens to exercise their right ascitizens by voting on election day. There is nolaw on the statute books that will prevent aLocal Union from appointing a registrationcommittee to go over to the Board of Elections

JANUARY, 1952

in their particular community and getting aroster of the voters in every district of that com-munity, and then comparing that roster withthe Local Union and going to the individualmembers of the Local Union and saying to theindividual members: "Won't you please standup as an American citizen and exercise yourright as an American citizen by registering andthen going to the polls on election day?"

We should not be in the position of going overon Capitol Hill begging people to help us. Weshould be in the position to go over there andsay: "This is the right thing to do; these arethe things that should be done for the littlepeople of America and for the trade unionistsand for the workers of America, and they shouldbe done, and if they are not done we are goingto resent it at the polls."

If we have the strength at the polls we canget support over there, and we can only havestrength at the polls if the International Unionswill support the program of Labor's League.

(The National Committee unanimouslyadopted a program for a nationwide fund-rais-ing and registration drive and resolved to rallytheir officers and members in full support of theprogram of Labor's League for Political Edu-cation.)

My Minstrel Days(Continued from page nine)

books and two cheap fiddles. Mother bought mea cheap string bass and a practice book to gowith it. She encouraged us to practice, whichwe did with a vengeance, for we were de-termined to get out of that hard early morningmill work. Although self taught on strings, wemanaged to use our newly acquired skill toescape from drudgery.

Two or three years later, I joined the Ken-tucky Minstrels, owned by Andrew Robertsonof Bradford, Yorkshire, England. I was notmuch of a bass player, but I played a goodeuphonium for parades. I made good. Afterrehearsal the leader took us for a drink and youshould have seen us. He was six feet tall ormore, a long, lanky man, and the rest of hisorchestra averaged about five feet three inches.I am five feet three -and -a -half inches, and I wasone of the tallest. He said when he walkedout with us that he felt ashamed at being seenwith such runts, but he liked us just the same.

With the Livermores

I had another break off the road, but lateron had a short season with Livermore Court

35

Minstrels. It was the Livermore Brothers whointroduced into England the six Colibres Midgets,the first talented midgets to enter England.They had a fine musical act, a tumbling act, ahead -balancing act and a small trained elephantact. It was wonderful to see these handsomelittle men and women come down the aisle inan open carriage drawn by toy Shetland ponies,throwing kisses to the audience, and driving upa runway onto the stage, just like living dolls.I shall never forget the sight.

I later went with the famous Sam Hague'sMinstrels-he was also an American gentleman.He owned a theatre on Lime Street, Liverpool,where I have played. There I met Johnny andJimmy Richardson of my Roby days. This en-gagement turned out to be for a short season,shorter than usual, although minstrelsy was inhigh favor at that time. But this season markedthe end of my English minstrel days.

To the U. S. Via Ireland

My brothers and I then had a most variedcareer playing as a family band in every known

kind of show business. We could write a bookabout our successes and periods of adversity. Atlength we separated. I went into the GrandOpera House in Belfast, Ireland, and was therethree years on the double bass. I have the pres-entation bow that they gave to me when I leftin 1907 to try my luck and to see as much ofthe United States as possible. I was successful,playing all kinds of shows with tuba anddouble bass.

I Join Up With Primrose

Then I joined George Primrose in AsburyPark, New Jersey. I was with Mr. Primrosethree years, traveling all over this country. Thenwhen Lew Dockstader and Mr. Primrose joinedup in partnership, I was with them for five years.Mr. Primrose and Mr. Dockstader I shall alwaysremember as the finest of gentlemen, men's menboth. "Do your job in the show and keep outof mischief," was all that they asked. Mr. Prim-rose, of course, was English and he often satdown with me and said, "Frank, we are theonly two Johnny Bulls on the show and I like

you." It used to make me feel good, 1 canassure you.

It is nice to look back on my minstrel dayswith good old George, Lew, Seivers, Cupero, notforgetting my old pal and leader and also JackArthur. I may state that I finished my minstreldays by locating in Toronto where I played fortwenty-five years in the Toronto Symphonyunder Mr. Wellsman, Dr. Van Kunitz and SirErnest A. McMillan. I'm still going strong atseventy-five.

P. S. Since writing this I have received wordthat my little brother Percy, who was featuredwith Roby's Minstrels as the Boy Virtuoso, hasjust been decorated by the British Governmentfor his musical services and ability. Do I feelproud of him, a self-taught musician!

(Can any of our members match FrankCarver's fifty -nine-year record as a minstrel?In any case, will any veteran minstrels whohave interesting pictures or reminiscences sendthem in to the Editor, International Musician,39 Division St., Newark 2, New Jersey.)

Speaking of Music: Concert and Stage

usual psychological skill, is in love with oneman but must marry another for reasons of con-venience; while the woman in the bridegroom'spast-ravishingly portrayed by Tanaquil Le-Clercq-is also on hand to complicate things.The dance -version of the eternal quadrangle iscarried on in the midst of the usual politebanalities of a garden party, and the result issomething more than a pleasant trifle.

It is not only in the constant freshening ofits repertory that the New York City Balletstands out. It is always adding to its rosterof principal dancers. There are now nineteen,in contrast to the nine with which it began itsfirst short, tentative engagement at the CityCenter three years ago. Its ballet orchestra isof the first order. Leon Barzin, its musicaldirector, conducts with a precision of attack, adegree of timing, and a feeling for the widevariety of period styles represented in the scoresfor the diversified repertory. He commands ahard, brittle line for Stravinsky, a sure touchfor the "sound masses" of Hindemith, and anice sense of romantic sentiment for Tchai-kovsky and Schubert; while his gayety andelegance in handling the Mozart scores are pro-verbial. Like an opera conductor, the baton -wielder for ballet is responsible for the temposand the transitions; he must cue the entries andkeep the whole performance up to snuff. In away, he both follows and leads the dancers. Allthese functions Barzin carries out with greatskill and tact. The music is just enough inevidence-never over -assertive. So, too, withthat every -changing other music of the eye: thecompany is lucky to have, in Jean Rosenthal,one of the great artists in stage lighting.

It is worthy of note, also, that the company'soperations are at the break-even point financially-a phenomenal achievement in view of the factthat historically ballet has usually required sub-stantial subsidies, either from private benefactorsor the state.

(Continued from page thirteen)

The New York City Company returns tothe City Center for another season in February.And next summer they are touring Englandand the Continent, with a sizable number ofguaranteed engagements, including the Edin-burgh Festival. -S. S. S.

Zile Weavers Plus razzTHE Weavers returned to New York's Town

Hall for their annual holiday show on Fridayand Saturday nights just before Christmas, andthey filled the house both times. As front -rank

interpreters and students of folk music, theyshowed their belief that jazz is also a notablecontribution to our American folk art. Theyengaged for their concerts six pre-eminent jazzvirtuosos, who not only on occasion reinforcedthe Weavers' banjo, guitar, and recorder work,but who, on their own account, working onlyfrom cue sheets or from no score at all, producedsuch noble improvisations on classic jazz themesas to make us exclaim, "This is our chambermusic!"

The Weavers' own repertory showed the bene-fit of their extensive nation-wide tour this lastyear. They kept on collecting, and they seemto have met, in their travels, representatives ofmany cultures. They sang some noble old carols,mostly unfamiliar; one, a Burgundian versionof the nativity story, was most touching, andquite in the contrapuntal style which the Weaversuse for their American folk songs. They hadseveral Israeli numbers, a song from Pakistan,and a most spirited African song of freedomand protest from the Zulu compounds in Johan-nesburg.

Pete Seeger and Fred Hellerman had visiteda Texas prison on their swing through the South,and had recorded on tape several work songsas sung by Negro prisoners. After playing these

over the loudspeaker, the Weavers then sangtheir own arrangements of these numbers, withfine effect.

Each singer in turn acted as master of cere-monies, and each had several specialty numbers,Lee Hays did a very funny take -off on a malecrooner rendering "Just a Gigolo," calling it"jiggle -oh." Pete Seeger did wonders with hissix -string banjo, using a delivery marked byhigh, electric tension and rapid -volleying chordsthat pointed up his songs. And Ronnie Gil-bert told a straightforward story of how theysaw some lines from Burns on a monument inBoston, and liked them so well that they gotEarl Robinson to make them a setting. Thenshe sang the song, "A Man's a Man for A' That,"in her clear strong contralto, with superb phras-ing and moving effect.

Throughout, in fact, one had the feeling thatthese singers believed mightily in what theywere doing. They regard folk music as a deepand vital expression, not only of the traditions,but of the highest aspirations of a people; anda bridge toward understanding between thedifferent peoples of earth. This conviction inno way impaired their musical taste, nor didit in any degree mar their technical attack,which was full of authority throughout.

They paid their tributes to Bessie Smith andLeadbelly and some of the other heroes of folk -song tradition; and they dutifully obliged with"Irene" and "On Top of Old Smoky," whichthey have made famous. On these, and otherwell-known numbers, the audience joined in-and really raised the rafters. Also, on Fridaynight, Pete Seeger did some sketching, andbrought some of the children up from the audi-ence, while the quartet sang a famous cumula-tive game -song, "Cock -a -doodle -do." All in all, itwas a joyous occasion, for the jazz combo, thesingers, and the folks in the audience, who hadthe feeling that they were sitting in on the growthof a vital American musical art. -S. S. S.


The Blue Book of Tin Pan Alley,by Jack Burton. Century House,Watkins Glen, New York, 1951;520 pages; $7.50.

Half the population of this coun-try want to write popular tunes, andthe other half are willing, to supplythe lyrics. But not many hit thejackpot with hit songs. When JackBurton, an advertising man whostarted one of the earlier hit paradeson the air, came to compile a rosterof popular and show music writerssince 1890, he found he needed toinclude only two hundred tunewriters and lyricists. They've fur-nished our popular song hits of thelast sixty years, and this categoryincludes the show tunes and movienumbers that have had a wide vogue.

To be sure, Burton's coverage,while exhaustive for the period from1890 to 1940, is a little spotty forthe last decade-though he doeshave Frank Loesser, Joan Whitney,and Jule Styne. But Harold Romeof Pins and Needles fame isn't inthe book; nor is Fritz Loewe, whowrote Brigadoon. Such recent popu-lar song writers as Milton DeLugg,Mel Tormé, and Morey Amsterdamare among the missing. But for thefifty years from the nineties on,Burton's net gathers in all the bigfish, and a good many who are notnow remembered.

He lists, for each composer, his"pop" tunes, starring hit numbersthat sold a million or more sheetmusic copies-though after 1927,when radio really took hold, andsound track on film was starting,the big sales were no more. Sincemany of the tunesmiths have alsowritten show songs and movie tunes,Burton also lists these in detail,with recordings where available. Un-luckily there is no index of songtitles. He wanted to include one,but limitations of space and costforbade it. Also, the biographiesof the lyricists are scrambled in withthe lives of the composers withwhom they worked. So unless youknow that Otto Harbach, dean ofAmerican librettists, wrote his firsthit song, "Every Little MovementHas a Meaning All Its Own," to themusic of Karl Hoschna, you mayhave trouble locating Harbach inthe text. The fact that Harbachwent on to furnish lyrics for VictorHerbert, Rudolf Friml, SigmundRomberg, Vincent Youmans, andJerome Kern is just incidental. How-ever, Burton would no doubt justifygiving the lyricists second billing onthe grounds that the song is knownby the name of the tune writer. Onlyif a show is a flop does. the librettistget the blame.

Whatever minor defects Burton'schronicle of Tin Pan Alley mayhave, its chief glory is that it's amine of anecdotes which reveal theessential character of the famous

Book Notesmythical street inhabited by the menand women who've supplied ourpopular music. Any band leaderor program -builder who's drawingon the great storehouse of standardpopular songs can find in this worka wealth of stories for program notesor introductory patter. Where elsein our social annals will you findmore "characters" than among thesong -writers? Tin Pan Alley, likeWall Street in the old days, has al-ways been a gambling center, wheretunesmiths and their publishers haveenjoyed either feast or famine, andwhere speculation has always beenrife on what makes a song a hit.

For good measure, Burton prefaceshis work with a section on the be-ginnings of our popular music, list-ing a hundred or so songs that areperennials in our repertory, withshort sketches of Stephen Foster,Ned Harrigan, and James Bland.This curtain -raiser, like the body ofthe book, contains some choicestories, and there is no better wayof conveying the flavor of the bookthan by a running sample of theseanecdotes.

Did you know that "Hail Colum-bia" was originally "The Washing-ton March," written for the firstPresident's inaugural, and only hadwords supplied for it nine yearsafter it was first written-in thisresembling Sousa's "Stars and StripesForever"? Bandmaster Patrick Gil-more wrote "When Johnny ComesMarching Home" under the pseu-donym of Louis Lambert ... De-Koven's Robin Hood was first pro-duced at a total cost of $109.50 inthe Chicago Opera House, since oldcostumes were used . . . DeKovenadded the biggest hit song in theopera, "Oh, Promise Me," for thesecond night performance, at theinsistence of the contralto, JessieBartlett Davis, who had complainedthere was no number in the operathat showed off her voice ... HarryBache Smith, DeKoven's librettist,who wrote three hundred books forshows - an all-time record - neverwent near any of these musicals,preferring to stay at home, playingthe piano and his classical records,or reading his massive collection ofclassics in French, German, Latin,and Greek ... Albert Von Tilzernever saw a ball game until twentyyears after he had written "TakeMe Out to the Ball Game" . . .

George M. Cohan as a kid madePeck's Bad Boy look like a SundaySchool character . . . when FredFisher, composer of "I'm On MyWay to Mandalay" went out toHollywood, he told the producersin his thick German accent, "Ven

you buy me, you're buying Chopin,Liszt, and Mozart. You're gettingder very best!"-You have here thefrank admission that there's a gooddeal of borrowing in Tin Pan Alley,not always so frankly acknowledged... James Thornton, composer of"When You Were Sweet Sixteen,"used to wear a Prince Albert andmaliciously ape the mannerisms oftwo much publicized figures of thenineties: "Old Doc" Munyon, thebunion king, and the Reverend Dr.Parkhurst, the famous vice crusader

. Charles K. Harris, who washis own lyricist and publisher, usedto send out illustrated song slideswith his long ballad numbers, ofwhich "After the Ball" was the bestknown ... Rudolf Friml came towrite operettas by accident: OttoHarbach had a finished book, com-plete with lyrics, for which VictorHerbert was supposed to do themusic; Herbert quarrelled with theleading lady, and refused to haveanything to do with the show;friends got Harbach together withFriml-and the result was The Fire-fly, the first of a long series of hits... J. Rosamond Johnson and hisbrother James Weldon Johnson sal-vaged their first hits from a comicopera score that they were never ableto get produced: "My Castle on theNile," "Come Out, Dinah," and"Under the Bamboo Tree."

Gus Edwards' "School Days" wasa very appropriate theme for thatexpert showman, for he discoveredand first presented in his vaudevillesketches Georgie Jessel, Eddie Can-tor, Walter Winchell, Mitzi May-fair, Groucho Marx, Ray Bolger,Hildegarde, Mae Murray, SallyRand, Helen Menken, Vivien andRosetta Duncan, Eleanor Powell .. .As the original talent scout, he wasable also to supply songs and ma-terial for many of these fledglingswho were to become headliners .. .No wonder Hollywood has seen fitto do a musical on Gus Edwards'life.

One final anecdote. Here is Bur-ton's account of the origin of thelabel "Tin Pan Alley." Monroe H.Rosenfeld, the horseplayer and com-poser of many hit tunes-"Johnny,Get Your Gun," "Take Back YourGold" among others-dropped intoHarry Von Tilzer's office one dayaround the turn of the century, toget material for a newspaper storyhe was writing. Harry was playingon a piano in which newspapershad been stuck to mute the strings.Rosenfeld asked:

"What kind of a tin pan do youcall that?"

"You name it," Von Tilzer re-plied, "but this street must soundlike a tin pan .alley with so manypianos making such a din."

The following Sunday, Burton re-ports, the name "Tin Pan Alley"appeared in print for the first timein Rosenfeld's newspaper story.

Certainly anyone who takes anostalgic interest in the saga of TinPan Alley can derive much pleasurefrom browsing in Burton's chronicleof the works and days of songwriters-and if he's in a gambling humor,he can lay a few wagers with him-self about the dates of famous popu-lar songs. What year saw thelaunching of "In the Good OldSummertime"? of "Sweet Adeline"?of "I Wonder Who's Kissing HerNow"? of "In the Shade of the OldApple Tree"? The answers are allhere; and if you don't put the datestoo early, you're a better guesser thanthis reviewer. -S. S. S.

The American Symphony Orches-tra: a Social History of MusicalTaste, by John H. Mueller. 439pages. Indiana University Press.$6.00.

Symphony orchestras do not de-scend gracefully from heaven com-pletely equipped with instruments,players and libraries - whatever afew isolated millionaires have triedto demonstrate to the contrary. Thisvolume tells just how they do ap-pear. It is a process worth follow-ing, and it is absorbingly treated.You read of the origins, growth andhistory of American symphony or-chestras as musical units. You read,also, of orchestras' human elements-audiences, composers, performers.At first you read as though you werereading of two quite separate anddistinct things. Then slowly itdawns on you-as if eyes focussingon two objects (the oculist's "there'sthe birdie, and there's the cage" de-vice) had drawn one object into theother-that orchestral developmentand sociological forces are bent tothe one effect. A new approach? Anew slant? More than that. A newway of thinking.

In the course of enlightenment,you learn which traditions our or-chestras inherited from Europeanorchestras, and which developmentsare characteristically ours; how rep-ertoires were gradually changedthrough the influence of audiences,conductors and social circumstances;how orchestral memberships faredunder various systems of financing;how forces working today prognos-ticate certain symphonic develop-ments in the future.

The author touches on national-ism in music, modes of applause, .orchestra seating, lighting effects,life spans of compositions, life spansof composers (figuratively speak-ing), unionization of orchestras,

JANUARY. 1952 37

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women in orchestras, the conduc-tor's role, and hundreds of otherelements which make up the humanside of the symphony orchestra.

These subjects are given addedfocus by charts, estimated averages,taste trends, graphs, statistics, out-lines.

Obviously, only formidable re-search could have made the volumepossible. But it is more than a well -ordered research project. The re-marks regarding taste, for instance-what it constitutes, how it is de-veloped, how it endures - is anaesthete's springboard for discus-sion. The author has a gift for suc-cinct expression - the reader ofcourse cooperating by executingoccasional mental somersaults. Hereare a few of his memorable state-ments: "Beauty in music is not afact but rather a human experience"

. Fame is dependent on "syn-chronization of merit and circum-stance" . . . "Today a novelty issomething a modern audience is ex-pected to endure for the sake ofpossible habituation and future de-light" ... "The immortals can re-main immortal only by not insistingon being too much alive" ... "Thereis not a single custom in food, dressor behavior that excessive and unin-hibited reflection cannot turn intothe ridiculous" ... "The romanticprinciple of composing for thefuture, as the old masters uninten-tionally did, is so well establishedthat compositions too readily under-stood are critically received."

If the author takes pleasure inslyly pointing out curiously coinci-dental circumstances Stokowski'sdarkened orchestra platform and hisaureoled mass of golden hair, andSaint Saens' impeccable politics andhis profuse appearances on programsin World War I-one can only takepleasure in this slight relapse fromabsolute objectivity. Even with suchironic sidelights, the book mightprove cold reading were it not foranother element-the author's hid-den humor. For though he cracksno jokes, makes no puns, quips noquips, he somehow manages to ex-cite one's risibilities. In face ofthose charts, those summarizations,those lists, those graphs; in face offormidable research findings andhistorical foragings, the book man-ages to be, for its asides and unex-pected conclusions, for its quickslants into obscure niches and itsflash conclusions on present events,both freshly invigorating and highlyamusing. -H. E. S.

Arnold Volpe, by Marie Volpe.$3.50. University of Miami Press.230 pages.

If Arnold Volpe bridged twomusical worlds - Europe's andAmerica's-his wife, Marie Volpe,in writing this book, has bridged

two periods in American musicaldevelopment: the first twenty-fiveyears of our century and the second.There is a tendency for those work-ing today for the furtherance ofmusic in America-and all powerto them, whatever their biases-tothink nothing really important inthe world of art happened here be-fore 1925. Orchestras, they say, wereincipient then; music departmentsin colleges embryonic, taste in thegeneral public deplorable. Readingthis book we find, on the contrary,that our own age can learn fromthat earlier one, not in the finishof its ensembles, perhaps, not in thevariety of the facilities offered, norin the number and size and flexi-bility of orchestral groups, but cer-tainly in the spirit poured into everyenterprise, in the integrity of theleaders, in the steel -like persistencywith which they held to their stand-ards.

A musical pioneer who left hismark on our orchestras East, West,South, Arnold Volpe through a lifeof rigorous self-sacrifice and deter-mination, in the face of dispersiveinfluences, made a record of orches-tra founding-the Stadium concertsin New York, the Young Men'sSymphony Orchestra there, theKansas City Symphony, the Univer-sity of Miami Symphony - whichprobably no conductor today canequal. He further made a recordof championship of the Americancomposer, of the encouragement ofAmerican instrumentalists, of thebetterment of American professionalopportunities that today's enthusi-asts must be glad merely to approach.

When a series of concerts wereput on to aid Locals 310 and 802,on strike in New York, he weldeda symphony orchestra of men se-lected by the locals to tide themover the period into a noble andexpressive group. A few years later,with the help of the Kansas CityLocal, he formed of that city's in-strumentalists a similarly expressivesymphony.

His widow tells all this, in themanner of one straightening out ac-counts which contemporary andlater inference has sadly boggled.Yet she speaks without rancor. Shemerely relates for the record thetragedies that accompanied, thatwere bound to accompany, pioneerworking in such stubborn soil. Shereveals the conditions that mademany see Volpe's life as but a seriesof disappointments. Yet those whoread without noting the undertoneof real satisfaction, of triumph even,for accomplishments which haveendured for another age's profit,miss the real message of this volume.A bridge it was, not a chasm, ArnoldVolpe built-a bridge to a bravenew world of musical culture.

-H. E. S.

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Oficial BusinessCOMPILED TO DATE

CHANGE OF OFFICERSLocal 46, Oshkosh, Wis.-Secre-

tary, Walter H. Siewert, 336' 14thSt. Phone: Stanley 6130.

Local 70, Omaha, Neb.-President,Frank R. Serpan, 2128 South 62ndSt. Phone: Glendale 6579. Secre-tary, David J. Majors, 415 KarbachBlock, 209 South 15th St., Omaha 2,Neb. Phone: Webster 1162.

Local 95, Sheboygan, Wis.-Presi-dent, Hubert Buhk, 836 North 18thSt.

Local 125, Norfolk, Va. -Presi-dent, Frank Lofurno, 251 West ButeSt., Norfolk 10, Va. Phone: 2-8095.

Local 139, Hazleton, Pa. -Presi-dent, Anthony Ferdinand, 35 WestNinth St.

Local 142, Wheeling, W. Va. -President, Alex Jobb, 17th andJacob Sts. Phone: Wheeling 2538.Secretary, Harry Dunaway, 17thand Jacob Sts. Phone: Wheeling2538.

Local 146, Lorain and Elyria, Ohio-President, William Konya, 1836East 34th St., Lorain, Ohio.

Local 160, Springfield, Ohio -President, Edwin G. Babb, 281 WestThird St.

Local 170, Mahanoy City, Pa. -President, Anthony Liscusky, 6Weston Place, Shenandoah, Pa.Phone: 2-1677.

Local 197, St. Louis, Mo. (colored)-President, George L. Smith, 4414Delmard Blvd., St. Louis 8, Mo.

Local 204, New Brunswick, N. J.-President, Dominic Inzana, 275Somerset St. Phone: Charter 7-8892.Secretary, Oscar J. Walen, 29 JerseyAve. Phone: Charter 7-3532.

Local 222, Salem, Ohio -Presi-dent, Keith Riffle, 1891 North Ells-worth. Phone: 6812.

Local 236, Aberdeen, Wash. -Sec-retary, John F. Bell, 919 Smith Ave.,Hoquiam, Wash. Phone: 1671-M.

Local 243, Monroe, Wis. - Presi-dent, Don Plecity, Veterans HousingUnit, Monroe, Wis.

Local 253, Warsaw, Ind. -Presi-dent, Don Fouse, 515 Iva St., Hunt-ington, Ind. Secretary, HaroldStokes, R. R. 3, Warsaw, Ind.Phone: 644-R.

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Local 336, Burlington, N. J. -President, W. B. Taylor, GeorgetownRoad, Bordentown, N. J. Phone:941-R-3. Secretary, R. S. Malsbury,603 Manor Road, Beverly, N. J.Phone: 50142-M.

Local 365, Great Falls, Mont. -President, George F. McGovern,1015 Fifth Ave., N. W. Phone: 9621.

Local 380, Binghamton, N. Y. -Secretary, William R. Hesse, 150Prospect St. Phone: 3-0667.

Local 383, Ilion, N. Y. -President,Dominick Fragale, Third Ave. Ext.,Frankfort, N. Y. Secretary, VincentBell, 209 West Main St., Frankfort,N. Y.

Local 411, Bethlehem, Pa. -Presi-dent, Harry J. Romig, 514 EastLocust St. Phone: 7-3353.

Local 445, Naugatuck, Conn. -Secretary, Albert Conn, 88 ChurchSt.

Local 467, Brantford, Ont., Can-ada -President, Tony Materick, 79Morton Ave.

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Local 513, New Ulm, Minn. -President, Bruno Randles, 201,South Franklin St. Secretary, GuyDe Leo, 327 North Franklin St.

Local 514, Torrington, Conn. -Secretary, Victor Muschell, 133 EastMain St.

Local 549, Bridgeport, Conn. (col-ored) - President, Haywood D.Clarke, 98 Fulton St., Bridgeport4, Conn.

Local 556, Bristol, Va. -Tenn. -President, Clay Slagle, Jr., 411 Hol-born St., Bristol, Tenn.

Local 609, North Platte, Neb.-Secretary, Kenneth Conrey, 514South Elm St.

Local 646, Burlington, Iowa -President, Howard Armstrong, 311Harrison Ave.

CHANGES IN ADDRESSESOF OFFICERS

Local 33, Port Huron, Mich. -Sec-retary, W. J. Dart, 707 Erie St.Phone: 6889.

Local 65, Houston, Texas -Presi-dent, Anthony Russo, 613 KressBldg, Houston 2, Texas. SecretaryE. E. Stokes, 613 Kress Bldg., Hous-ton 2, Texas.

Local 117, Tacoma, Wash. -Secre-tary, Grady Morehead, 905 Fawcett,Tacoma 3, Wash.

Local 234, New Haven, Conn. -Secretary, Harry L. Benson, 423Orange St., New Haven 11, Conn.

Local 323, Coal City, Ill. -Presi-dent, Richard DePung, 735 DouglasSt., Morris, Ill. Phone: 1105.

Local 550, Cleveland, Ohio (col-ored )-President, W. F. Sympson,6932 Carnegie Ave., Cleveland 3,Ohio. Phone: ENdicot 1-5754.

CHANGE IN CONFERENCESConnecticut State Conference -

President, Clinton Byers, 9 FosterSt., Danbury, Conn. Secretary,Harry L. Benson, 423 Orange St.,New Haven 11, Conn.

WANTED TO LOCATEAl Lucas, member of Local 802,

New York, N. Y.Paula Watson, member Local 767,

Los Angeles, Calif.Dale Wagner, Local number un-

known. ':.:r',.1 Kind-

ly notify Secretary Leo Cluesmann,A. F. of M., 220 Mt. Pleasant Ave.,Newark 4, N. J.

Wes Craig, former member Local285, New London, Conn. Kindlynotify Mrs. F. A. Tibbals, Secretary,Box 21, Waterford, Conn.

Robert Degrasse, former memberLocal 126, Lynn, Mass. Kindlynotify Secretary C. S. Young, Local126, A. F. of M., 70 Fair Oaks Ave.,Lynn, Mass.

REMOVED FROMFORBIDDEN TERRITORY

Palm House, Newark, N. J.

THE DEATH ROLLAberdeen, Wash., Local 236 -Wil-

liam A. Appleyard, Sr.Belleville, Ill., Local 29 -Quentin

E. Stenzel, G. F. Baumann.Biddeford, Me., Local 408 -Walter

Booth.Boston, Mass., Local 9 -Maurice

Grunberg, Harold L. Anderson, Jr.,Phillip Morse.

Chicago, Ill., Local 10 -Al Steiner,Arthur Leavitt, Al Russo, Edw. A.

Cotterell, Joseph Gustat, JosephSilberstein, Jacob Zinsmeister,Chas. E. Michelsen.

Cleveland, Ohio, Local 4 -CharlesBartunek, Robert A. Brooks, Glen-don Davis.

Denver, Colo., Local 20 -BettyYoder, Joe Gustat, Dr. Wm. H.Hyslop.

Detroit, Mich., Local 5 -Wm. E.Peltier.

Fall River, Mass., Local 216 -Philip R. Morse.

Jersey City, N. J., Local 526 -An-thony Soflo, Max Glass.

Kansas City, Mo., Local 34 -Ben-jamin H. Kendrick.

Los Angeles, Calif., Local 47 -Frances Arthur Crellin, James E.O'Brien, Wm. Osterman, Walter A.Quincke, Wm. Davol Sanders, Ray-mond Sorden, Lorin Aaron.

Louisville, Ky., Local 11 -AntonHauber.

Milwaukee, Wis., Local 8 -JoeKaminski, Adam Weigel, WillisPeddenbruch.

Peoria, Ill., Local 26-Esbia W.Kinsley, Stephen C. Burbage.

Racine, Wis., Local 42 - T. P.Mikulanec, John Schulte.

San Diego, Calif., Local 325 -Har-vey E. Reinke.

Saskatoon, Sask., Can., Local 553-Gordon K. Braybrook.

Toronto, Ont., Can., Local 149 -Fred Cuthbert.

New York, N. Y., Local 802 -Rich-ard W. Bannier, Nathan Brusiloff,Louis G. Burke, John Durr, HarryFink, Albert Gruber, Gustav O. Hen-neberg, John F. Mahoney, Helen S.Mitchell, Peter Mandell, Emil L.Polak, Nathan Pertchonok, EliasRalon, Ernest Schlencker, HarrisSchuler, George Schmidt, AnthonySilvestri, Henry Willrich, RichardBlackburn, George Boomer, GonzalcA. Campillo, Marjorie Franklin,Maurice Grunberg, Thomas Havey,Jere Rose, Alexander Stein, Sig-mund Romberg, Will H. Vodrey.

DEFAULTERS

The following are in default ofpayment to members of the Amer-ican Federation of Musicians:

Rendezvous Ballroom and JackDaly, Balboa, Calif., $179.03.

Harry S. Taylor Agency, Holly-wood, Calif., $400.00.

James Edwards (of James Ed-wards Productions), and Jean Mat-thais, road manager, Los Angeles,Calif., $909.70.

Bill's Rondevu Cafe, and Wm.Matthews, Oakland, Calif., noamount given.

Glenn Acres Country Club, andCharlie Blue, President; Mr. Sou-mers, secretary -treasurer, Stamford,Conn., $75.00.

Delaware Press Club, and JoeLipsky, Wilmington, Del., $390.00.

Candlelight Room and Fred Ro -mane, Peoria, Ill., $450.00.

Samba Club and Sammie Fisher(Gugluizza), Bossier City, La.,$300.00.

Blue Room Nite Club, Tom Wince,Vicksburg, Miss., $120.00.

Three Towers Inn, and SamuelGoldberg (Garrett) (of New York,N. Y.), Somerville, N. J., $110.00.

Olympic Hotel and William Horo-witz, Fallsburg, N. Y., $25.00.

Jerry -Anna Chateau, and JerryRumania, Whitehall, N. Y., $114.18.

Court Cafe and Art Alper, oper-ator, Canton, Ohio, $165.00.

Pallais Royale Ballroom, Port-land, Ore., $729.36.

Alexander Coure, Nashville,Tenn., $145.00.

Sled Allen Arena, and Carlos Lo-vato, Lubbock, Texas, $45.00.

Washington Social Club, and Sir -less Grove, Seattle, Wash., $973.70.

Uptown Club and Eddie Arnett,owner, Marshfield, Wis., $50.00.

Kane's Moens Lake Resort, andGeorge A. Kane, Rhinelander, Wis.,$40.00.

Harold Kudlits, $333.00.Bert Mitford, Toronto, Ont., Can.,

$2,070.80.Jack Hoskins, and Edward Law,

$800.00.

A and Bb Clarinets OverhauledWOOD, $11.50 METAL, $12.00

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JANUARY, 1952 39

Bookers' Licenses RevokedWebster City

Beightol, D. A. 1290Bonsall, Jace 1559Continental Attractions 506

WinonaInterstate Orchestra Exchange

L. Porter Jung 626Kramer Music Service 356

CALIFORNIABeverly Hills

Gervie, Bert 763

HollywoodAinsworth -Box Agency 2512Artists Corp. of America 4244Dempster, Ann 776Finn, Jay 3977Federal Artists Corp. 5091Fishman, Ed 3557Harry S. Taylor Agency 262Herring, Will 3302Lee Soble Agency 1232Lening, Evelyn, Agency 741Montague, Percival S. 1922Rinaldo, Ben, Agency, Inc. 899Skeels, Lloyd L. 2010

Los AngelesBonded Management Agency 788Bozung, Jack 2074Daniels, James J. 4663Gustafson, Ted, Agency 1565Lara, Sidney 4474McDaniels, R. P. 1790Pollard, Otis E. 3463Roberta, Harold William 1905Smart, H. Jose 5153Strauss Theatrical Productions 1438Young, Nate 778

San DiegoWillis & Hickman 3919

San JoseFuller, Frank H. 5895Hamilton, Jack 1020

COLORADODenver

Jones, William 139

Grand JunctionHarvey, R. S. 1857

SterlingSouthwestern Orchestra Service 2133

CONNECTICUTBridgeport

McCormack and Barry 50Rex Orchestra Service 1386

BristolWilks, Stan 4682

DanburyFalzone Orchestra Bookings 1037

East HartfordAmerican Artist Association 3469

HartfordDoolittle, Don 1850McClusky, Thorp L. 718New England Entertainment

Bureau 4580Vocal Letter Music Publishing &

Recording Co. 4193

ManchesterBroderick, Russell 4641

StratfordPickus, Albert M. 1161

WaterburyDerwin, William J. 90

DISTRICT OF COLUMBIAWashington

Alliance Amusements, Inc. 339LaMarre, Jules 323Mayhew, Aubrey L. 5601

FLORIDAFort Lauderdale

Chamberlin, Geo. H. 4103

JacksonvilleAssociated Artists, Inc. 3263

Earl NewberryPoor, Sam, Enterprises 3400

MiamiChrisman Productions 1831Mason, Lee 3858Steele Arrington, Inc. 1451

Miami Beach

Interstate Theatrical Agency 2914

PensacolaNational Orchestra Syndicate 3134

40

St. PetersburgAtkins, L. E. 2691

West Palm BeachSquire, Lawton N.

KANSASAtchison

Gilmore, Ted

3771 WichitaMidwest Orchestra Service

GEORGIAAugusta

Minnick Attractions 4842Joe Minnick

Neely, J. W., Jr. 3224

ILLINOISBeardstown

Stocker, Ted 2902

BloomingtonFour Star Entertainment Co. 1024

Calumet CityJanas, Peter 3240

CarlinsvilleLutger, Ted 1280

CentraliaOwen, Mart 361

ChicagoChicago Artists Bureau 468Donaldson, Bill 1341Graham Artists Bureau, Inc. 1305Lewis, Mable Sanford 2666Ray, Ken, and Associates 56Vagabond, Charles 1582

EffinghamGreuel, E. A. 319

JolietUniversal Orchestra Co. 1411

KankakeeDevlyn, Frank 682

MoundsJohnson, Allan, Agency 3231

M urphysboroParamount Orchestra Service 976

PrincetonRussell, Paul 999

RockfordHarry G. Cave 214

SpringfieldCosta, Joseph A. 4960

INDIANABloomington

Camil Artists Bureau 3207

EvansvilleUniversal Orchestra Service 564

IndianapolisElliott Booking Co. 75Ferguson Bros. Agency 3158Greater United Amusement

Service 3394Powell, William C. (Bill) 4150

HammondStern's Orchestra Service,

Paul Stern 3154

KokomoHoosier Orchestra Service 256

KnoxHelms, Franky 4554

South BendRedden, Earl J. 281United Orchestra Service of

South Bend 2263

IOWACouncil Bluffs

Continental Booking Service 1413

Des MoinesHoward, Toussaint L. 632Radio and Theatre Program

Producers 863

Mason CitySierkamp, Kermit 3078

Red OakLee Cox Enterprises 955

MISSISSIPPIJackson

443 Perry, T. G. 2516

VicksburgDelta Orchestra Service 2429118

KENTUCKYPaducah

Vickers, Jimmie 2611

ShreveportTompkins, Jasper 2755

MAINEKittery

New England EntertainmentBureau 1588

MARYLANDBaltimore

Associated Colored Orchestras 1256Barton, Jack 61Dixon's Orchestra Attractions

Corp. 278Forty Club, Inc. 1173Nation -Wide Theatrical Agency 3768

MASSACHUSETTSBoston

Baker, Robert R.Brudnick, Louis J.Hub Theatrical Agency,

Gertrude LagoulisJenkins, GordonLeonard, Lou, Theatrical

Enterprises 4131Shepherd, Buddy 2456Smith, Robert A. 5772Sullivan, J. A., Attractions 150Sullivan, J. J., Theatrical

Enterprises 4149

BrooklineSidney Schlager 5118

HatfieldNewcomb, Emily L. 1218

HolyokeCahill, Robert J. 2352Donahue, Charles B. 1977

New BedfordParmont Booking Office 3495

PittsfieldMarcella, N.Bannick, Paul

SalemLarkin, George J.

SpringfieldHagan Theatrical Enterprises 2806

MICHIGANBridgman

Hillman, Bill 6099

DetroitAustin, Shan (Amusement Book-

ing Service) 558Benner, William R. 395Colored Musicians & Entertainers

Booking & Service Bureau..... 1335Detroit Artists Bureau, Inc. 23

GladstoneFoster, Robert D.

Grand RapidsSeth, Don, Theatrical Attractions

Jacob Donald SethJackson

Roach, Robert E. 1942

KalamazooOsborne Theatrical Booking

Exchange 2500

PontiacBowes, Arthur G. 694Fine Arts Producing Co. 267

MINNESOTAMinneapolis

Creative Talent Service,Bob Utecht

St. PaulClausen, TomyConlon, Thomas J.Fleck, Ed.Raynell's AttractionsVilendrer, Lawrence A.

MISSOURIColumbia

Missouri Orchestra Service 1735

Kansas CityCox, liars. Evelyn S. 688Municipal Booking Agency 3151Southland Orchestra Service 1180Stevens, V. Thompson 275Wayne's Theatrical Exchange 636

North Kansas CitySchulte-Krocker Theatrical

Agency 5956

St. LouisAssociated Orchestra Service 1115Bellrieves Music Service 925Cooper, Ted 233

MONTANAButte

J. B. C. Booking Service 2044

NEBRASKAAlliance

2849 Alliance Booking Agencies, Paul5873 E. Davee, Harold D. Hackor 5420

3698 Lincoln2779 Central Booking Service 1054

OmahaAmusement Service 229George, Gabriel 5126Tri-States Entertainment Service 5124

Gordon, Ruth 4383

NEW HAMPSHIREManchester

Knickerbocker Agency,Edw. F. Fitzgerald 2574

NEVADALas Vegas

NEW JERSEYAsbury Park

Hagerman, Ray ...w 2434

Atlantic City307

6907Universal Enterprises Co., Inc 703Williamatos, Jimmie 1949

Belleville3337 Matt, John 5483

Jersey CityDaniels, Howard J. 4031

NewarkMandela, Frank 4526

NEW YORKAlbany

Jack O'Meara Attractions 2816Snyder, Robert William 2191

AuburnDickman, Carl 502

Buffalo648 Axelrod, Harry 2202

Empire Vaudeville Exchange 830Farrell, Ray J., Amusement

5238 Service 2275Gibson; M. Marshall 238King, George, Productions 1657Smith, Carlyle "Tick" 549Smith, Egbert G. 524

Fort PlainUnion Orchestra Service 1539

LindenhurstFox, Frank W. 1815

New RochelleHarris, Douglas 2945

New York City

4024Alexander, Morley 623Allen Artists Bureau 3711

Foch P. AllenAllied Entertainment Bureau, Inc. 4698

4406 Amusement Corp. of America 33114356 Baldwin, C. Paul 22833196 Berney, Paul L., Productions 30992022 Brown Harry 26354357 Bryson, Arthur 3507


Campbell, Norman E. 2844Chartrand, Wayne 1530Coffee, Jack 4238Continental Amusements 1775Cooper, Ralph 5223Crane, Ted 217Cubamerica Music Corp. 2840Curran, Tommy 123Currie, Robert W. 2595Dauscha, Billie 2082Dower, Roy L., Agency 3511Durand & Later 425Edson, Robert H., Inc. 667Evans & Lee 1896Finck, Jack, Agency 3658Fliamill Enterprises, Inc. 99Gait, John R. 2357Gill, Howard 3013Gillman Artists 1120Godfrey, George A. 2132Grifenhagen, Wilber H. 1648Harlem Musical Enterprises, Inc 3603Hart, Jack 114Howard, Lu, Radio Productions 3900Johnson, Don 5625King, Gene, Theatrical Agency 3444La Fontaine, Leo 3651Lila Theatrical Enterprises 2287Lipskin, Jerry 3434Lustman, J. Allan 381McRae, Teddy 4987Mel Theatrical Enterprises 1544Morales, Cruz 1561National Entertainment Service 849National Swing Club of America 2322Parker & Ross 293Pearl, Harry 6Perch, Billy, Theatrical

Enterprises 1577Pollard, Fritz 3733Rheingold, Sid, Agency 3274Rogers, Max 3513Romm, Gene 4098Scanlon, Matt 2043Silvan Entertainment Bureau 1774Singer, John 3326Talent Corporation of America,

Harry Weissman 1305Times Square Artists Bureau 1801Trent, Bob 4345United Artists Management 4198Universal Amusement Enterprises 169Wells, Abbott 3738White, Lew, Theatrical

Enterprises 1526

RochesterBarton, Lee 924

UticaNiles, Benjamin E. 5140

NORTH CAROLINACharlotte

Pitmon, Earl 1759T. D. Kemp (Southern Attrac-

tions, Inc.) 1237

GreensboroTrianon Amusement Co. 487

OHIOAkron

Trapas, T. A. 4214

CambridgeEmery, W. H. 164

CelinaMartin, Harold L. 1492

CincinnatiAnderson, Albert 2956Carpenter, Richard 63Rainey, Lee 915Sive and Acomb 891

ClevelandManuel Bros. Agency 3566

ColumbusAskins, Lane 465

DaytonHixon, Paul 552

ElyriaJewell, A. W.

(Dance Theatre, Inc.) 4766

PomeroyWildermuth, Ted 3042

SalemGunesch, J. B. 1217

SteubenvilleDi Palma, Charles

ToledoJoseph A. Tripodi

Entertainment Bureau

OKLAHOMATulsa

Connor, Lonis W.

PENNSYLVANIA

AllentownBahr, Walter K.

CarbondaleBattle, Marty 330

East McKeesportRavella, Peter J. 2053

HokendauquaZerosh, John 1237

JeannetteCruciana, Frank L. 2105

LancasterTwitmire, Gil

LebanonZellers, Art

McKeesportAce Reigh, Inc. 1227

NewcastleThos. A. Natale (Natele Theat-

rical Agency) 942

PhiladelphiaBerle, Bernard 509Joseph Coopersmith 5511Creative Entertainment Bureau 3402Dupree, Reese 379Hal Gould Theatrical Agency 5383Hammer, Godfrey 2738Keeley's Theatrical Agency 4636McDonald, Chris 4269Mears, W. L. 441Muller, George W. 430National Theatrical Agency 3537Orchestra Agency of Philadelphia 2108Price, Sammy, Entertainment

Bureau 3558Sepia Entertainment Bureau 4448United Orchestra Service 720Zeeman, Barney 836

PittsburghEllis Amusement Co. 480Golden, Emanuel J. 2208Hallam, Paul 1997New Artist Service 2521Orchestra Service Bureau, Inc. 124Reisker & Reight 4391

ShenandoahMikita, John 3751

WaynesburgTriangle Amusement Co. 1427

RHODE ISLANDPawtucket

Justynski, Vincent 2445

ProvidenceBowen, Reggie 2179Winkler. Neville 3246

SOUTH CAROLINABeaufort

Dilworth Attractions,Frank A. Dilworth, Jr. 2979

CharlestonFolly Operating Co. 16

TENNESSEEClarksville

Harris, Wm. J., Jr. 4053

NashvilleSouthland Amusement Co.,

Dr. R. B. Jackson 5115

TEXASBeaumont

Bartlett, Charles 2186

1109 Cole, Roy

5400

2685

BolingSpotlight Band Booking

Cooperative 4181

Portis, Cal 4245Southwestern Amusement Service 283Watson, S. L. 2397Windsor, Walter, Attractions 1144

HoustonOrchestra Service of America 151

2466

338

Dallas

Kingsville

San AntonioErwin, Joe

UTAHSalt Lake City

Coast -to -Coast AgencyIntermountain Theatrical

ExchangeSchultz Bookinc \_ency

VERMONTBarre

511 Freeland, John

858

VIRGINIARichmond

Hicks, Roy M. 2399Hill, Lindley B. 3990

RoanokeRadio Artists Service 1480

WASHINGTONBellingham

Portiss, George 236

SeattleField, Scott, Enterprises 2393

544 Harvison, R. S. 3593Thomas, B. Miles 1951Wheeler, Bob 1221

SpokaneLyndel Theatrical Agency,

Lynn Lyndel 6077

WEST VIRGINIAHuntington

Brewer, D. C. 4532

KingwoodHartman, Harland, Attractions 478

MartinsburgMiller, George E., Jr. 1129

ParkersburgLowther, Harold R. 3753

WISCONSINFond Du Lac

Dowland, L. B.

MadisonStone, Leon B.

1187

1474

MilwaukeeBethia, Nick Williams 5914

SheboyganSchmidt, Frederick W., Jr. 601

Stevens PointCentral State Music Association.... 507

TomahawkMcClernon Amusement Co. 276

WatertownNielsen's Entertainment Mart 3039

CANADACalgary, Alberta

Simmons, G. A. 4090

Ottawa, OntarioCarrigan, Larry L. 4369

Edmonton, AlbertaMcKenzie, Blake

(Prairie Concerts) 5106

Toronto, OntarioMitford, Bert, Agency 4004Wrhetham, Katherine and

Winnifred Turnbull 4013

Vancouver, B. C.Gaylorde Enterprises 5540

L. GaboriauR. J. Gaylorde

SUSPENSIONS, EXPULSIONS,

ERASURES

SUSPENSIONSBradford, Pa., Local 84-Darrel V. Alcorn,

Edward Allen, Arnold Carlson. John Moore, An-thony Spachtholz, Arthur Sasgur.

Bloomington, Ill., Local 102-Orville LaFever,Frank Warren.

Brantford, Ont., Canada, Local 467-Ken Bell,Wilf. Cormier, Baden Langton, J. O. Mallinson,V. Vance, E. Whittle.

Denver, Colo., Local 20-Morris Aguinaldo,3194 Lawrence Baskall, Elizabeth Bruggeman, Roland

Camfield, James Mayfield, Marjorie Rasmussen,883 Henry B. Allen, Leroy Boyer, Brice G. Hadley,

2354 \Wm. L. Newton, Philip G. Swanson.Grand Island, Neb., Local 777-Robert K. Par-

sons, Donald Neubauer, Patrick A. Hall, JimmyCaton. Ray Breneman, Charles Brockman, JohnSchultz. Sr.. LaMonte Hassel, Don F. Brewer,

1907 Jimmy Johnson, Guy L. Hite, Daryl Garber, Don

Carlton, Alyce Spies, Douglas Peterson, LarryPowell, William DeCamp.

Jersey City, N. J., Local 526-Paul Dpnnini,Vito Sansone.

Lafayette, Ind., Local 162-Harold Blue,- JackCourtney Harris.

Middletown, Conn., Local 499-George B. Pago-netti.

Minneapolis, Minn., Local 73-Robert A. Crea,Orville James Pardau.

Memphis, Tenn., Local 71-Jack O. Brooks.Ossining, N. Y., Local 398-Richard Hooker,

Donald Buzzetto, Louis David, Kenneth C. Zink.Richmond, Calif., Local 424-S. Boggs, Hiram

Davis, B. Flournoy, J. Falvo, J. Egan, J. Grant-ham, W. Hood, R. Jansen, Wanda Kennedy,Patricia Kenny, R. Krukowski, J. Lanosa, AllenMcCauley, G. Marsh, Jean Squires, S. Vaughn.

St. Paul, Minn., Local 30-Clarence C. Bogdan,John F. (Jack) Romaine, Darrell J. Rousu, AlbertJ. Winterbauer.

Toronto, Ont., Canada, Local 149-Syd Black-wood, Myrtle Bowman (Taylor), Geo. Browning,Tim Casey, Chas. F. Catchpole, Chas. P. Chin-chen, Joe Coll, Jas. W. Davidson, Geo. C. Ed-wards, Mel Hamill, Arthur Hayward, KeithHeifer, Earle Heise, Wm. J. Heron, G. VanceHopkinson, Jack Kash, Anne Kay, Sid Levine,Alec Lewis, Martyn Lynch, G. McFarlane, EricMiller, Harry Mintz, Robert C. More, FrayneMurray, Herbert Peake, Jere Pinkerton, Thos.Pinto, Wm. Prudham, W. W. Reid, PhilipReaney, Paul Santerre, Fred C. Taylor, WatsonVaughan, Lorne H. Watson, Alfred White.

Walla Walla, Wash., Local 501-Jack Schell,John Woodard.

EXPULSIONSDetroit, Mich., Local 5-John Aberlich, John

Landron Araujo (John Landron), Paul Backhaut,Donald W. Banas (Don W. Banish), Eva S.Barkovich, Norman A. Blackburn, William A.Burns (Johnny Burns), Romeo Cairo, VincentCarlisle, Newell H. Carney, Winnifred Carter.Tony Caruso, Jr., Edward J. Chechet, Joseph C.Dickerson, Jeff D. Durham, Alexander Egoroif,Myron Alva Fancher, Clarence A. Could, Loge-thetis Gravatas (Ted Thomas), Fred L. Green-leaf, Harry Conrad Grimsley, Evelyn J. Haire,Robert H. Hattis, James I. Henry, John WestleyHolliday, Jr., Bela Horvath, Clyde Hudson, Jr.,Vern Charles Ingersoll, Thaddeus Kaleniecki (CalSherman), Robert Eugene Krueger, Maurice S.Lacy, Albert Larkins, Henry- W. (Bob) LecznarLeah L. Mann, David A. .\Ier:ure, Jethro AMoss, Turner P. Nance, Essic tiene Nero, JoseLuis Oviedo (Pepe Luis), Jasper Patterson, PaulJ. Perry, Louis Finger, Terry Pollard, Nathan(Nate) Pollick, Raymond J. Rainey, Harold M.Rigby, Shirley M. Rockwell, Mary Sander (Mari-anne Sanders), Wilbert (Bill) Sielaff, Cecil M.Smith, 2nd., James Sondor (Jimmie Saunders),Jack E. Spatz (Jack Bailey), Jacob M. (Jack)Sternthal, George Swope (Georgic Sterling),Adriana W. (Ada) Tanner, Kenneth W. Vatican(Kenny Blake), William J. (Bill) Van Dyk,Henry Weitzel, Edward Wyszomierski (Skelly).

Ely. Nev., Local 212-Mrs. Sally Fransden,Mrs. Velma Kelley, Charles Reynolds.

Honolulu, T. H., Local 677-Marion Diamond.Vancouver, B. C., Canada, Local 145-Ole

Olson.

ERASURESBatavia, N. Y., Local 575-Charles E. Well-

man, John A. Reamer.Bend, Ore., Local 700-Arthur Thomas, Brent

Dietrick.Boston, Mass., Local 9-Paul H. Scott, Chester

Bradley, Geo. S. DeMattia, John J. Lawlor.Cleveland, Ohio, Local 4-John Jarosz, Allan

R. Pavlovich.Connellsville, Pa., Local 4I7-Wm. R. Con-

ners, Jr.Kingston, Ont., Canada, Local 518-Bernard

Lyons.Los Angeles, Calif., Local 47-Stanley Getz,

Freddy Fisher, Celia (Linda) Lopez, John C.Matson, lone Sowell, Alton F. Vaughn, FoyWilling.

Miami, Fla., Local 655-Casey B. Strickland.Rochester, N. Y., Local 66-Mrs. Merle Alex-

ander, Melvin Berger, Michael LaFranca, Ray-mond A. Melville, Mrs. Suzanne Mennini, FredMeredith, Dorothy Merriam, Jos. F. Norris, J. B.Rivers, Elsie W. Stratton, Howard Salavon, Wm.S. Tharp, Anthony Tomberrilli, Theodore Scar -pino, Hazelle Wilson.

San Francisco, Calif., Local 6-Martin Burke,Patrick Burke.

Santa Rosa, Calif., Local 292-Brian Malm,Edwin Moy, Wayne Mosey, Milton Noyes, SamWilliams.

Walla Walla, Wash., Local 501-Emery Ber-gevin.

New York, N. Y., Local 802-Santiago R. Alva-rado, Ace Harris, Robert Kleef, Joseph Marlowe,Angelo C. Parrilla, James Rivers, Buddy Rich,Lionel Hampton, James Lewis, Charles Lombardi,Leonard W. Lowry, John J. Miklus, Annie Mul-drow, Clarence H. Palmer, Genevieve Rinn, Wil-liam A. Brabham, Willie E. Clemons, ClydeDavis. Mel Green, Earl G. Hamman, Jackie Mc-Lean. Wesley Portnoff, George B. Riser, WilliamC. Reach, Ned Roberman, Ernest Schweikert,Glenn C. Smith, James Skiles, Edward O. Smith,George N. Stratis, Gladston G. Woolery.

Great Falls, Mont., Local 365-Conrad Peterson,Alice Lothe, Dan Petrenchak, Mary Parker, Gor-don Garrett, Joyce Woglemuth, Marlys Prentice,Gordon Richards, Barth O'Day, Betty Krefta,Robert Beatty, Kenneth Brower, Jesse Pecking -ham, Walter Maninich, Albert Edenfield, JimmieCarroll, Leon Sathers, Marcus Ledbettor, RobertGreen.

JANUARY, 1952 41

DEFAULTERS LIST of the American Federation of MusiciansThis List is alphabeti-cally arranged in States,

Canada and Mis-cellaneous

ALABAMABIRMINGHAM:

Umbach, BobDOTHAN:

Smith, MoseFLORENCE:

Valentine, LeroyMOBILE:

Cavalcade of Amusements, andAl Wagner, Owner and Pro-ducer.

Moore, R. E., Jr.Williams, Harriel

MONTGOMERY:Caswell, Ned, Little Harlem

ClubMontgomery, W. T.Perdue, Frank

PHENIX CITY:Cocoanut Grove Nite Club,

Perry T. Hatcher, Owner.PHENIX:

241 Club, and li. L. Freeman

ARIZONAPHOENIX:

Chi's Cocktail Lounge (Chi'sBeverage Corp.), and J. A.Keilly, Employer

Gaddis, JoeHoshor, JohnJones, Calvin R.Malouf, Leroy B.Willett, R. PaulZanzibar Club, and Lew Klein

TUCSON:Griffin, ManlyMitchell, JimmyWilliams, Marshall

uckner, Gray, Owner "345"Club, El Cajon

ARKANSASBLYTHVILLE:

Brown, Rev. Thomas J.HOT SPRINGS

Hammon Oyster House, and JoeJacobs

Pettis, L. C.Smith, Dewey

LITTLE ROCK:Arkansas State Theatre, and Ed-

ward Stanton, and Grover J.Butler, Officers

Bennet, O. E.Civic Light Opera Company,

Mrs. Rece Saxon Price, Pro-ducer

Stewart, J. H.Weeks, S. C.

McGEHEE:Taylor, Jack

MOUNTAIN HOME:Robertson, T. E., Robertson

Rodeo, Inc.NORTH LITTLE ROCK:

Cotton Club, and JohnnyThomas, S. L. Kay, co -owners

PINE BLUFF:Arkansas State CollegeJohnson, EddieLowery, Rev. J. R.Robbins Bros. Circus, and C. C.

Smith, Operator (Jackson,Miss.)

Scott, Charles E.TEXARKANA:

Oak Lawn Theatre, and PaulKetchum, Owner and Operator

WALNUT RIDGE:American Legion Hut, and

Howard Daniel Smith Post4457 VFW, and R. D. Bur-row, Commander

CALIFORNIAALAMEDA:

Sheets, AndyBAKERSFIELD:

Bakersfield Post 808, AmericanLegion, and Emanuel Ed-wards

Conway, StewartBALBOA:

Rendezvous Ballroom, and JackDaly

BENICIA:Rodgers, Edward T., Palm

Grove BallroomBERKELEY:

Jones, CharlesBEVERLY HILLS:

Bert Gervis AgencyMestusts, ParisRhapsody on Ice, and N. Ed-

ward Beck, Employer

BIG BEAR LAKE:Creasman, Harry E.

CATALINA ISLAND:Club Brazil, and Paul Mirabel,

OperatorCOMPTON:

Vi -Lo RecordsCOULTON, SAN BERNARDINO:

Kennison, Mrs. Ruth, OwnerPango Pango Club

DUNSMUIR:Corral, and J. B. McGowan

EL CERRITO:Johnson, Lloyd

FONTANA:Seal Bros. Circus, Dorothy An-

derson, Employer

FRESNO:Valley Amusement Association,

and Wm. B. Wagnon, Jr.,President

GARVEY:Rich Art Records, Inc.

HOLLYWOOD:Alison, DavidBabb, KrogerBirwell Corp.Bocage Room, Leonard Van-

nersonBonanova, FortunioCalifornia Productions, and Ed-

ward KovacsCoiffure Guild, and Arthur E.

Teal, and S. Tea RoseEncore Productions, Inc.Federal Artists Corp.Finn, Jay, and Artists Personal

Mgt., Ltd.Fishman, Edward I.Gray, Lew, and Magic Record

CompanyKappa Records, Inc., Raymond

L. KraussKing, William H.Kolb, ClarenceMorros, BorisPatterson, TrentRobitschek, Kurt (Ken Robey)Six Bros. Circus, and George

McCallStar Dust Revue, John K.

StandleyHarry S. Taylor AgencyUniversal Light Opera, Co., and

AssociationWestern Recording Co., and

Douglas Venable

LAKE ARROWHEAD,TWIN PEAKS:Alpine Club, and J. W. Dewey,

Employer

LONG BEACH:Admiral McCain Ship, V.F.W.

Post 4851, George Harvey,Commander, James Peacock,Manager

Backlin, Frank and BeatriceClub Moderne, and W. C. Jar-

rettCrystalette Music Co., Inc., and

C. W. ColemanDreamland Ballroom and Cater-

er's Cafe, Tod Faulkner (KidMexico) Owner

Jack Lasley's Cafe, and JackLasley

Long Beach Exposition, and D.E. Kennedy, Pres., HoraceBlack, Director and GeneralManager, James Vermazen,Assistant Director, May Fi-lippo, Sec., Nick Biola,Grand-stand Show Director, EvalynRinehart, Ass't. Office Mgr.,Charles D. Spangler, PublicRelations and Publicity Dept.,George W. Bradley AdvanceTicket Director

McDougall, OwenSullivan, Dave, Crystal Ball-

room

LOS ANGELES:Anderson, John Murray, and

Silver Screen, Inc.Aqua Parade, Inc., Buster

(Clarence L.) CrabbeBerg, Harry, of the Monarch

HotelCoiffure Guild, Arthur E. Teal

and S. Tex RoseColeman, FredCotton Club, and Stanley

Amusements, Inc., andHarold Stanley

Dalton, ArthurDownbeat Club, Pops PierceDrew, AndreEdwards, James (of James Ed-

wards Productions), and JeanMatthais, Road Manager

Halfont, NateMerry Widow Company, and

Eugene Haskell, Raymond E.Mauro

Miltone Recording Co., and WarPerkins

Moore, CleveMosby, EsvanO'Day, AnitaPreston, JoeyRoyal Record Co.Ryan, TedVillion, AndreVogel, Mr.Ward Bros. Circus, George W.

Pugh, Archie Gayer, co -Owners, and L. F. Stoltz.Agent

Williams, CargileWilshire Bowl

LOS GATOS:Fuller, Frank

MONTEREY:Roberts Club, and A. M. Kolvas,

OwnerNEVADA CITY:

National Club, and Al Irby,Employer

NORTH HOLLYWOOD:Lohmuller, Bernard

OAKLAND:Bill's Rondevu Cafe, and Wm.

MatthewsMoore, HarryMorkin, RoyTrader Horn's, Fred Horn

OCEAN PARK:Frontier Club, and Robert

MoranOROVILLE:

Rodgers, Edward T., PalmGrove Ballroom

OXNARD:McMillan, Tom, Owner Town

HousePALM SPRINGS:

Bering, Lee W., Lee BeringClub

Colonial House, and Wilbur P.Davis, Manager

Desert Inn, and Earl Coffman,Manager

Hall, Donald H.PERRIS:

McCaw, E. E., Owner HorseFollies of 1946

PITTSBURG:Argentina Club, William Lewis,

OwnerSACRAMENTO:

Casa Nellos, Nello Malerbi,Owner

Leingang, GeorgeO'Connor, Grace

SAN DIEGO:Cotton Club, Benny Curry and

Otis WimberlyHutton, JimMiller, WarrenMitchell, JohnPasso, RayTricoli, Joseph, Operator Play -

landYoung, Mr. Thomas and Mrs.

Mabel, Paradise Club(formerly known as SilverSlipper Cafe)

SAN FRANCISCO:Brown, Willie H.Blue AngelCafe Society Uptown, and Vin-

cent OronatoThe Civic Light Opera Com-

mittee of San Francisco,Francis C. Moore, Chairman

Deasy, J. B.Fox, EddieLevy, Ellis W.New Orleans Swing Club, Louis

Landry, OwnerReed, Joe, and W. C.Rogers and Chase Co.Shelton, Earl, Earl Shelton

ProductionsSherman and Shore Advertising

AgencyWaldo, Joseph

SAN JOSE:McAdoo, Mr. and Mrs. GeorgeMelody Club, Frank and Theresa

Oliver, EmployersPaz, Fred

SANTA BARBARA:Briggs, Don

SANTA MONICA:Georgian Room, and H. D.

McRaeSHERMAN OAKS:

Gilson, LeeKraft, Ozzie

SOUTH GATE:Silver Horn Cafe, and Mr. Silver

STOCKTON:Sunset Macaroni Products, 'Fred

StagnaroVENTURA:

Cheney, Al and LeeWATSONVILLE:

Ward, Jeff W.WINTERHAVEN:

Mueller, J. M.

COLORADODENVER:

Frontier Night Club, Harry Gor-don, and Clinton Anderson,Owners

JULESBURG:Cu un:jns, Kenneth

CONNECTICUTEAST HAMPTON:

Hotel GerramaugusEAST HAVEN:

Carnevale, A. J.EAST WINDSOR HILL:

Schaub's Restaurant, and Ed-ward Wisnewski

HARTFORD:Club Ferdinando, Felix Ferdi-

nandoDubinsky, Frank

NEW LONDON:Andreoli, HaroldBisconti, Anthony, Jr.Johnson, HenryMarino, MikeWilliams, Joseph

NIANTIC:Crescent Beach Ballroom, Bud

Russell, and Bob McQuillanPOQUONNOCK BRIDGE:

Johnson's Restaurant, andSamuel Johnson, Owner

STAMFORD:Glenn Acres Country Club and

Charlie Blue, Pres., Mr. Sou-mers, Sec.-Treas.

STONINGTON:Hangar Restaurant and Club,

and Herbert PearsonWhewell, Arthur

WESTPORT:Goldman, Al and Marty

DELAWAREDOVER:

Apollo Club, and BernardPaskins, Owner

Veterans of Foreign Wars, Le-Roy Rench, Commander

Williams, A. B.GEORGETOWN:

Gravel Hill Inn, and PrestonHitchens, Proprietor

MILFORD:Fountain, John

NEW CASTLE:Lamon, EdwardMurphy, Joseph

REHOBOTH BEACH:Hewlett, Ralph J., Manager,

Henlopen HotelWILMINGTON:

Allen, SylvesterDelaware Press Club, Joe

Lipsky

Leshnick, MaxMacomba ClubMocamba Restaurant, and Jack

Freidlander, Irving Miller,Max Leshnick, and MichaelRosenberg, Employers

Miller, IrvingStraus, GeorgeWeills, Charles

ORLANDO:Club Cabana, and Elmer and

Jake Gunther, OwnersClub Surrocco, Roy BaisdenFryor, D. S.

ORMOND:Whitehorse, The, E. C. Phillip

PALM BEACH:Leon and Eddie's Nite Club,

Leon and Eddie's, Inc., JohnWidmeyer, Pres., and SidneyOrlin, Secretary

PANAMA CITY:Daniels, Dr. E. R.

PENSACOLA:Hodges, Earl, of the Top Hat

Dance ClubKeeling, Alec (also known as A.

Scott), and National Orches-tra Syndicate and AmericanBooking Company

RIVIERA BEACH:Rowe, Phil

STARKE:Camp Blanding Recreation

CenterGoldman, Henry

STUART:Sutton, G. W.

TALLAHASSEE:Gaines Patio, and Henry Gaines,

OwnerTwo Spot Club, Caleb E.

HannahTAMPA:

Brown, RussCarousel Club, and Abe Burkow,

and Norman Karn, EmployersRich, Don and JeanWilliams, Herman

VENICE:Clarke, John, Pines Hotel Corp.Pines Hotel Corp., and John

ClarkeSparks Circus, and James Edgar,

Manager (operated by FloridaCircus Corp.)

WEST PALM BEACH:Larocco, Harry L.Parrish, Lillian F.

FLORIDACLEARWATER:

Bardon, VanceCLEARWATER BEACH:

Normandy Restaurant, and FayHowse

DAYTONA BEACH:Bethune, AlbertBlanc, Paul

FLORENCE VILLA:Dan Laramore Lodge No. 1097,

Garfield RichardsonFORT MEYERS:

McCutcheon, PatJACKSONVILLE:

Jackson, OtisNewberry, Earl, and Associated

Artists, Inc.KEY WEST:

Regan, MargoWeavers Cafe, Joseph Bucks and

Joseph StabinskiMIAMI:

Brooks, SamDonaldson, BillPrior, Bill (W. H. P. Corp.)Sky Club, and Harry Fried-

landerSmart, Paul D.Talavera, Ramon36 Club, Tony Aboyoun, Em-

ployerMIAMI BEACH:

Amron, Jack, Terrace RestaurantCaldwell, MaxChez Paree, Mickey Grasso, and

Irving RivkinCoral Reef HotelEdwards Hotel, and

Nathan, ManagerFriedlander, JackHaddon Hall HotelIsland Club, and Sam

Owner -Manager

Julius

Cohen,

GEORGIAATLANTA:

Greater Atlanta MoonlightOpera Co., Howard C.Jacoby, Manager

Montgomery, J. NealSpencer, Perry

AUGUSTA:J. W. Neely, Jr.Kirkland, FredMinnick Attractions, Joe Min-

nickMACON:

Capitol TheatreLee, W. C.Swaebe, Leslie

SAVANNAH:Thompson, Lawrence A., Jr.

THOMASVILLE:Club Thomas, and Terry

Maxey, OperatorVIDALIA:

Pal Amusements Co.WAYCROSS:

Cooper, Sherman and Dennis

IDAHOSUN VALLEY:

French, Don, and Don FrenchLounge, Boise, Idaho, andChateau Place

COEUR d'ALENE:Crandall, EarlLachman, Jesse

LEWISTON:848 Club, and Sam Canner,

OwnerRosenberg, Mrs. R. M.

POCATELLO:Pullos, DanReynolds, Bud

SUN VALLEY:Chateau Place

ILLINOISBELLEVILLE:

Davis, C. M.BLOOMINGTON:

McKinney, James R.Thompson, Earl

CALUMET CITY:Mitchell, John

CHAMPAIGN:Pi Lambda Phi Fraternity,

Irwin L. Green, Social Chair-man

Robinson, BennieCHICAGO:

Adams, Delmore and EugeneBrydon, Ray Marsh of the Dan

Rice 3 -Ring CircusChicago Casino, and Harry

Weiss, OwnerCiro'sCole, Elsie, General Manager,

and Chicago Artists BureauColosimo's Theatre Restaurant,

Inc., Mrs. Ann Hughes,Owner

Donaldson, BillEvans, JeepFine, Jack, Owner "Play Girls

of 1938," "Victory Follies"Glen, CharlieHale, Walter, PromoterMackie, Robert, of Savoy Ball-

roomMajestic Record Co.Mason, LeroyMays, ChesterMickey Weinstein Theatrical

AgencyMonte Carlo Lounge, Mrs. Amt

Hughes, OwnerMoore, H. B.Music Bowl, and Jack Peretz

and Louis Cappanola, Em-ployers

Music Bowl (formerly ChinaDoll), and A. D. Blumenthal

O'Connor, Pat L., Pat L.O'Connor, Inc.

Patricia Stevens Models Finish-ing School

Stoner, Harlan T.Teichner, Charles A., of T. N.

T. ProductionsWhiteside, J. Preston

EAST ST. LOUIS:Davis, C. M.Playdium, and Stuart Tambor,

Employer, and Johnny Per-kins, Owner

KANKAKEE:Havener, Mrs. Theresa, Propri-

etor, DreamlandLA GRANGE:

Hart -Van Recording Co., andH. L. Hartman

MOLINE:Antler's Inn, and Francis

Weaver, OwnerMT. VERNON:

Plantation Club., Archie M.Haines, Owner

PEORIA:Candlelight Room and Fred

RomaneDavis, OscarHumane Animal AssociationRutledge, R. M.Stinson, EugeneStreeter, PaulThompson, EarlWagner, Lou

PRAIRIE VIEW:Green Duck Tavern, and Mr.

and Mrs. StillerROCKFORD:

Palmer House, Mr. Hall, OwnerTrocadero Theatre LoungeWhite Swan Corp.

ROCK ISLAND:Barnes, Al

SPRINGFIELD:Terra Plaza, and Elmer Bartolo,

EmployerWASHINGTON:

Thompson, EarlZEIGLAR:

Zeiglar Nite Club, and DwightAllsup, and Jason Wilkas,Owners

INDIANAANDERSON:

Lanane, Bob and GeorgeLevitt's Supper Club, and Roy

D. Levitt, ProprietorAUBURN:

Moose Lodge No. 566EAST CHICAGO:

Barnes, Tiny JimELWOOD:

Yankee Club, and CharlesSullivan, Manager

EVANSVILLE:Adams, Jack C.Club Trianon, and Romauld

McBrideGREENSBURG:

Club 46, Charles Holzhouse,Owner and Operator

INDIANAPOLIS:Benbow, William, and his All-

American Brownskin ModelsDickerson, Matthew


Donaldson, BillEntertainment Enterprises, Inc.,

and Frederick G. SchatzHarris, RupertWilliam C. Powell Agency

LAFAYETTE:Club 52, Charles Gibson, Prop.

MUNCIE:Bailey, Joseph

NEWCASTLE:Harding, Stanley W.

RICHMOND:Newcomer, CharlesPuckett, H. H.

SOUTH BEND:Childers, Art (also known as

Bob Cagney)SPENCERVILLE:

Kelly. George M. (Marquis)SYRACUSE:

Waco Amusement Enterprises

IOWACLARION:

Miller, J. L.DENISON:

Larby Ballroom, and CurtisLarby, Operator

DES MOINES:Brookins, Tommy

HARLAN:Gibson, C. Rex

SHENANDOAH:Aspinwall, Hugh M. (Chick

Martin)SPENCER:

Free, NedWOODBINE:

Danceland, J. W. (Red) Brum-mer, Manager

KANSASBREWSTER:

Whirlwind Ballroom, G. M.Dinkel, Operator

COFFEYVILLE:Ted Blake

DODGE CITY:Graham, Lyle

KANSAS CITY:White, J. Cordell

LOGAN:Graham, Lyle

MANHATTAN:Stuart. Ray

NEWTON:VFW Whitsell-Finnell Post 971

PRATT:Clements, C. J.Wisby, L. W.

RUSSELL:Russell Post 6240, Veterans of

Foreign Wars, and Hall andGus Zercher, Dance Manager

SALINA:Kern, John

TOPEKA:Mid -West Sportsmen Association

WICHITA:Holiday, Art

KENTUCKYBOWLING GREEN:

Taylor, Roy D.LEXINGTON:

Harper, A. C.LOUISVILLE:

King, VictorImperial Hotel, Jack Woolems,

OwnerSpaulding, Preston

OWENSBORO:Cristil, Joe, Owner, Club 71

PADUCAH:Melody Show Lounge, and Bea

MackVickers, Jimmie

LOUISIANAALEXANDRIA:

Smith, Mrs. Lawrence, Propriotor Club Plantation

Stars and Bars Club (also knownas Brass Hats Club), A. R.Conley, Owner, Jack Tyson,Manager

Weil, R. L.BATON ROUGE:

Club Tropicana, and CamilleJohns

Cobra Lounge, C. D. RogersBOSSIER CITY:

Samba Club and SammieFisher (Gugluizza)

CROWLEY:Young Men's Progressive Club,

and J. L. Buchanan. EmployerGONZALES,

Cedar Grove Club, and NormanBolster

LAFAYETTE:Hadacol CaravanLeBlanc Corporation of

LouisianaVeltin, Toby

MONROE:Club DeLicia, Robert HillKeith, JessieThompson, Son

NEW ORLEANS:Barker, RandCallico, CiroDog House, and Grace Mar-

tinez, OwnerGilbert, JulieHurricane, The, Percy StovallLeBlanc, Dudley J.

OPELOUSAS:Cedar Lane Club, and Milt

Delmas, EmployerSHREVEPORT:

Reeves, Harry A.Stewart, Willie

MAINEFORT FAIRFIELD:

Paul's Arena, Gibby SeaborneSACO:

Gordon, Nick

MARYLANDBALTIMORE:

Byrd, Olive J.Cox, M. L.Gay 90's Club, Lou Belmont,

Proprietor, Henry Epstein,Owner

Greber, BenLeBlanc Corporation of

MarylandNew Broadway Hotel, Charles

Carter, ManagerWeiss, Harry

CHESAPEAKE BEACH:Chesapeake Beach Park Ball-

room, and Alfred Walters,Employer

CUMBERLAND:Waingold, Louis

FENWICK:Repsch, Albert

FREDERICK:Rittenhouse, Rev. H. B.

HAGERSTOWN:Bauer, Harry A.Glass, David

OCEAN CITY:Belmont, Lou, Gay Nineties

Club, and Henry EpsteinGay Nineties Club, Lou Bel-

mont, Prop., Henry Epstein,Owner

SALISBURY:Twin Lantern, Elmer B.

Dashiell, OperatorTURNERS STATION:

Thomas, Dr. Joseph H., Edge-water Beach

MASSACH USETTSAMHERST:

Murphy, CharlesRussell, William

BILLERICA:One -O -One Club, Nick Ladoulis,

ProprietorBLACKSTONE:

Pond View Inn, and JosephStefano

BOSTON:Bay State News Service, Bay

State Amusement Co., BayState Distributors, and JamesH. Mcllvaine, President

Brosnahan, lames J.Crawford House Theatrical

LoungeE. M. Loew's TheatresL. J. B. Productions, and Lou

Brudn ickRegency Corp., and Joseph R.

Weisser\Valdron, BillyResnick, WilliamSunbrock, Larry, and his Rodeo

ShowWalker, JulianYounger Citizens Coordinating

Committee, and GeorgeMouzon

CAMBRIDGE:Salvato, Joseph

FALL RIVER:Royal Restaurant (known as the

Riviera), William Andrade,Proprietor

FITCHBURG:Bolduc, Henry

HAVERHILL:.\ssas, Joe

HOLYOKE:Holyoke Theatre, Bernard W.

Levy

LOWELL:Carney, John F., Amusement

CompanyFrancis X. Crowe

MONSON:Canegallo, Leo

NEW BEDFORD:The Derby, and Henry Correia,

Operator

NEWTON:Thiffault, Dorothy (Mimi

Chevalier)

SALEM:Larkin Attractions, and George

Larkin

WAYLAND:Steele, Chauncey Depew

WILMINGTON:Blue Terrace Ballroom, and An-

thony DelTorto

MICH IGANANN ARBOR:

McLaughlin, Max

BAY CITY:Walther, Dr. Howard

DETROIT:Bel Aire (formerly Lee 'N Ed -

die's), and Al Wellman,Ralph Wellman, Philip Flax,Sam and Louis Bernstein,Owners

Bibb, AllenBriggs, Edgar Ni.Claybrook, AdolphusDaniels, James M.Dustin Steamship Company, N.

M. ConstansFrontier Ranch, Sam Hoffman,

and Caesar Adler, OperatorsGreen, GoldmanJohnson, IvoryThomas, Matthew B.Kosman, HymanConners Lounge, and Joe Pallar.

zolo, OperatorPayne, EdgarPapadimas, BabisPyle, Howard D., and Savoy

PromotionsSan Diego Club, Nono Minando

FERNDALE:Club Plantation, and Doc

Washington

GRAND RAPIDS:Club Chez-Ami, Anthony

Scalice, ProprietorPowers Theatre

KAWKAWLIN:Old Mill Dance Hall, Ernest

Fortin, OwnerMIO:

walker Hotel, and George\Valker, Proprietor

PONTIAC:Bob's Picnic Park, and Robert

Amos, Owner and OperatorHenry's Restaurant, and Charles

IlcnrySandy Beach Inn

SISTER LAKES:Rendezvous Bowl, and Rendez-

vous Inn (or Club), GordonJ. "Buzz" Miller

TRAVERSE CITY:Lawson, Al

UTICA:Spring Hill Farms, and Andrew

Sneed

MINNESOTADETROIT LAKES:

Johnson, Allan V.EASTON:

Hannah, JohnMINNEAPOLIS:

Howard's Steak House. andLeroy Howard

Northwest Vaudeville Attrac-tions, and C. A. McEvoy

PIPESTONE:Coopman, MarvinStolzmann, Mr.

RED WING:Red Wing Grill, Robert A.

Nybo, OperatorSLAYTON:

E, E. IversonIverson Manufacturing Co., Bud

IversonWINONA:

Interstate Orchestra Service, andL. Porter lung

MISSISSIPPIBILOXI:

Joyce, Harry. Owner PilotHouse Night Club

Thompson, Bob

GREENVILLE:Pollard, Flenord

GULFPORT:Plantation Manor, and Herman

BurgerJACKSON:

Carpenter, BobSmith, C. C., Operator, Rob-

bins Bros. Circus (Piste Bluff,Ark.)

MERIDIAN:Bishop, James E.

NATCHEZ:Colonial Club, and 011ie

KoerberVICKSBURG:

Blue Room' Nite Club, andTom Wince

MISSOURIBOONE V ILLE:

Bowden, RiversCHILLICOTHE:

Hawes, H. H.FORT LEONARD WOOD:

Fort Leonard Wood Post, Sgt.Harry A. Lawhon

INDEPENDENCE:Casino Drive Inn, J. W. John-

son, OwnerJEFFERSON CITY:

Bon Ton Gardens, and JackRandazzo, Manager

JOPLIN:Silver Dollar, Dick Mills, Man-

ager -OwnerTop Hat Club, and Joe Mertz

KANSAS CITY:Babbitt, William (Bill) H.Canton, L. R.Esquire Productions, and Ken-

neth Yates, and Bobby Ren-shaw

Main Street TheatreZelma Roda Club, Emmett J.

Scott, Prop., Bill Christian,Manager

MACON:Macon County Fair Association,

Mildred Sanford, EmployerNORTH KANSAS CITY:

Schult-Krocker TheatricalAgency

POPLAR BLUFFS:Brown, Merle

ST. LOUIS:Barnholtz, ?,lacBeaumont Cocktail Lounge, Ella

Ford. OwnerBrown Bomber Bar, James

Caruth and Fred Guinyard,co -owners

Caruth, James, Operator ClubRhumboogie, Cafe Society,Brown Bomber Bar

Caruth, James, Cafe SocietyD'Agostino, Sam400 Club, and George GraffMarkham, Doyle, and Tune

Town BallroomSun Amusement Co., Sun

TheatreSun Theatre, and Sam Nieberg

MONTANABUTTE:

Webb, RicCONRAD:

Little America Tavern, and JohnR. McLean

NEBRASKAALEXANDRIA:

Alexandria Volunteer Fire Dept.,and Charles D. Davis

KEARNEY:Field, H. E.

McCOOK:Gayway Ballroom, and Jim

CorcoranOMAHA:

Louie's Market, and LouisPaperny

PENDER:Pender Post No. 55, American

Legion, and John F. Kai,Dance Manager

NEVADALAKE TAHOE:

Tahoe Biltmore Hotel, NateBlumenfeld

LAS VEGAS:Gordon, RuthHoltsinger, RubyLawrence. Robert D.Ray's CafeSchiller, AbeStoney. Milo E.Warner, A. H.

LOVELOCK:Fischer, Harry

RENO:Blackman, Mrs. MaryTwomey, Don

NEW HAMPSHIREFABIAN:

Zaks (Zackers), JamesJACKSON:

Nelson, EddySheirr, James

NEW JERSEYABSECON:

Hart, Charles, President, andEastern Mardi Gras, Inc.

ASBURY PARK:Gilmore, James E.Richardson, Harry

ATLANTIC CITY:Bobbins, AbeCasper, JoeCheatham, ShelbeyDelaware Inn, and Nathaniel C.

Spencer, ProprietorGoodleman, CharlesLockman, HarveyMorocco Restaurant, G. Fassa,

and G. Dantzler, OperatorsOcean Playhouse, Steel Pier, and

Robert Courtney (New YorkCity)

Pilgrim, JacquesBLOOMFIELD:

Thompson, PuttCAMDEN:

Embassy Ballroom, and GeorgeE. Chips (Geo. DeGerolamo),Operator

CAPE MAY:Anderson, Charles, Operator

CLIFTON:August E. Buchner

EAST ORANGE:Hutchins, William

EAST RUTHERFORD:Club 199, and Angelo Pucci,

OwnerHOBOKEN:

Red Rose Inn, and ThomasMonto, Employer

LAKE HOPATCONG:.Mad House, Oscar Dunham,

OwnerLAKEWOOD:

Patt, Arthur, Manager HotelPlaza

Seldin, S. H.LONG BRANCH:

Hoover, CliffordKitay, MarvinRappaport, A., Owner The Blue

RoomWright, Wilbur

MONTCLAIR:Cos -Hay Corporation, and Thos.

Haynes, and James CostelloNEWARK:

Beadle, JeanetteColeman, MelvinGraham, AlfredHall, EmoryHays, ClarenceHarris, EarlJohnson, RobertJones, Carl W.Levine, JosephLloyds Manor, and Smokey Mc-

AllisterMariano, TomNite Cap Bar and Grill"Panda," Daniel StrayerPrestwood, WilliamRed Mirror, and Nicholas

Grande, ProprietorRollison, EugeneSimmons, CharlesTucker, FrankWilson, LeroyZaracardi, Jack, Galanti A. A.

NEW BRUNSWICK:Jack Ellel

NORTH ARLINGTON:Petruzzi, Andrew

NORTH BERGEN:1220 Club, and Kay Sweeney,

Secretary -TreasurerPATERSON:

Gerard, MickeyGerard EnterprisesHatab, SamPyatt, JosephRiverview CasinoVentimiglia, Joseph

PLAINFIELD:McGowan, Daniel

SOMERVILLE:Three Towers Inn, and Samuel

Goldberg (Garrett)SUMMIT:

Ahrons, MitchellTRENTON:

Crossing Inn, and John Myrick,Employer

VAUX HALL:Carillo, Manuel R.

VINELAND:Gross, David

WEST NEW YORK:B'Nai B'rith Organization. and

Sam Nate, Employer, HarryBoorstein, President

WILLIAMSTOWN:Talk of the Town Cafe, and

Rocco Pippo, Manager

NEW MEXICOALBUQUERQUE:

Halliday, FinnLaLoma, Inc., and Margaret

Ricardi, EmployerCLOVIS:

Denton, J. Earl, Owner PlazaHotel

REYNOSA:Monte Carlo Gardens, Monte

Carlo Inn, Ruben GonzalesROSWELL:

Russell, L. D.SANTA FE:

Emil's Night Club, and EmilMignardo, Owner

NEW YORKALBANY:

O'Meara Attractions, JackALDER CREEK:

Burke's Manor, and Harold A.Burke

ATLANTIC BEACH:Normandie Beach Club, Alexan-

der DeCiccoAUSABLE CHASM:

Antler, NatYoung, Joshua F.

BRONX:Atman, MartinClub Delmar, Charles Marce-

lino and Vincent Delostia,Employers

Klipper, DaveMetro Anglers Social Club, and

Aaron MurrayPerry Records, and Sam

RichmanSantoro, E. J.Sinclair, Carlton (Carl Parker)Williams, J. W.

BROOKLYN:Aurelia Court, Inc.Ferdinand's Restaurant, and

Mr. FerdinandGlobe Promoters of Huckelbuck

Revue, Harry Dixon andElmo Obey

Hall, Edwin C.Johnston, CliffordKingsborough Athletic Club,

George ChandlerMorris, PhilipOcean Grotto Restaurant, and

Albert Santarpio, ProprietorReade, MichaelRosenberg, PaulRosman, Gus, Hollywood CafeRussino, TomSteurer, Eliot1024 Club, and Albert FriendThompson, ErnestVilla Antique, Mr. P. Antico,

ProprietorWasserman, J.

BUFFALO:Bourne, EdwardCalato, Joe and TeddyCosmano, Frank and AnthonyJackson, WilliamNelson, Art and MildredTwentieth Century TheatreRay's Bar -D, and Raymond C.

DemperioFAI.LSBURG:

Olympic Hotel, and Wm.Horowitz

FAR ROCKAWAY, L. I.:Town House Restaurant, and

Bernard Kurland, ProprietorFERNDALE:

Pollack Hotel, and Elias Pol-lack, Employer

Stier's Hotel, and Philip Stier,Owner

FLEISCHMANNS:Churs, Irene (Mrs.)

FRANKFORT:Blue Skies Cafe, Frank Reile

and Lenny Tyler, ProprietorsBrass Tack Cafe, Victor Tarris

GLENS FALLS:Gottlieb, RalphNewman, JoelSleight, Don

GLEN SPEY:Glen Acres Hotel and Country

Club, Jack W. Rosen, Em-ployer

GRAND ISLAND:Williams, Ossian V.

GREENFIELD PARK:Utopia Lodge

HUDSON:Goldstein, BennyGutto, Samuel

ILION:Wick, Phil

ITHACA:Bond, Jack

JANUA?Y, 1952 43

JACKSON HEIGHTS:Griffith, A. J., Jr.

LAKE PLACID:Carriage Club, and C. B.

Southworth

LIVINGSTON MANOR:Beaver Lake Lodge, and Ben

H. Grafman

LOCH SHELDRAKE:Chester, AbeFifty-two Club, Saul Rapkin,

OwnerHotel Shlesinger, David

Shlesinger, OwnerMardenfeld, Isadore, Jr., Estate

MAHOPAC:Willow Tree Restaurant, and

S. A. Bander, Owner

MONTICELLO:Kahaner's Hotel, Jack Katz

MT. VERNON:Rapkin, Harry, Proprietor,

Wagon Wheel Tavern

NAPANOCH:Napanoch Country Club (A. &

P. Corp.), and Ben Feinberg

NEW YORK CITY:Alexander, Wm. D., and Asso-

ciated Producers of NegroMusic

Amusement Corp. of AmericaAndu, John R. (Indonesian

Consul)Benrubi, BenBiller Bros. Circus, Arthur and

Hyman SturmakBroadway Hofbrau, Inc., and

Walter Kirsch, OwnerBroadway Swing Publications,

L. Frankel, OwnerBruley, JesseCalman, Carl, and the Calman

Advertising AgencyCamera, RoccoChanson, Inc., Monte Gardner

and Mr. RodriguezCharles, Marvin, and Knights

of MagicCoffery, JackCohen, MartyCollectors' Items Recording Co.

Maurice Spivack and Kathe-rine Gregg

"Come and Get It" CompanyCook, DavidCrochert, Mr.Crossen, Ken, and Ken Cros-

sen AssociatesCrown Records, Inc.Currie, LouDolin, AntonDuBois -Friedman Production

CorporationDubonnet Records, and Jerry

(Jerome) LipskinDynamic Records. Ulysses SmithGranoff, BuddGoldberg (Garrett), SamuelGoldstein, RobertGray, Lew, and Magic Record

CompanyGross, Gerald, of United Artists

ManagementHeminway, Phil"High Button Shoes," Jack

Small, General ManagerInsley, WilliamJohnson, Donald E.Kaye -Martin, Kaye -Martin Pro-

ductionsKent Music Co., and Nick

KentrosKing, GeneKnight, RaymondKushner, Jack and DavidLaFontaine, LeoLaw, JerryLevy, JohnLew Leslie and his "Black-

birds"Manhattan Recording Corp., and

Walter 'H. Brown, Jr.Manning, SamMayo, Melvin E.McCaffrey, NeillMcMahon, JessMetro Coat and Suit Co., and

Joseph LupiaMeyers, JohnnyMillman, MortMontanez, PedroMoody, Philip, and Youth

Monument to the FutureOrganization

Murray'sNassau Symphony Orchestra,

Inc., Benjamin J. Fiedlerand Clinton P. Sheehy

Neill, WilliamNewman, NathanNew York Civic Opera Com-

pany, Wm. ReutemannNew York Ice Fantasy Co.,

Scott Chalfant, James Bliz-zard and Henry Robinson,Owners

Orpheus Record Co.Parmentier, DavidPlace, The, and Theodore

Costello, ManagerPollard, Fritz

Prince, HughieRain Queen, Inc.Ralph Cooper AgencyRegan, JackRobinson, CharlesRogers, Harry, Owner "Frisco

Follies"Rosen, Philip, Owner and Op-

erator Penthouse RestaurantSandy Hook S. S. Co., and

Charles GardnerSchwartz, Mrs. MorrisSinger, JohnSloyer, Mrs.South Seas, Inc., Abner J.

RubienSouthland Recording Co., and

Rose SantosSpotlite ClubSteve Murray's Mahogany ClubStromberg, Hunt, Jr.Strouse, IrvingSunbrock, Larry, and his Rodeo

ShowTalent Corp. of America,

Harry WeissmanTelevision Exposition Produc-

tions, Inc., and Edward A.Cornez, President

Thomson, Sava and Valenti,Incorporated

United Artists ManagementVariety Entertainers, Inc., and

Herbert RubinVenus Star Social Club, and

Paul Earlington, ManagerWalker, Aubrey, Maisonette

Social ClubWee and Leventhal, Inc.Wel'ish, SamuelWiluer Operating CompanyWindheim, DavidZaks (Zackers), James

NIAGARA FALLS:Boulevard Casino, and Frank

and Victor RotundoFlory's Melody Bar, Joe and

Nick Florio, ProprietorsKliment, Robert F.Piatov, Natalie and George,

Graystone BallroomNORWICH:

McLean, C. F.PATCHOGUE:

Kay's Swing Club, KayAngeloro

PURLING:Dellwood, and Jos. Gerardi,

ownerROCHESTER:

Valenti, SamROME:

Marks, Al

SABATTIS:Sabattis Club, and Mrs. Verna

V. Coleman

SARANAC LAKE:Birches, The, Mose LaFountain,

Employer, C. Randall, Mgr.Durgans Grill

SARATOGA SPRINGS:Clark, Stevens and Arthur

SCHENECTADY:Edwards, M. C.Fretto, JosephRudds Beach Nite Klub or Cow

Shed, and Magnus E.Edwards, Manager

Silverman, Harry

SOUTH FALLSBURGH:Pats, Arthur, Manager, Hotel

PlazaSeldin, S. H., Operator (Lake-

wood, N. J.), Grand ViewHotel

SUFFERN:Armitage, Walter, President,

County Theatre

SYRACUSE:Bagozzi's Fantasy Cafe, and

Frank Bagozzi, Employer

TANNERSVILLE:Germano, Basil

UTICA:Block, JerryBurke's Log Cabin, Nick Burke,

Owner

VALHALLA:Twin Palms Restaurant, John

Masi, Proprietor

WATERTOWN:Duffy's Tavern, Terrance Daffy

WATERVLIET:Cortes, Rita, James E. Strates

ShowsKille, Lyman

WHITEHALL:Jerry-Anns Chateau, and

Jerry Rumania

WHITE PLAINS:Brod, Mario

WHITE SULPHUR SPRINGS:Lesser, Joseph and Sarah

YONKERS:Babner, William

LONG ISLAND(New York)

BAYSIDE:Mirage Room, and Edward S.

FriedlandBELMORE:

Babner, William J.GLENDALE:

Warga, Paul S.JAMAICA:

Dancer, EarlLAKE RONKONKOMA:

New Silver Slipper, and Geo.Valentine, Proprietor

NORTH CAROLINABEAUFORT:

Markey, CharlesBURLINGTON:

Mayflower Dining Room, andJohn Loy

CAROLINA BEACH:Stokes, Gene

CHARLOTTE:Amusement Corp. of America,

Edson E. Blackman, Jr.Jones, M. P.Karston, JoeKemp, T. D., and Southern

Attractions, Inc.DURHAM:

Gordon, DouglasRoyal Music Co.

GREENSBORO:Fair Park Casino, and Irish

HoranWard, RobertWeingarten, E., of Sporting

Events, Inc.GREENVILLE:

Ruth, ThermonWilson, Sylvester

HENDERSONVILLE:Livingston, Buster

KINSTON:Parker, David

RALEIGH:Club Carlyle, Robert Carlyle

WALLACE:Strawberry Festival, Inc.

WILSON:McCann, RooseveltMcCann, SamMcEachon, Sam

NORTH DAKOTABISMARCK:

Lefor Tavern and Ballroom,Art and John Zenker,Operators

DEVILS LAKE:Beacon Club, Mrs. G. J.

Christianson

OHIO

Turf Club, and Ralph Steven-son, Proprietor

DAYTON.Boucher, Roy D.Daytona Club, and William

CarpenterTaylor, Earl

ELYRIA:Dance Theatre, Inc., and A. W.

Jewell, President

EUCLID:Rado, Gerald

FINDLAY:Wilson, Mr. and Mrs. Karl,

Operators Paradise Club

AKRON:Basford, DoyleBuddies Club, and Alfred

Scrutchings, OperatorPullman Cafe, George Subrin,

Owner and ManagerCANTON:

Court Cafe and Art Alper,Operator

CINCINNATI:Anderson, AlbertBayless, H. W.Charles, Mrs. AlbertaWonder Bar, James McFatridge,

OwnerSunbrock, Larry, and his Rodeo

ShowSmith, James R.Wallace, Dr. J. H.

CLEVELAND:Atlas Attractions, and Ray

GrairBender, HarveyClub Ron-day-Voo, and U. S.

DearingDixon, ForrestEuclid 55th Co.Manuel Bros. Agency, Inc.Metropolitan Theatre, Emanuel

Stutz, OperatorSalanci, Frank J.Spero, HermanTucker's Blue Grass Club, and

A. J. Tucker, OwnerWalthers, Carl O.Willis, Elroy

COLUMBUS:Askins, WilliamBell, EdwardBeta Nu Bldg. Association, and

Mrs. Emerson Cheek, Pres.Charles Bloce Post No. 157,

American LegionCarter, IngramMcDade, PhilMallory, WilliamPaul D. Robinson Fire Fighters

Post 567, and Captain G. W.McDonald

CHESTER:Blue Heaven Room, Bab

EmployerFisher, SamuelPyle, WilliamReindollar, Harry

DEVON:Jones, Martin

DONORA:Bedford, C. D.

EASTON:Green, MorrisJacobson, Benjamin

EVERSON:King, Mr. and Mrs. Walter

GERMANTOWN: FAIRMOUNT PARK:Beechwood Grove Club, and Mr. Riverside Inn, Inc., Samuel

Wilson Ottenberg, PresidentHARRISBURG:

Ickes, Robert N.P. T. K. Fraternity of John

Harris High School, andRobert Spitler, Chairman

Reeves, William T.Waters, B. N.

JOHNSTOWN:Boots and Saddle Club, and

Everett AllenCentral Cafe, Christ Contakos,

Owner and ManagerTOLEDO: KINGSTON:Durham, Henry (Hank) Johns, RobertLaCasa Del Rio Music Publish-

ing Co., and Don B. Owens, LANCASTER:Jr., Secretary Freed, Murray

National Athletic Club, Roy Samuels, John ParkerFinn and Archie Miller MEADVILLE:

Nightingale, Homer Noll, CarlTripodi, Joseph A., President Power, Donald

Italian Opera Association Simmons, Al.,

PIQUA:Sedgewick, Lee, Operator

PROCTORVILLE:Plantation Club,

Reese, Ownerand Paul

SANDUSKY:Mathews, S. D.Sallee, Henry

SPRINGFIELD:Jackson, Lawrence

D.

VIENNA: MIDLAND:Hull, Russ Mason, BillRuss Hull NEW CASTLE:

ZANESVILLE: Natale, TommyVcnner, Pierre

OKLAHOMAARDMORE:

George R. Anderson Post No.65, American Legion, andFloyd Loughridge

ENID:Norris, Gene

OKMULGEE:Masonic Hall (colored), and

Calvin SimmonsMUSKOGEE:

Gutire, John A., Manager RodeoShow, connected with GrandNational of Muskogee, Okla.

OKLAHOMA CITY:Southwestern Attractions, M. K.

Boldman and Jack SwigerTULSA:

Love, Clarence, Love's CocktailLounge

Williams, Cargile

OREGONEUGENE:

Granada Gardens, ShannonShaeffer, Owner

Weinstein, Archie,. CommercialClub

HERMISTON:Rosenberg, Mrs. R. M.

W.Jr.

OIL CITY:Friendship League of America,

and A. L. NelsonPHILADELPHIA:

Associated Artists BureauBenny -the -Bum's, Benjamin

Fogelman, ProprietorBilclore Hotel, and Wm. Clore,

OperatorBorrelli, Wm., Jr.Bubeck, Carl F.Click ClubDavis Ballroom, and Russell

DavisDupree, Hiram K.DuPree, ReeseErlanger BallroomMelody Records, Inc.Montalvo, SantosMuziani, JosephPhiladelphia Lab. Company, and

Luis Colantunno, ManagerPinsky, HarryRaymond, Don G., of Creative

Entertainment BureauStanley, Frank

PITTSBURGH:Ficklin, ThomasMatthews, Lee A., and New

Artist ServiceOasis Club, and Joe DeFran-

cisco, OwnerReight, C. H.Sala, Joseph M., Owner El

Chico Cafe

FLORENCE:Lager, City Recreation Commission,

and James C. PutnamMARIETTA:

"Bring on the Girls," andDon Meadors, Owner

MOULTRIEVILLE:Wurthmann, George W., Jr. (of

the Pavilion, Isle of Palms,South Carolina)

MYRTLE BEACH:Hewlett, Ralph J.

SPARTANBURG:Holcome, H. C.

UNION:Dale Bros. Circus

TENNESSEECLARKSVILLE:

Harris, WilliamJOHNSON CITY:

Burton, Theodore J.KNOXVILLE:

Cavalcade on Ice, John J.

DentonGrecal Enterprises (also known

as Dixie Recording tw,.)Henderson, John

NASHVILLE:Brentwood Dinner Club, and H.

L. Waxman, OwnerCarrethers, HaroldChavez, ChickClub ForrestCoconut Lounge Club, and

Mrs. Pearl HunterCoure, AlexanderFessie, BillHayes, Billie and Floyd, Club

ZanzibarJackson, Dr. R. B.

TEXASAUSTIN:

El MorroccoWilliams, Mark, Promoter

BEAUMONT:Bishop, E. W.

BOLING:Fails, Isaac A., Manager Spot-

light Band Booking Coopera.tive (Spotlight Bands Book-ing and Orchestra Manage-ment Co.)

CORPUS CHRISTI:Kirk, EdwinSkylark Club, and Wade

TurnerDALLAS:

Embassy Club, Helen Askew,and James L. Dixon, Sr., co -owners

Lee, Don, Owner of Script andScore Productions and Opera-tor of "Sawdust and Swing -time"

Linskie (Skippy Lynn), Ownerof Script and Score Pro-ductions and Operator of"Sawdust and Swingtime"

May, Oscar P. and Harry E.Morgan, J. C.

DENISON:Club Rendezvous, and Frank

DeMarco, OwnerPOTTSTOWN: EL PASO:

Schmoyer, Mrs. Irma Marlin, Coyal J.LAKESIDE: SCRANTON: Bowden, Rivers

Bates, E. P.PORTLAND:

Acme Club Lounge, and A. W.Denton, Manager

Pallais Royale BallroomYank Club of Oregon, Inc., and

R. C. Bartlett, President TANNERSVILLE:Toffel, Adolph

UNIONTOWN:Polish Radio Club,

A. ZelaskoUPPER DARBY:

Wallace, Jerry

ROGUE RIVER:Arnold, Ida Mae

SALEM:Lope, Mr.

SHERIDAN:American Legion Post No. 75,

Melvin Agee

PENNSYLVANIAALIQUIPPA:

Guinn, OtisBERWYN:

Main Line Civic Light OperaCo., Nat Burns, Director

BETHLEHEM:Colonnade Club, and Frank

Pinter, ManagerBLAIRSVILLE:

Moose Club, and A. P. Sundry,Employer

BRAEBURN:Mazur, John

BRANDONVILLE:Vanderbilt Country Club, and

Terry McGovern, EmployerBRYN MAWR:

K. P. Cafe, and George Papaian

SLATINGTON:Flick, Walter H.

STRAFFORD:Poinsette, Walter

McDonough, Frank FORT WORTH:Famous Door, and Joe Earl,

OperatorClemons, James E.Florence, F. A., Jr.Snyder, ChicStripling, Howard

GALVESTON:Evans, Bob

and Joseph Shim, CharlesGONZALES:

Dailey Bros. CircusGRAND PRAIRIE:

WASHINGTON: Club Bagdad, R. P. Bridges andAthens, Pete, Manager Wash- Marian Teague, Operators

ington Cocktail Lounge HENDERSON:Lee, Edward Wright, Robert

WILKES-BARRE:Kahan, Samuel

WILLIAMSPORT:Pinella, James

WORTHINGTON:Conwell, J. R.

YORK:Daniels, William Lopez

SOUTH CAROLINACOLUMBIA:

Block C Club, University ofSouth Carolina

HOUSTON:Coats, PaulJetson, OscarMcMullen, E. L.Revis, BouldinSingleterry, J. A.World Amusements, Inc., Thos.

A. Wood, President

LEVELLAND:Collins, Dee

LONGVIEW:Club 26 (formerly Rendezvous

Club), and B. D. Holiman,

GREENVILLE:Employer

Forest Hills Supper Club, R. K.Ryan, A. L.

and Mary Rickey, lessees, J. LUBBOCK:K. Mosely, and Sue Ellison, Sled Allen Arena, andformer Owner and Manager Carlos Lovato


PALESTINE:Earl, J. W.Griggs, SamuelGrove, Charles

PARIS:Ron-Da-Voo, and Frederick J.

Merkle, EmployerPORT ARTHUR:

Demland, WilliamSAN ANGELO:

Specialty Productions, NelsonScott and Wallace Kelton

SAN ANTONIO:Forrest, ThomasLeathy, J. W. (Lee), Rockin'

M Dude Ranch ClubObledo, F. J.Rockin' M Dude Ranch Club,

and J. W. (Lee) LeathyVALASCO:

Fails, Isaac A., Manager Spot-light Band Booking Coopera-tive (Spotlight Bands Book-ing and Orchestra Manage-ment Co.)

WACO:Corenfield, Lou

WICHITA FALLS:Dibbles, C.Whatley, Mike

UTAHSALT LAKE CITY:

Jamieson (Doc) John A., Dixie-land Club (Cotton Club)

VERMONTRUTLAND:

Brock Hotel, and Mrs. EstelleDuffie, Employer

VIRGINIAALEXANDRIA:

Commonwealth Club, JosephBurko, and Seymour Spelman

Dove, Julian M., CapitolAmusement Attractions

BUENA VISTA:Rockbridge Theatre

DANVILLE:Fuller, J. H.

EXMORE:Downing, J. Edward

HAMPTON:Maxey, Terry

LYNCHBURG:Bailey, Clarence A.

MARTINSVII.LE:Hutchens, M. E.

NEWPORT NEWS:Isaac BurtonMcClain, B.Terry's Supper Club

NORFOLK:Big Trzek Diner, Percy

Simon, ProprietorCashvan, IrwinKane, JackMeyer, MorrisRohanna, GeorgeWinfree, Leonard

PORTSMOUTH:Rountree, G. T.

RICHMOND:American Legion Post No. 151Knight, Allen, Jr.Rendez -vous, and Oscar Black

SUFFOLK:Clark, W. H.

VIRGINIA BEACH:Bass, MiltonMelody Inn (formerly Harry's

The Spot), Harry L. Sizer,Jr., Employer

Surf Club, and Jack KaneWhite, William A.

vv,. SHINGTONSEATTLE:

Ackerman, FrankFord, LarryHarris, PaulWashington Social Club and

Sirless GroveSPOKANE:

Lyndel. Jimmy (James Delagel)

WEST VIRGINIACHARLESTON:

Club Congo, Paul Daley, OwnerEl Patio Boat Club, and Charles

Powell, OperatorWhite, Ernest B.

IIUNTINGTON:Brewer, D. C.

INSTITUTE:Hawkins, Charles

LOGAN:Coats, A. J.

MORGANTOWN:Niner, Leonard

WHEELING:Mardi Gras

WISCONSINBEAR CkEEK:

Schwacler, LeroyBOWLER:

Reinke, Mr. and Mrs.GREEN BAY:

Galst, ErwinFranklin, AllenPeasley, Charles W.

GREENVILLE:Reed, JimmieZanzibar Cocktail Lounge, and

Wm. Eilts, ProprietorHAYWARD:

The Chicago Inn, and Mr.Louis O. Runner, Ownerand Operator

HURLEY:Club Francis, and James FrancisFontecchio, Mrs. Elcey, Club

FiestaLA CROSSE:

Tooke, Thomas, and LittleDandy Tavern

MARSHFIELD:Uptown Club and Eddie

Arnett, OwnerMILWAUKEE:

Bethia, Nick WilliamsContinental Theatre BarCupps, Arthur, Jr.Gentile, NickManianci, VinceStage Door, Jack D. Rizzo and

Jerome DimaggioWeinberger, A. J.

NEOPIT:American Legion, Sam Dicken-

son, Vice -CommanderNICHOLS:

Nichols Ballroom, Arthur Kahl:RACINE:

Miller, JerryRHINELANDER:

Kane's Moens Lake Resort,and George A. Kane

Kendall, Mr., Manager HollyWood Lodge

ROSHOLT:Akavickas, Edward

SHEBOYGAN:Sicilia, N.

SUN PRAIRIE:Hulsizer, Herb, Tropical

GardensTropical Gardens, and Herb

HulsizerTOMAH:

Veterans of Foreign Wars

WISCONSIN RAPIDS:Brown Derby, and Lawrence

Huber, Owner

WYOMINGCHEYENNE:

Shy -Ann Nite Club, and HazelKline, Manager

JACKSON HOLE:R. J. Bar, and C. L. Jensen

ROCK SPRINGS:Smoke House Lounge, Del K.

James, Employer

DISTRICT OFCOLUMBIA

WASHINGTON:Adelman, BenAlvis, Ray C.Archer, PatBlue MirrorCabana Club, and Jack StaplesChina Clipper, Sam Wong,

OwnerCloré s Musical Bar, and Jean

CloreClub Bengasi, and Ralph Feld-

manClub Ellington (D. E. Corp.),

and Herb Sachs, PresidentD. E. Corporation, and Herb

SachsDunbar Hotel, and Robert L.

RobinsonFive 0 -Clock Club, and Jack

Staples, OwnerGold, SolHoberman, John Price, Pres.

Washington Aviation CountryClub

Hoffman, Edward F., Hoffman's3 Ring Circus

Kavakos, William, and KavakosClub

Kirsch, FredMansfield, EmanuelMoore, Frank, Owner Star

Dust ClubLou and Alex, and Lewis

MurrayNew Orleans Restaurant, and

Nick Gaston, ProprietorO'Brien, John T.Perruso's Restaurant, and Vito

Perruso, EmployerPurple Iris, Chris D. Cassi-

mus and Joseph CannonRayburn, E.Rittenhouse, Rev. H. B.Romany Room, Mr. Weintraub,

Operator, and Wm. Biron,Manager

Rosa, Thomas N.Smith, J. A.T. & W. Corporation, Al

Simonds, Paul MannWalters, Alfred

CANADA

ALBERTACALGARY:

Fort Brisbois Chapter of theImeprial Order Daughters ofthe Empire

Simmons, Gordon A.

EDMONTON:Eckersley, Frank J. C.

BRITISH COLUMBIAVANCOUVER:

Gaylorde Enterprises, and L.Carrigan, Manager

H. Singer and Co. Enterprises,and H. Singer

ONTARtyCHATIiAM:

Taylor, DanCOBOURG:

International Ice Revue, Robt.White, Jerry Rayfield and J.J. Walsh

GRAVENHURST:Summer Gardens, and James

Webb

GUELPH:Naval Veterans Association, and

Louis C. Janke, PresidentHAMILTON:

Kudlits, HaroldNutting, M. R., Pres. Merrick

Bros. Circus (Circus Produc-tions, Ltd.)

HASTINGS:Bassman, George, and Riverside

PavilionKITCHENER:

Kitchener Memorial Auditoriumand Bob Crosby, Manager

LONDON:Merrick Bros. Circus (Circus

Productions, Ltd.), and M.R. Nutting, President

Seven Dwarfs InnSilver Dollar -Golden Stair

Tavern, Gordon Kent, Prop.SOUTH SHORE,MUSSELMAN'S LAKE:

Glendale Pavilion, Ted Bing-ham

NEW TORONTO:Leslie, George

OTTAWA:Parker, HughPeacock Inn, and E. Spooner

OWEN SOUND:Thomas, Howard M. (Doc)

PORT ARTHUR:Curtin, M.

TORONTO:Ambassador and Monogram

Records, Messrs. Darwynand Sokoloff

Langbord, KarlLocal Union 1452, CIO Steel

Workers Organizing Com-mittee

Miquelon, V.Mitford, BertRadio Station CHUMSkorochid, Walter, Ukranian

National Federation HallWetham, Katherine

WELLAND:United Textile Workers of

America

QUEBECDRUMMONDVILLE:

Grenik, MarshallMONTREAL:

Association des Concerts Clas-siques, Mrs. Edward Blouin,and Antoine Dufor

Auger, HenryBeriau, Maurice, and LaSociete

ArtistiqueDaoust, Hubert and RaymondDioro, JohnEmery, MarcelEmond, RogerHaskett, Don (Martin York)Lussier, PierreNorbert, HenriRobert, GeorgeSunbrock, Larry, and his Rodeo

ShowPOINTE-CLAIRE:

Edgewater Beach Hotel, andWilliam Oliver, Owner

QUEBEC:Sunbrock, Larry, and his Rodeo

ShowST. GABRIEL de BRANDON:

Manoir St. Gabriel, and PaulArbour, Owner

CUBAHAVANA:

Sans Souci, M. Triay

ALASKAANCHORAGE:

Capper, KeithFAIRBANKS:

Casa Blanca, and A. G. Mul-doon

Glen A. Elder (Glen Alvin)

HAWAIIHONOLULU:

Kennison, Mrs. Ruth, OwnerPango Pango Club

Thomas Puna LakeWAIKIKI:

Walker, Jimmie, and MarineRestaurant at Hotel Del Mar

MISCELLANEOUSAbernathy, GeorgeAlberts. JoeAl -Dean Circus, F. D. FreelandAndros, George D.Anthne, JohnArwood, RossAulger, J. H.,

Aulger Bros. Stock Co.Bacon, Paul, Sports Enterprises,

Inc., and Paul BaconBall, Ray, Owner All Star Hit

ParadeBaugh, Mrs. MaryBert Smith RevueBiller Bros. Circus, Arthur and

Hyman SturmakBologhino, DominickBosserman, Herbert (Tiny)Brandhorst, E.Braunstein, B. FrankBruce, Howard, Manager

"Crazy Hollywood Co."Brydon, Ray Marsh, of the Dan

Rice 3 -Ring CircusBuffalo Ranch Wild West Circus,

Art Mix, R. C. (Bob) Grooms,Owners and Managers

Burns, L. L., and PartnersBur -Ton, JohnCarlson, ErnestCarroll, SamCheney, Al and LeeConway, StewartDale Bros. CircusDeviller, DonaldDiCarlo, RayEckhart, RobertFeehan, Gordon F.Ferris, Mickey, Owner and Mgr.

"American Beauties on Parade"Finklestine, HarryForrest, ThomasFox, Jess LeeFriendship League of America,

and A. L. NelsonFreich, Joe C.Gibbs, CharlesGoodenough, JohnnyGames, C. M.George, WallyGould, HalGutire, John A., Manager Rodeo

Show, connected with GrandNational of Muskogee, Okla.

Hoffman, Edward F.,-Hoffman's 3 -Ring Circus

Hollander, Frank,D. C. Restaurant Corp.

Horan, IrishHorn, O. B.Hoskins, JackHugs, JamesInternational Ice Revue, Robert

White, Jerry Rayfield and J. I.Walsh

Johnson, SandyJohnston, CliffordKay, BertKelton, WallaceKimball, Dude (or Romaine)Kirk, EdwinKosman, HymanLarson, Norman J.Law, EdwardLeveson, CharlesLevin, HarryLew Leslie and his "Blackbirds"Maurice, RalphMcCarthy, E. J.McCaw, E. E., Owner

Horse Follies of 1946McGowan, EverettMagee, FloydMagen, RoyMann, PaulMatthews, JohnMeeks, D. C.Merry Widow Company, Eugene

Haskell, Raymond E. Mauro,and Ralph Paonessa, Managers

Miller, George E., Jr., formerBookers License 1129

Ken Miller Productions, andKen Miller

Miquelon, V.Montalvo, SantosN. Edward Beck, Employer

Rhapsody on IceNew York Ice Fantasy Co., Scott

Chalfant, James Blizzard andHenry Robinson, Owners

Olsen, BuddyOsborn, TheodoreO'Toole, J. T., PromoterOtto, JimOuellette, LouisPatterson, CharlesPeth, Iron N.Rayburn, CharlesRayfield, JerryRea, JohnRedd, MurrayReid, R. R.Rhapsody on Ice, and N. Edw.

Beck, EmployerRoberts, Harry E. (Hap Roberts

or Doc Mel Roy)Robertson, T. E.,

Robertson Rodeo, Inc.J.,

Salzmann, Arthur (Art Henry)Sargent, Selwyn G.Scott, NelsonSinger, Leo, Singer's MidgetsSix Brothers Circus, and

George McCallSmith, Ora T.Specialty ProductionsStone, Louis, PromoterStover, WilliamStraus, GeorgeSummerlin, Jerry (Marrs)Sunbrock, Larry, and his Rodeo

ShowTabar, Jacob W.Taylor, R. J.Thomas, MacTravers, Albert A.Young, RobertWaltner, Marie, PromoterWard, W. W.Watson, N. C.Weills, CharlesWhite, GeorgeWhite, RobertWilliams, CargileWilliams, FrederickWilson, Ray

UNFAIR LIST of the American Federation of MusiciansINDIVIDUALS, CLUBS,

HOTELS, Etc.

This List is alphabeti-cally arranged in States,

Canada and Mis-cellaneous

ALABAMAMOBILE:

Brookley Air Force Base Offi-cers Mess

Cargyle, Lee, and his Orchestra

ARKANSASHOT SPRINGS:

Forest Club, and Haskell Hard -age, Prop.

JANUARY. 195

CALIFORNIABEVERLY HILLS:

White, William B.BIG BEAR LAKE:

Creasman, Harry E.CULVER CITY:

Mardi Gras BallroomPITTSBURG:

Litrenta, Bennie (Tiny)SACRAMENTO:

Capps, Roy, OrchestraSAN DIEGO:

El Cajon Band

SAN FRANCISCO:Kelly, NoelFreitas, Carl (also known as An-

thony Carle)Jones, Cliff

SAN LUIS OBISPO:Seaton, Don

SAN PABLO:Sportsmen's Club

2

SANTA BARBARA:Samarkand Hotel

SANTA ROSA, LAKE COUNTY:Rendezvous

TULARE:TDESHall

COLORADOLOVELAND:

Westgate Ballroom

CONNECTICUTDANIELSON:

Pine HouseGROTON:

Swiss Villa

HARTFORD:Buck's Tavern, Frank S. De-

Lucco, Prop.JEWETT CITY:

French ClubJewett City Hotel

MILFORD:Emerald Room of the Sound -

view Hotel, Walnut BeachMOOSUP:

American LegionClub 91

NEW LONDON:Crescent Beach Ballroom

NORWICH:Polish Veteran's ClubWonder Bar, and Roger A.

Bernier, Owner

DELAWAREWILMINGTON:

Brandywine Post No. 12, Ameri-can Legion

Cousin Lee and his Hill BillyBand

Wilson Line, Inc.

FLORIDACLEAR W ATER:

Crystal Bar

Musical BarSea Horse Grill and Bar

HALLANDALE:Ben's Place, Charles Dreisen

KEY WEST:Delmonico Bar, and Artera Boza

MIAMI:Ward, BettyWright, Al

SARASOTA:"400" Club

TAMPA:Grand Oregon, Oscar Leon,

Manager

GEORGIAMACON:

Jay, A. WingateLowe, AlWeather, Jim

SAVANNAH:Sportsmen's Club, Ben J. Alex-

ander

Trocadero Club, and GeorgeRody and W. C. (Shorty)Dugger

IDAHOBOISE:

Simmons, Mr. and Mrs. JamesL. (known as Chico andConnie)

TWIN FALLS:Radio Rendezvous

ILLINOISCAIRO:

The Spot, Al Dennis, Prop.CHICAGO:

Kryl, Bohumir, and his Sym-phony Orchestra

Samczyk, Casimir, OrchestraGALESBURG:

Carson's OrchestraMeeker's OrchestraTowsend Club No. 2

45

GREENUP:Green up FairGreenup-Toledo High School

and BandLOSTANT:

Rendezvous Club, and Murry -Funk, Manager

MARISSA:Triefenbach Brothers Orchestra

MATTOON:U. S. Grant Hotel

ONEIDA:Rova Amvet Hall

QUINCY:Kent, Porter

STERLING:Bowman, John E.Sigman, Arlie

INDIANAANDERSON:

Adams Tavern, John AdamsOwner

Romany GrillEVANSVILLE:

Show Bar, and Homer Ash-worth, Operator

IOWABOONE:

Miner's HallCEDAR FALLS:

Armory BallroomWomen's Club

COUNCIL BLUFFS:Smoky Mountain Rangers

DIKE:American Legion HallMemorial Hall

KEOKUK:Kent, Porter

WEBSTER CITY:Loyal Order of Moose Lodge

735, J. E. Black

KANSASTOPEKA:

Boley, Don, OrchestraDowns, Red, OrchestraVinewood Dance Pavilion

WICHITA:Campbell, Pauline M. (Polly)Carey, Harold, ComboClub OasisCowboy InnCubula ClubEagles LodgeEl Charro CafeFlamingo ClubKFBI Ranch BoysKFH Ark Valley BoysKWBB Western Swing BandMills, Alonzo, OrchestraPeckham, Lucia, OrchestraPolar BearSchulze, Frank J.Stein, M. LoreenSullivan Independent Theatres,

Civic, Crawford, Crest,Eighty -One Drive -In, Fifty -Four Drive -In, Tower, WestTheatres

Tex Ferguson Orchestra

KENTUCKYASHLAND:

Amvets Post No. 11, and(Red) Collins, Manager

BOWLING GREEN:Jackman, Joe L.Wade, Golden G.

LOUISVILLE:Brown HotelKentucky Hotel

LOUISIANANEW ORLEANS:

Club SlipperOpera House BarFive O'Clock ClubForte, Frank418 Bar and Lounge, and Al

Bresnahan, Prop.Fun BarGunga Den, Larry LaMarca,

Prop.Happy Landing ClubMelody Lane LoungeSugar Bowl LoungeTreasure Chest Lounge

SHREVEPORT:Capitol TheatreMajestic TheatreStrand Theatre

MARYLANDBALTIMORE:

Blue Room, of the MayfairHotel

Knowles, Nolan F. (AetnaMusic Corn.)

Paul'sState Theatre

EASTON:Starts, Lou and his Orchestra

HAGERSTOWN:Audubon Club, M. I. Patter-

son, Manager

Hanes, Reynolds S.Rabasco, C. A., and Baldwin

Cafe

MASSACHUSETTSBELLINGHAM:

Silver Lake CafeFALL RIVER:

Durfee TheatreGARDNER:

Florence Rangers BandHeywood -Wakefield Band -

HUNTINGTON:The Rapids

LYNN:Pickfair Cafe, Rinaldo Cheve-

rini, Prop.METHUEN:

Central Cafe, and Messrs. Yana-konis, Driscoll and Gagnon,Owners and Managers

NEPONSET:Sholes Riverview Ballroom

NEW BEDFORD:Polka, The, and Louis Garston,

OwnerSOUTHWICK:

Babbs Beach, and Nelson BabbSPENCER:

Spencer Fair, and BernardReardon

WEST WARREN:Quabog Hotel, Viola Dudek,

OperatorWEST YARMOUTH:

Silver Sea Horse, and Joe Go -bin, Operator

WORCESTER:Gedymin, WalterTheatre -in -the -Round, and Alan

Gray Holmes

MICHIGANDETROIT:

Shubert Lafayette TheatreESCANABA:

Welcome Hotel, George Brodd,Prop.

HOUGHTON LAKE:Johnson Cocktail LoungeJohnson's Rustic Dance Palace

INTERLOCHEN:National Music Camp

ISHPEMING:Congress Bar, and Guido

Bonetti, ProprietorMARQUETTE:

Johnston, Martin M.NEGAUNEE,

Bianchi Bros. Orchestra, andPeter Bianchi

PORT HURON:Lakeport Dance Hall

MINNESOTADEER RIVER:

Hi -Hat ClubMINNEAPOLIS:

Twin City Amusement Co., andFrank W. Patterson

PERHAM:Paul's Tavern

ST. PAUL:Burk, JayTwin City Amusement Co., and

Frank W. Patterson

MISSOURICarl KANSAS CITY:

El Cap itan Tavern, MarvinKing, Owner

Gay Fad Club, and JohnnyYoung, Owner and Prop.

Green, Charles A.POPLAR BLUFF:

Lee, Duke Doyle, and his Or-chestra "The Brown Bombers"

ST. JOSEPH:Rock Island Hall

MONTANAGREAT FALLS:

Civic Center Theatre, and Clar-ence Golder

HAVRE:Havre Theatre, Emil Don Tigny

NEBRASKADONIPHAN:

Club Midway, Mel KiusHASTINGS:

Brick PileLEIGH:

Belrad, Duffy, BandLINCOLN:

Dance -MorNORFOLK:

Riverside BallroomOMAHA:

Baker Advertising CompanyBenson Legion Post ClubEagles ClubPineboard Liquor StoreVFW ClubWhitney, John B.

NEVADAELY:

Little Casino Bar, and FrankPace

NEW JERSEYATLANTIC CITY:

Mossman CafeSurf Bar

CAMDEN:St. Lucius Choir of St. Joseph's

ParishCLIFTON:

Boeckmann, JacobDENVILLE:

Young, Buddy, OrchestraELIZABETH:

Coral Lounge, Mrs. Agresta,Owner

Polish -American ClubPolish Falcons of America, Nest

126

HACKETTSTOWN:Hackettstown Fireman's Band

JERSEY CITY:Band Box Agency, Vince Gia-

cinto, DirectorLINDEN:

Polish National Home, andJacob Dragon, Pres.

LODI:Peter J's

MONTCLAIR:Montclair Theatre

MORRISTOWN:Community TheatreJersey TheatrePalace TheatrePark Theatre

NETCONG:Kiernan's Restaurant, and Frank

Kiernan, Prop.OAK RIDGE:

Van Brundt, Stanley, OrchestraPASSAIC:

Blue Room, and Mr. JaffeBotany Mills Band

ROCHELLE PARK:Swiss Chalet

NEW MEXICOCARLSBAD:

Lobby ClubLaConga Club, and Jack

Kasen, OwnerHOBBS:

Morrice Club, Charles (Snuffy)Smith and Lewie Young,Owners

ROSWELL:Yucca Club

RUIDOSO:Davis It 1r

NEW YORKBRONX:

Revolving Bar, and Mr. Alex-ander, Prop.

BUFFALO:Basil Bros. Theatres Circuit, in-

cluding Lafayette, Apollo,Broadway, Genesee, Roxy,Strand, Varsity, VictoriaTheatres

Frontier Ballroom, and FrontierLodge No. 1024, IBPOEW

Hall, ArtJesse Clipper Post No. 430,

American LegionWells, JackWilliams, BuddyWilliams, Ossian

CATSKILL?Jones, Stevie, and his Orchestra

CERES:Coliseum

COHOES:Sports Arena, and Charles Gup-

tillCOLLEGE POINT, L. I.

Muchler's HallELMIJRA:

Hollywood RestaurantENDICOTT:

The CasinoGENEVA:

Atom BarHARRISVILLE:

Cheesman, VirgilITHACA:

Clinton HotelKENMORE:

Basil Bros. Theatres Circuit, in-cluding Colvin Theatre

KINGSTON:Killmer, Parl, and his Orches-

tra (Lester Marks)Ulster County Volunteer Fire-

men's AssociationMECHANICVILLE:

Cole, HaroldMOHAWK:

Hurdic, Leslie, and VineyardsDance Hall

MOUNT VERNON:Hartley Hotel

NEW ROCHELLE:Wykagyl Country Club

NEW YORK CITY:Disc Company of America

(Asch Recordings)Embassy Club, and Martin Na-

tale, Vice-Pres. East 57th St.,Amusement Co,ry.

Manor Record Co., and IrvingN. Berman

Morales, CruzRichman, William L.Traemer's RestaurantWillis, Stanley

NORFOLK:Joe's Bar and Grill, and

Briggs, Prop.OLEAN:

Rollerland RinkPALMYRA:

Moose ClubPalmyra Inn

RAVENA:VFW Ravena Band

ROCHESTER:Mack, Henry, and City

Cafe, and Wheel CafeSALAMANCA:

Lime Lake GrillState Restaurant

SCHENECTADY:Polish Community Home

(PNA Hall)UTICA:

Russell Ross Trio, and Salva-tore Coriale, leader, Frank Fi-carra, Angelo Ficarra

Scharf, Roger, and his Orches-tra

Ventura's Restaurant, and RufusVentura

NORTH CAROLINAASHEVILLE:

Propes, Fitzhough LeeKINSTON:

Parker, DavidWILMINGTON:

Village Barn, and K. A. Lehto,Owner NEWPORT:

Frank Simmons and hisOHIO Orchestra

Louis Vaillancourt and hisOrchestra

WOONSOCKET:Jacob, Valmore

SOUTH CAROLINAFOLLY BEACH:

Folly Pler

ALLIANCE:Dante Alighieri Society

AUSTINBURG:Jewel's Dance Hall

CINCINNATI:Steamer Avalon

CONNEAUT:MacDowell Music Club

DAYTON:The Ring, Maura Paul, Op.

GENEVA:Blue Bird Orchestra, and Larry

ParksMunicipal Building

IRONTON:American Legion, Post 59, and

Mack Lilly, CommanderClub RiveriaColonial Inn, and Dustin E.

CornJEFFERSON:

Larko's Circle L RanchPAINESVILLE:

Slim Luse and his SwingingRangers

KENTON:Weaver Hotel

LIMA:Billger, Lucille

MANSFIELD:Richland Recreation Center

MILON:Andy's, Ralph Ackerman Mgr.

NORTH LIMA:Smith, Chuck, Orchestra

PIERPONT:Lake, Danny. Orchestra

RAVENNA:Ravenna Theatre

RUSSEL'S POINT:Indian Lake Roller Rink, and

Harry Lawrence, OwnerVAN WERT:

B. P. O. ElksUnderwood, Don, and his

OrchestraYOUNGSTOWN:

Shamrock Grille Night Club,and Joe Stuphar

SOUTH DAKOTASCOTLAND:

Scotland Commercial Club

TENNESSEEBRISTOL:

Knights of TemplarCHATTANOOGA:

Alhambra ShrineNASHVILLE:

Nocturne ClubStein, Abe

TEXASCORPUS CHRISTI:

The LighthouseSantikos, Jimmie

EL PASO:Sunland Club

FORT WORTH:Crystal Springs Pavilion, H. H.

CunninghamHARLINGEN:

Reese Wilmond HotelPORT ARTHUR:

DeGrasse, LenoreSAN ANGELO:

Club Acapulco

VIRGINIABRISTOL:

Knights of TemplarNEWPORT NEWS:

Heath, RobertOff Beat ClubVictory Supper Club

NORFOLK:Panella, Frank J., Clover Farm and Bob Crosby, Manager

and Dairy Stores Weitz OrchestraOKLAHOMA ROANOKE: PORT STANLEY:

Krisch, Adolph Melody Ranch Dance FloorOKLAHOMA CITY: TORONTO:

Bass, Al, Orchestra Echo Recording Co., andEllis, Harry B., Orchestra WASHINGTON Clement HambourgHughes, Jimmy, Orchestra SEATTLE: Three Hundred ClubPalladium Ballroom, and Irvin Tuxedo Club, C. Battee, Owner

Parker QUEBECOrwig, William, Booking Agent

VINITA:Rodeo Association

BELOIT:Beloit Recreation Band, and Don

CuthbertBLOOMINGTON:

McLane, Jack, OrchestraBOSCOBEL:

Sid Earl OrchestraCOTTAGE GROVE:

Cottage Grove Town Hall, JohnGalvin, Operator

CUSTER: .

People's Tavern and Dance Hall,and Mrs. Truda

DURAND:Weiss Orchestra

EAU CLAIRE: -

Conley's Nita ClubKENOSHA:

Julius Bloxdorf TavernPetrifying Springs Club House

NELSON:City Hall

NORTH FREEDOM:American Legion Hall

OREGON:Village Hall

PARDEEVILLE:Fox River Valley Boys Orchestra

REWEY:High SchoolTown Hall

SOLDIER'S GROVE:Gorman, Ken, Band

STOUGHTON:Stoughton Country Club, Dr.

O. A. Gregerson, Pres.TREVOR:

Stork Club, and Mr. AideTWO RIVERS:

Club 42, and Mr. Gauger, Mgr.Timms Hall and Tavern

WESTFIELD:O'Neil, Kermit and Ray,

OrchestraWISCONSIN RAPIDS:

Gross, Quesnal and Louis

WYOMINGLARAMIE:

Stevens, Sammy

DISTRICT OFCOLUMBIA

WASHINGTON:Benny's Tavern, and Benny

MendelsonStar Dust Club, Frank Moore,

ProprietorWells, Jack

HAWAIIHONOLULU:

49th State Recording Co.

CANADAALBERTA

CALGARY:Elton, K.Soskin, Mr.

OREGON

EYNON:Rogers Hall, and Stanley Rog-

ers, Prop.FALLSTON:

Brady's Run -HotelJoseph Valley Hotel

FORD CITY:Atlantic City Inn

FRACKVILLE:Russian Friendly Club

FREEDOM:Sully's Inn

JERSEY SHORE:Riverview Ranch

NEW BRIGHTON:Brady's Run HotelBroadway Tavern

OLD FORGE:Club 17

PHILADELPHIA:Davis Ballroom, and Russell

DavisDupree, Hiram

PITTSBURGH:Club 22New Penn Inn, Louis, Alex and

Jim Passarella, Props.READING:

Baer, Stephen S., OrchestraROULETTE:

Brewer, Edgar, Roulette HouseROSSITER:

Green VillageSCRANTON:

Yarrish's CafeSUPERIOR:

American Legion ClubWILKINSBURG:

Lunt, Grace

Hall

RHODE ISLAND

WEST VIRGINIA MONTREAL:CHARLESTON: Feldman, Harry r

Savoy Club, "Flop" Thompson Village Barn, and O. Gaucher,and Louie Risk, Operators L. Gagnon, and Paul Fournier

FAIRMONT: QUEBEC:GRANTS PASS Amvets, Post No. 1 Canadian and American Book -

Fruit Dale Grange Gay Spot, and Adda Davis and ing AgencySAMS VALLEY: Howard Weekly L'Auberge Des Quatre Chemins,

Sams Valley Grange, Mr. Pef- KEYSTONE: and Adrien Asselin, Prop.'ley, Grange Master Calloway, Franklin

PARKERSBURG:Silver Grille, R. D. Hileyt

MANITOBABRANDON:

Palladium Dance HallWINNIPEG:

Roseland Dance Gardens, andJohn F. McGee, Manager

ONTARIOCUMBERLAND:

Maple Leaf HallHAWKESBURY:

Triangle, and J. and E. Assaly,Proprietors

KINGSVILLE:Lakeshore Terrace Gardens, and

Messrs. S. McManus and V.Barrie

KITCHENER:Kitchener Memorial Auditorium

PENNSYLVANIAANNVILLE:

Washington BandBEAVER FALLS:

White Township InnBIG RUN:

Big Run InnBUTLER:

Glen, Coke, andDUPONT:

Cameo Cafe

OwnerTERRA ALTA:

Moose Club

MEXICOMEXICO CITY:

Marin, Pablo, and hit TipicaOrchestra

WISCONSIN MISCELLANEOUSAPPLETON: Capell Bros. Circus

Koehne's Hall Kryl, Bohumir and his SymphonyHis Orchestra BEAVER DAM: Orchestra

Beaver Dam American Legion Marvin, EddieBand, Frederick A. Parfrey Wells, Jack


FOR SALE or EXCHANGE

FOR SALE-Trumpet, Olds, super recordingmodel, $150.00; also Reynolds cornet, $150.00;

old dance music, quadrilles, two-steps, etc.; allthese items are used. J. Freedman, 19 GlendellTerrace, Springfield, Mass.

FOR SALE-Two pedal tympanis, one Leedy 28 -inch, one Ludwig 25 -inch, with trunk and

extra heads and rim; one big Ludwig 28 -inchwithout pedal, one big bass, 16-35; one Leedyxylophone with R-2'/, octave, Deagan bells; alsosnare drums and case. These items all used andare personal property of former MetropolitanOrchestra member (retired). Write P. Schulze,155-61 116 Road, Jamaica 4, L. I. Phone:JAmaica 93344.

FOR SALE-String bass, pre-war label inside(German), % round back, good condition,

strong tone: with cover, $265.00; also Frenchbass bow (A. Lanny 1-A), Paris, fine balance,27V -inch, 585.00. L. Zinn, 619 Meridian Ave.,Miami Beach, Fla.

FOR SALE -25 used uniforms for band, drumcorps, drill teams, etc.: navy blue, gold trim,

open necks: caps to match. C. H. Haidlinger,Box 485, Kenosha, Wis.

FOR SALE OR TRADE -1947 nine -passenger DeSoto with two -wheel trailer; practically new

motor and tires; vehicle in excellent condition;write or phone. Vern Malafa, Lankan, N. D.l'hone 59.

FOR SALE-Fine grade Juzek bass, 4/4 size, infirst-class shape; price $250:00. Sam Lepera,

732 High St., Holyoke, Mass.

FOR SALE-S-string Kay dance bass; tone,volume, appearance, condition all good; $250.00;

may be converted to 4 -string bass for $15.00.Sam Ballinger, 211 Sixth Ave., Laurel Gardens, Pa.

FOR SALE-Used Epiphone blonde guitar withcase and DeArmond: trade considered. S. Allen,

49 Spring Lane, Levittown, N. Y. Phone: Hicks-ville 5.6626-W.

FOR SALE-Used Deagan vibraharp, Nocturnemodel, excellent condition; original cost,

$700.00; will accept $450.00; large gold keys.Jerry Gilbert, 804 Marine St., Mobile, Ala.

FOR SALE-German-made Reichel French horn,double Schmidt model, $325.00. Iron W. Swag-

gard, 702nd Band Offutt Air Base, Omaha, Neb.

FOR SALE-Four used Italian basses, owner leav-ing his own city. Luigi Rosse, 630 Boulevard

East, Weehawken, N. J.

FOR SALE-Cabart E horn, fine condition, withcase, excellent tone, $400.00. O. Torchio, 145

West Merrell St., Phoenix, Ariz.FOR SALE-Gold-frosted 44 H -O Conn trombone

with case. $170.00; also King % bass fiddlewith bag, $170.00 (both used). Call or write,W. Coleman, 107-27 142nd St., Jamaica 4, N. Y.FOR SALE-Darche bass, fine condition, % size,

swell back contra C extension used in Phila-delphia Orchestra, $1,200.00; price includes cus-tom trunk and cloth cover; also German basssize swell back with cover, $300.00. I. White-nack, e/r Batchelder, 610 East 20th St., NewYork 9, N. Y. Phone: GR 5-0797.FOR SALE-Used manuscript opera music selec-

tions and symphonic marches for concert band;also many used printed and manuscript scores((Janitor) for large and medium band; all invery fine condition. Write Joseph Gigante, 2758North Buffum St., Milwaukee 12, Wis.

WANTEDWANTED-Tenor saxophone and a piano player

(colored) who can play bop for year-roundwork immediately. Write to Harold Parks, 122North Maryland Ave., Atlantic City, N. J.

WANTED-Piano practice keyboard; state size,condition, etc. B. Kehoe, 15514 Kentucky Ave.,

Detroit 21, Mich.WANTED-Curved model soprano saxophone,

Buffet. Les Flounders, 5635 Upland Way,Philadelphia 31, Pa.

WANTED-Female musicians, accordionists, tenorsaxophone, doubling clarinet and/or trumpet;

must sing or double combo; booked Music Cor-poration of America. Miss J. Huth, 812%r Hay-worth Ave., Los Angeles, Calif.WANTED-Bbb recording bass, brass finish, top

action, Martin, large bore, adjustable bell andmouthpipe preferred. G. V. Beck, 2645 Rochester,Apt. 203, Detroit 6, Mich.WANTED-Flashy, professional name brand tenor

banjo; also double -neck steel guitar and man-dolin or mandola. S. Allen, 49 Spring Lane,Levittown, N. Y. Phone: Hicksville 5-6626-W.WANTED-Pianist, salary $50.00; two shows.

V,'rite Philip Green, Rumford Inn, Rumford,Maine. Phone: Rumford 8129.WANTED-Practice keyboard, preferably with

adjustable tension. G. Golub, Roosevelt College,430 South Michigan Ave., Chicago 5, III.WANTED-Bb clarinet, 17-6 Selmer, must be

balanced tone model with good intonation andsubject to trial. R. Honeywell, 611 First Ave.,Asbury Park, N. J.

WANTED-Musician who plays jazz and enter-tains; send picture. Write Mike Riley, 12216

Oxford St., North Hollywood, Calif.

WANTED-Want to rehearse with tenor or bari-tone; have own Hammond organ in apartment.

Danny Tyler, 215 East 29th St., New York 16,N. Y. Phone: MU 4-4991.

AT LIBERTYAT LIBERTY-Vibraphonist, prefer small combo;

also play marimba; read, fake; can also supplyguitarist and bass player for trio work; allmembers Local 9. Coz Sinceri, 9 Shawmut St.,Somerville, Mass. Phone: MO 6-2621.

AT LIBERTY-Set trio, bass, electric guitar andaccordion, open for club dates or weekends.

John Chernega, 1416 Nelson Ave., Bronx 52, N. Y.Phone: CY 3-0826.

AT LIBERTY-Musical instrument repairman, vo-cational school graduate, one year factory ex-

perience, desires to locate with established repairshop that can guarantee spare -time orchestrawork; prefer weekend club dates; experienced;play commercial and Dixie -style cornet; will alsoteach. El. Morgan, Box 461, Edinboro, Pa.

AT LIBERTY-Saxophone, flute and clarinetman, commercial experience. Eddie Fischer,

751 East Brill St., Phoenix, Ariz.

AT LIBERTY-Drummer, all-around experience(Local 802 card), desires weekend work in

New York City and vicinity; prefer small comboor trio; terrific beat, bop, Dixieland, Afro-Cuban.Phone weekdays EV 8-0762, ask for Marlene;nights and Saturdays, Stagg 2-3243, or writeD. Telson, 117 Pulaski St., Brooklyn 6, N. Y.

Music at Sea: Does ItRuin Conversation,Dinner, Both?

(Continued from page six)

digestion. But good music, not tooloud and well chosen for the oc-casion, ought to promote both. Itdoes not improve digestion to dinein utter silence; otherwise, it wouldbe salubrious to eat alone. Besides,in a ship's restaurant, one is assignedto a table. Unless the Atlantic cross-ing be brief, conversation is liableto languish.

There is, of course, on the shipsmentioned, music for tea, when con-versation, one supposes, is expectedto be intermittent and inconsequen-tial. Does music at dinner interferewith conversation, in fact? AtWhite House state dinners there issoft music. Even at Annapolis andWest Point, when there is a stateluncheon-as, for example, for a visit-ing sovereign - an orchestra dis-courses tunes. The strains of Strauss's"Blue Danube," usual on such dc-casions, both relax and energize.

No Recordings

Music with meals ought to be realmusic-that is, the music of a liveorchestra. Recordings and piped -inmusic won't do. Real music stimu-lates conversation at dinner or, ifconversation languishes, the musicsends one into a mood of benign,reflective silence without embarrass-ment.

Perhaps, as Chesterton feared,music at dinner would have inter-fered with the conversation of Dr.Johnson or Charles Lamb, but whowants to argue his head off, or gowhimsical, in the middle of the At-lantic?

)THEMOS ba os ACCORDION

.

EVER CREATED

eel&TREBLE SWITCHES GIVENEW WINGS TO YOUR ARTISTRY

With this announcement the accordion attains

a new place in musical expression. Never

before has there been anything remotely re-

sembling the Frontalini Super 360. . .

Twenty-three treble switches, eleven bass

switches, place every resource of a fabulous

instrument at the finger-tips-regardless of

their location on the keyboard-permit tran-

sitions so incredibly fast they open a new

world of effects ... Fashioned by consummate

craftsmen, this master creation of Italy's largest

manufacturer is dedicated to artists who have,

up to now, sought in vain for an instrument to

match the wizardry of their talent and the dex-

terity of their fingers. To these, investigation

of the Frontalini Super 360 is a must!

Get the(ACTS -

isWiy

FRONTALINI DISTRIBUTORS,Box 48, Glen Ellyn, Illinois.Please tell me where I may see and play the fabulousFrontalini Super 360.

Name

Address

City State

JANUARY. 1952 47

YOUNG MAN WITH A HORN

RAY ANTHONYSAYS:

"My final choice is

Selmer

Photo above: Ray and his fine reed section, left to right. Ray Anthony-Trumpet,Jim Schneider-Alto, Bob Hardaway-Tenor, Earl Bergman-Alto, Billy Usselton-Tenor, Leo Anthony-Baritone using Selmer (Paris) saxophones and clarinets.

Voted the 1951 band of the year in Billboard DiscJockey Poll, Ray Anthony plays the Selmer (Paris)Trumpet and fronts a 100% Selmer Reed section.

Hear Ray play his Selmer when he makes his next per-sonal appearance in your vicinity, on the air, or on hisnew Capitol recordings.

Hear how much better you'll sound with a new modelSelmer (Paris) Trumpet, Saxophone orClarinet-ask your local dealer to ar-range a free trial. Or, write for freeliterature to Selmer Dept. B-11

Photo above: Leo Anthonybacks up Ray with his newSelmer Super -Action BaritoneSaxophone.

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