ONE BECOBD CAN
Mm A BAND
Fame and fortune via the record route is
an accepted fact today, and there isn' t a
band leader in the country who doesn't
covet the chance to put on wax as many
tunes as he possibly can.
This scramble to record has become more
intense during the past few years as band
leaders have realized the importance of
successful recording. Tommy Dorsey, Ar-
tie Shaw, Andy Kirk and Horace Heidt
are but a few of the big "name" bands that
have sh0t to popularity with one "hit"
recording.
The general sale of phonograph records
is boc>ming again and a peak even greater
than the lush days of th e 1920's is pos-
sible. Already the publicity value of rec-
ords for bands and singers is undisputed.
To prove the point merely review some of
the success stories of some of the ranking
artists today-through records.
Although recording is bound to be profit-
able to any band, providin~ a few records
are mlide each month, this is not the really
important aspect. In a recent issue of
Down Beat, the story of what records can
mean to bands was clearly shown.
Take the case of Tommy Dorsey-one
11:oes back several years to do it-but you
find how one record can actually "make" a
band and its leader famous. "Marie," for
Victor, put Dorsey in the public's eye and
he has been there ever since. There seems
to be no formula to follow. One just pro-
duces hits, or they don't produce hits.
A more recent example of the "one song
to fame road" is Cole Porter's "Begin the
Beguine." The song had been out for more
than six years before Artie Shaw came
alonft and, with his clarinet and band, made
it a Victor hit. It skyrocketed Shaw's band
into the highest niche of all dancebandom
-and he became a nation's favori te.
Recording can do much for a vocalist if
the right tune comes along and the right
person sings it. With "Rockin' Chair," a
Hoagy Carmichael tune which had not got-
ten very far, Mildred Baily became a top-
ranking artist. Some vocalists are not so
VOCALION
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lucky, and they · fail to find that necessary
tune.
Andy Kirk struggled for over six years
with a good band and plenty of ability.
Along came "Until the Real Thing Comes
Along" and he has been a top name band
ever since.
"Tip-i-tin" was the cause of Horace
Heidt's real arrival. He had played big
theaters and he was making good money
with other records but it was that tricky
little tune that really caught on with the
public. There is no answer or formula that
will tell why.
Larry Clinton did more with "My Rev-
erie" than any other tune he has recorded.
The "Dipsy Doodle" came close and helped
to cinch his popularity with the public.
The best bet in the colored band divis-
ion in America in 1939 is Count Basie
and his band. His own tune, "One o'Clock
Jump" was the record that put him out
in front.
A long list of fine bands-some perhaps
greater than the few mentioned-have
failed to click with a tune that would real-
ly put them across. Of course they are
still trying and it is certain that many
more will "hit the jack-pot" with other
good tunes. Some will continue to put out a
string of good records and never really
reach the heights with that certain piece.
So far Duke Ellington hasn't found a
really great piece of music. He came close
with "Solitude" and he is one of the most
popular names in the country because of his
consistent success with the type of music
he does best.
The success story of Stuff Smith is diff-
erent. He recorded "I'se a Muggin" and
he was a hit over-night. Again, Jimmy
Dorsey, well known and liked, has failed to
find a hit tune. Instead his records have
been consistently good.
Bob Crosby has one of the best known
bands in the country. Still his organization
has failed to put out a tune that has found
universal popularity.
And then, Benny Goodman, one of the
.greatest names in all swing history, has
never recorded a piece of music which led
the hit parade. Rather, his work has been
consistently good and he has wisely stuck
to what he knows will always be accepted
by the public. According to Victor officials,
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CHICAGO -Announcement was made
h ~re the latter part of August of the ap-
pointment of Ed Johnson, pioneer phono-
graph man, as traveling district manager
for the Rock-Ola Manufacturing Corpora-
tion. Johnson will work out of the Chicago
factory.
"I have watched Rock-Ola's constant
growth in just a short span of years," said
Johnson. "I am happy to be connected with
such a vast, sound, growing concern. In my
trips through th e country recently I verified
the fact that Rock-Ola has taken a real hold
on the automatic musical field and in just
four years."
On his departure from Chicago to go out
on his first trip for Rock-Ola, a host of
friends were on hand to wish him the best
of luck in his new connection.
♦
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MUSIC MERCHANTSI
Grille and Pillars
Benny's "Dixieland Band" and "Don't Be
That Way" have been his best records.
So the search for tunes that will "click"
goes on. Each band leader always hoping
that his latest good recording will be a hit.
For, who knows? The next one may be the
one to shoot him and his band to fame and
fortune.
♦
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Southern Wholesalers, Inc.
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