UIOXUI OC A ’ _ OL MAN R,V£R' " From ASCAP Fiias 5? I 1^1 l" A\ O lN vl By Jaroma 0. Karn and Oscar Hammarstain. 2nd '*r\ _ 8v Jo'saph ft. Fiia.dar and Paul Car rut fi 1 " ■" va.-— KERN hat proved that a classical musical training is no handicap to the writing of successful popular music. By 35 he had composed twenty-five n 1 I_' . While still e bby Kern traveled to Germany to study, e- l then proceeded to England where he became inters;!;. the t!.t st-e. L2Z--1 Hi* fife’* ambition wa» to meet Charles Frohman, and T■;a’ly one day he succeeded—a-,J 'c;/;an work at fifteen uiiV* a we:k. He returned with the music of twenty plays and the friend- % ship sf P. G. Wodehouse, at that time also starting his career. -—-.W —-_J t Kara had raad Edna Farbar't noval "Show Boat," and taw «! Min hi* mind's aya at a musical show, but Mitt Farbar laughad.1 Kant partistad, bought tha staga rights and partuadad Zieg 4akf to product it. — • - - ‘ Kern heerd Paul Rebeion ting end got the idee lor "Ol' Man River" Irom the impreuion the great ne^b linger made on him. He put the tong in the new ihotfe —► -___——-: But it was Jules Bledsoe who was cast in "Show Boat" er . first sang the song. Kern has long been a member of the - American Society of Composers, Authors and Publishers. ...i _*_ . .-jte i is His melodic show boat has brought down the river of time such great songs as "They Didn't Believe Me,'* "Sally." "Smoke Gets In Your Eyes," "Music In the Ain" and many | * others the public remembers. _____ I ( If You Have Any* thing You Don’t Need & wish to sell Just... Ask for ^Classified dept.” By Daniel I. McNamara MARIA GREVER, Latin Ameri ca’s poet laureate of romantic song, upset the musical traditions 'of a score of years when early this year she strayed from the classic standards to write her first popular jsong. She had created nearly five .hundred standard songs, many com Iposed for Individual stars of the con [ceri stage, when she evolved the .light gay number, ‘’Ti-Pi-Tin.’* I Now "Ti-Pi-Tin” is to Maria [Grever what the Prelude is to Rach maninoff, or the Minuet to Paderew ski . an inescapable part of her [musical personality. She likes to [dream of the recent past when she was hailed as composer and artist of the concert stage, before she dis covered that she also had the touch of a popular songwriter. And as Rachmaninoff envisions heaven as a place where his Prelude never is heard, she can picture her paradise •as a region not ringing with the [rhythm of "Ti-Pl-Tin." I Maria Grever never regarded “Tl Pt-Tin” as more than a passing fancy, and reluctantly consented to its publication early in the year, when friends who heard it in her 'studio pressed her to gtve its gay •melody and lilting lyrics to the [world of popular music lovers. Ray mond Leveen, A.S.C.A.P., wrote the English lyrics. Maria Grever’s career in song has been international. A native of Mexico City, she was reared in (Spain. Returning to her native [land, master of piano, violin and 'guitar, she samg with a velvety coloratura soprano. Her patrician (family frowned upon her theatrical aspirations. Married at fourteen, she fouud her husband in sympathy with her ambitions for a career in . music. A chance recording of one 1 of her first compositions, "Besame,” [ | (Kiss Me) brought her recognition, j |When “Jurame,” (Promise Me) fol lowed, her fame was secure. Soon she was a reigning favorite of Latin America’s concert stage, where for (ilfttsio Features i twenty years she has played and sung her own songs. Early in the 'thirties Senora Grever made New York her perma* nent address, became an Amerloan citizen, and by virtue of her mahy compositions, became a prominent member of the American Sbclety vt Composers, Authors and Publisher^, through which such artists protect their copyrights. At the last ana nual dinner of the Society she men her American lyric writer, Ray-\ mend Leveen, a fellow membe*^ Among concert artists, she Is known!, as a couturlere of song, tor she h erica” as Beet hoven and Tin Loul* Reid Pan Alley would 1 r __ have written it ind ‘The Star Spangled Banner” in the manner of Mozart . , . Detours can be tedious. i Whatever became of Emma F. | Tolen? She was the girl to whom the song "Sweet Adeline” was dedi i eated. Her name appeared at the j top of every copy of the song, i Harry Armstrong, composer of J the ballad, recalls her as a young girl who in 1903, the year of the song’s publication, was selling mu | sic in a New York department store. She had been successful in boosting --—■ ■ . ■ i Bandleadert moil experienced in interpreting Herbert are Harold Sanford and George Hall. Both were associated for yeari with the composer. Much of their spare time today it spent in making' new ar rangements of their old leader. I• '. * | • One of the best definitions of jaz* we have heard is given by Ray No ble, songwritlng-bandman. “To most' people,” he says, “jazz means dance music. Personally, I think it’s an ordinary tune played in regular tempo so that people can more around a dance floor." Noble’s right. People don’t dance; they move around a floor. Jr ___________ - ’$» Some musicians who Jive up toj their torrid names in the tones they] offer are Joe Venuti, fiddler; Phil [ * Napoleon, trumpeter; Miff Mole.' trombonist; Toots Mondello, Pauli Ricci, Cab Calloway, saxophonists. [ Benny Goodman, apparently, isn’t satisfied to be the dictator of swing. He has . turned songwriter, too. i mol, sung ini, me Story the Violets Told." Armstrong was grate ful. “Why don’t you write a song to me?" she asked. So when “Sweet Adeline’’ was ■ ready it bore, the in scription: “To Emma P. sTolen.’’ i Our Most Popular I Ballad I "Sweet Adeline," though now chiefly identified with the bibu lous Americano, with song-shouting get-to gethers of men every where, is our best Murray Sturm A.S.C.A.P. wutt me neip or Biogir Sampson and Mitchel Parish he> has penned, a tune called “Don’t Be That Way.” Another swing sahib. Louis Prl ma, t^as also written a song—“Where HaVe We Met Before?” — am} quite- a nifty it is. --— i There’s no time ini Germany for any “Hey*: Nazi-Nazl and a Hi-De-j Ho.” A Berlin daily had { this to say the other | day: “As Germans, the; most musical people on earth, we insist we no longer find pleasure in known — certainly, our most popu lar — ballad since the days of Ste phen Foster. Yet, it is doubtful people, in general, are familiar with the na.