RECORDED MUSIC

Gisborne Times, Volume LXV, Issue 10230, 8 January 1927, Page 3

RECORDED MUSIC

As evidence of the progress that Columbia’s new Australian factory is making, recent news states that on one day in August over 7000 records were turned out, just prior to that, the daily output had been 0,000, reached by working over-time. This remarkable production is due to large demands arising in Australia and New Zealand for Columbia Records, the “non-scratch” surface of which is rapidly winning increased support. When it is understood that the original estimate was that 4000 records per week would meet Australasian demands, it is clear that this was too conservative and made insufficient allowances for the popularity of records acknowledged by experts to be supreme as far a manufacturing merit is concerned. It should he mentioned that only one day per week is given to actual “pressing.”

Newcomers to the recording fold, and a body of players likely to establish a reputation, is the Jacques Jacobes’ Ensemble, whose light orchestral music will soon be heard here on Columbia records. Their debut gives us the “Pastoral” and “Merrymakers Dances” from Edward Gorman’s “Nell Gwvn” music. Spirited and colourful, the duality of tone is

rticularly rich, and clear, and the definition on this initial record sparkingly sharp. This disc will be available in a week or two. , The Grenadier Guards’ Band record giving “The Voice of the Guns,” march, and “Triana” Spanish March, recently issued by the Columbia Coy. (3544) is a first-rate specimen of this famous band’s powerful and artistic work. The “Guns” number is wonderfully full of life and volume, but “Triana” has such a seductive sway and rhythm that holds interest to the last note, that it will probably prove the more entertaining of the two airs.

Owners of Columbia records will enjoy the unaccompanied singing of the male voice quartet known as The Salisbury Singers. This type of singing is peculiarly English, and this combination is very effective with two old English glees—“ Drink to me Only” and “Come, let us join Roundelay” a record that will shortly be available here (3975.) Their voices blend finely, and their singing is fresh and clean cut. The recording shows good balance .and nice tone. If it is true that “Ukelele” means “Dancing Plea,” then its use as the prefix is three Columbia x-ecords opens up humorous ideas for “Dancing Plea” is intimately attached to “Lady,” “Baby,” and. “Lullaby” respectively. In other words, there are now three Columbia “Ukelele” fccords to choose from, to wit: “Ukelele Lady” (3730), bracketed with “’Yes Sir, That’s My Baby,” played with life and vim by the Denza Dance Band; “Ukelele Baby,” wg&h the “Tin Can Fusiliers” as an associate number (3863), played by the .New Princess Band; and “Ukelele Lullaby,” bracketed with “Oh How I’ve Waited for You”—Percival Mackey’s Band (3866). How many l'eaders possess all three of these bright “dancing flea” records. Of Haydn’s voluminous works Columbia have probably selected more for recording then any other company rind in choosing his early Quartet in P they have given gramophonists a little work beautifully calculated to suffuse cheeriness and charm when one is in an inverse mood. The Tenor String Quartet play this four-move-ment work (L 1638-39) with pleasant facility and grace, carefully observing the spirit it is intended to convey, its first movement is as q airy and dainty as Haydn could write—just a tune and a blending of tones of the ;ort to turn a bad mood into a good me. The second is gavotte-like in ts grace, with a stateliness bespeaking Haydn’s intimate acquaintance ,vith that court life he loved to portray. It is written as a solo, with nzzicato accompaniment—a form not' jften found in a quartet movement, fhe. third movement is the xisual minuet, - and includes a tide nicely in harmony with the tone atmoshpero of the' .whole, while the fourth has a run :>f rhythmic tunes and an absence, of £he 'elaborate .that ?hiiist- -appeal :to jycfy-ear. ‘ -V ■ "•'d '•.