Classic Mode

Music Trade Review

Issue: 1924 Vol. 78 N. 18

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
MAY 3, 1924
c/7 Dancind Sonrf
*You cartt ^io
wind t]te /"ain
,
It'? botmd to clear
O
up a- fain, For
Frank Smith Appointed
Hearst Representative
of the society, informed the membership of the
National Press Club that another "party" along
the lines of the one staged prior to the Senate
hearings would again be staged at the club on
Will Cover Territory Between Winnipeg and
the night preceding the hearing.
Pacific Coast, With Headquarters in Arts and
Crafts Building, Vancouver
Suit Brought to
Prevent Broadcasting
General Electric Co. Sued by Jerome H. Remick
& Co. to Prevent Broadcasting of Copyrighted
Numbers
A. V. Broadhurst Visits
American Enoch Offices
Frank Smith, late of the Frank Smith Music
Co. and the Weaver Music Co., of Vancouver,
Chief Executive of Music Publishers' Associa- B. C , who is well known to the music trade,
tion in England Gratified at Progress Made lias been appointed Western representative for
Hearst Music Publishers, of Canada, Ltd., with
by American Branch
offices in the Arts and Crafts Building, Van-
A. V. Broadhurst, managing director of Enoch couver.
Mr. Smith will shortly make a personal call
& Sons, the well-known English music publish-
ing house, has been a recent visitor at the Amer- on all his old friends in the trade, between
ican offices of his company. Mr. Broadhurst is Winnipeg and the Coast. He will carry the
also chief executive of the Music Publishers' famous Hearst catalog of latest popular num-
Association of England. While here he will bers, also the well-known standard sellers, and
also visit Canada, where he has been invited in addition the Gibraltar of the Song World—
for a series of conferences with the legislators the Witmark Black & White series of standard
of that country interested in arranging a new ballads.
copyright act. Naturally, the English music
publishing bodies are vitally interested in Cana-
dian laws which greatly affect their publications.
In a chat with a representative of this de-
CANTON, O., April 26.—Will radio force the re-
partment, Mr. Broadhurst stated that he was turn of 10-cent music via the 5-and-lO-cent
particularly gratified at the progress made by stores? This question has been the chief topic
his American organization. Enoch & Sons' of discussion among Canton music dealers, who
songs, particularly its ballads, are being widely say the issue is one of the most important be-
programmed and the result is that the sales of fore the industry to-day. That's one discussion
its publications are steadily mounting.
in view of the fact broadcasting can create a
demand for a song with little effort. It is
argued that its quick turnover on the 10-cent
counters would be quite worth while. The radio
Irving Berlin, Inc., has released a new pub- plug "kills" a song just as it becomes popular,
lication entitled "Driftwood." Both the band but in the interim the demand could be taken
advantage of advantageously to put the song in
and orchestra and professional departments of
the company have picked this new issue as one the hit class.
of the most active numbers of the Spring sea-
son. For that reason the sales and exploitation
departments have inaugurated a campaign on
the number and every effort is being made to
The new novelty song, "Bringin' Home the
accelerate the initial sales orders arriving at
Bacon," recently accepted for publication by
Berlin headquarters.
Hearst Music Publishers, of Canada, Ltd., has
been introduced in vaudeville by Van and
The House Patents Committee has set May
Schenck, the well-known singing artists, who
6 as the date for the presentation of arguments
are also co-authors of the number with Frank
against the numerous proposed amendments of
The Clarence Williams Music Publishing Co., Bannister and Lew Colwell. The number has
the present Copyright Act. Chairman Lampert
of the committee set the date in deference to Inc., New York, has secured the rights to and received a favorable reception everywhere and
the wishes of the American Society of Com- are now the publishers of the song success, many professional singers are arranging, to use
posers, Authors and Publishers, who desired "Arkansas Blues," which will shortly be re- it in their programs. Van and Schenck, after
sufficient time to present their case and to leased by several record and roll companies. It initially introducing the song, wired the pub-
makes a welcome addition to the company's lisher that it was the biggest success they have
bring their witnesses to Washington.
ever used.
Silvio Hein, of the administrative committee already strong catalog.
The first suit brought in the Eastern district
against a radio broadcasting concern for using
copyrighted music in its program was filed last
week in the United States District Court.
It was brought against the General Elec-
tric Co., which operates Station WGY at
Schenectady. The complainants are Jerome H.
Remick & Co., music publishers of 219 West
Forty-sixth , street.
The suit is said to be a test case to prevent
broadcasting stations using copyrighted mate-
rial. The complainants are the same whose
suit resulted last week in a decision by Federal
Judge Hickenlooper at Cincinnati, upholding the
broadcasting station, saying that in his opinion
the offense did not constitute a public perform-
ance within the intent of Congress in framing
the copyright law.
Comment on the Cincinnati decision resulted
in the declaration by counsel for the Society of
American Authors, Composers and Publishers,
who brought the suit for the Remick firm, that
the bringing of these suits probably would cause
the United States Supreme Court to rule soon
on the issue.
The complaint brought says that on March
1, between 11 and 11.15 p. m., WGY broadcast
a public performance by an orchestra, and
among the compositions played was "Some-
body's Wrong." This, it is asserted, was an
infringement of the Remick Co.'s copyright.
The plaintiff alleges the General Electric Co.
threatens to continue these infringing perform-
ances. It asks that the defendant be enjoined
from publicly performing this composition by
radio and that damages be assessed.
Radio and Ten Gent Music
"Driftwood" New Berlin Song
Introduce Hearst Number
Copyright Amendments Up
Publish "Arkansas Blues"
GEORGE
MACFARLANES -TREMENDOUS SUCCESS
FORGET- ME-NOT
(MEANS
You Can't Forget it
It's Wonderful
REMEMBER ME)
HEARST MUSIC PUBLISHERS OF CANADA LIMITED
Be First
With A Hearst
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
52
THE
THE "WALTZ
MUSIC TRADE
BALLAD
REVIEW
THAT'S
MAY
3, 1924
DIFFERENT
Lovers Lane is a Lonesome Trail
Be First
With A Hearst
HEARST MUSIC PUBLISHERS OF CANADA LIMITED
Negro Spirituals Grow
in Concert Popularity
Bagley Stephens Tells of the Origin of This
Type of Song and of Its Rapidly Spreading
Use on Concert and Recital Platforms
Recent custom of including at least one negro
spiritual on concert programs has familiarized
the public with songs long hidden from any
but the Southern people, who, having always
accepted them as part of the very fiber of their
existence, did not recognize their full value.
For many years the slave songs, camp meet-
ing tunes and the real spirituals of the church
service were passed from father to son literally
by word of mouth. Gradually they came to be
regarded as worth recording. It is eminently
fitting that men of the negro race—Burleigh,
Coleridge-Taylor, Carl Diton and others—should
be the first to acquaint the music lovers of
America with the songs of their own people.
There are as many different dialects among
the negros as there are in the various sections
of Italy. The negro from the coast of South
Carolina or Georgia speaks a foreign language
to the wharf darky of New Orleans. And again,
the negro from the lower part of Florida
mingles in his speech so many words from the
Spanish of the Cuban population that he is not
able to make himself understood by those from
the inland States. Essentially a child of the
valley and of warmth and sunshine, it is rare
that he is to be found in the mountain regions,
wrote Bagley Stephens recently in the New
York Times.
The same holds true with negro music. The
song of the coast negro as he sells shrimps or
bananas is different, not so much in the actual
intervals as in the cadences and rhythm. The
negro of the Louisiana wharves shows plainly
the influence of the French in his gay tunes,
that of the Florida negro the Spanish lilt
Played
by
Be First
With A Hearst
strangely mixed with the minor intervals of his
own race. Perhaps the best example of negro
music can be found in the plantation songs of
Georgia, Alabama and Mississippi. There has
been no foreign influence here. The music is
elemental, plaintive, almost weird. The inter-
vals are not on the keyboard of our pianos. If
the negro music were actually written as it
sounds, it would be a new scale with new in-
tervals that would astonish the ultra-modernists.
Not long ago, at a concert in Carnegie Hall,
a well-known singer explained that he would
sing a "fake" negro spiritual which was based
on the largo from Dvorak's New World sym-
phony. The song was William Arms Fisher's
beautiful arrangement called "Goin* Home."
But Southern people knew that the largo was
based on the theme of an old slave song, "Massa
Dear," and Dvorak made no secret of this fact.
Spirituals, being the elemental music of the
race, are simple. They are not suited to the
elaborations of a concert achievement, as some
composers seem to think. Their beauty is so
sincere, their appeal so direct, that they need
no embellishment.
To hear them at their best one should pass
by some small country church and listen to the
singing from a distance. It is then that one
hears the unusual harmonization, the weird
humming cadences, the wonderful pathos and
beauty of the negro music.
"Nobody's Sweetheart"
Ted Lewis, Columbia record artist and noted
orchestra leader, made a feature of "No-
body's Sweetheart," the song-dance hit, in "The
Passing Show of 1923," at the Apollo, Atlantic
City, last week. On Monday, April 26, the
Ted Lewis Orchestra started an indefinite
run at the Ritz-Carlton, on the Boardwalk, dur-
ing which engagement "Nobody's Sweetheart"
was played regularly and often. "Nobody's
Sweetheart" is a Jack Mills publication.
CARL FENTONS ORCHESTRA
Also recorded by it on
BRUNSWICK RECORD No. 2574
Many Vaudeville Artists
Using Hearst Publications
"Foigct-Me-Not," "Only a Butterfly" and "You
Can Take Me Away From Dixie" Being
Widely Sung in Vaudeville
Among the well-known vaudeville artists who
arc singing numbers from the catalog of Hearst
Music Publishers, Ltd., are the following:
George Macfarlane, Paramount Four, Fred
Hughes, Dancing Stewarts, Tripoli Trio, Melody
Maids, Roy Dietrich, Eddie Van, Shrinner &
Fitzsimmons, Mack & Salle and Musical Lunds,
who are using "Forget-Me-Not"; Morris & Shaw,
Charles Forsythe, Lynn & Howland, Fred
Hughes, Dorothy Taylor, Dillon & Parker,
Mack & Salle, Schaeffer & Elliott, Matthews
Trio, O'Malley & Mason, Lang & Voelk, Friend
& Sparling, Henri Kublick and Musical Lunds,
who are using "Only a Butterfly"; and Murray
& Allen, Jack Norworth, Loos Brothers, Dolly
Malone, Eddie Nelson, Watts & Drake, the
McCarvers, Jack Bell & Band, McPherson
Brothers, Story Book Revue, Watts & Ringold
and Wylie & Hartman, who are using "You
Can Take Me Away From Dixie."
Mills Gets Jan Garber Hit
Jan Garber's comedy novelty sensation, "We
Don't Get Much Money (But We Have a Lot of
Fun)", featured with much success by the pop-
ular Garber-Davis Orchestra, has been acquired
by Jack Mills, Inc. The Garber-Davis combina-
tion, which makes Victor records when it isn't
playing vaudeville or making whirlwind one-
night tours, is rapidly becoming one of the
most popular orchestras in the country, because
of its versatility and the unusual novelty of its
arrangements.
Features Edwards' Ballads
Vera Ross, concert and operatic prima donna,
and featured with "The Passing Show," will
sing during Music Week the famous group of
Clara Edwards' beautiful ballads at a recital in
Aeolian Hall. The Clara Edwards edition,
which is being widely used by prominent Amer-
ican vocalists, consists of the following semi-
classics: "Little Brown Nest by the Sea," "Hap-
piness," " 'Tis Enough," "Little Shepherd's
Song" and "Dusk at Sea."
Charles R. Warfel Back
Charles R. Warfel, manager of the trade de-
partment of Hinds, Hayden & Eldredge, Inc.,
New York, recently returned from a ten-day
trip through the New England States, and re-
ports that he booked some nice orders for
Summer delivery.
Watch Late Releases for Other Recordings
A. J. STASNY MUSIC CO., Inc.
JACK
56 West 45th Street, New York
N9RWORTHS
Consult the Universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions.
BIG H I T
YOU CAN TAKE ME AWAY FROM DIXIE
With a Snappy
Melodious Rhythm
of Irresistible Charm
(BUT YOU CANT
TAKE
DIXIE
FROM M E )
HEARST MUSIC PUBLISHERS OF CANADA LIMITED
FOX TROT
Be First
With A Hearst

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