HOLLYWOOD STUDIO NEWS Chicago, October 6, 1950 Chi MOVIE MUSIC Soundtrack Siftings Frankie Laine Stars In Count Basie sextet, Billie Holiday and Sugar Chile Robinson teamed for musical featurette at Universal-International. Bud­ dy DeFraneo, Basie clarinet ace, to be re- piaced by Local 7S7 Neirro mu«i- Unpretentious Filmusical cians union) man for camera work. Milt Rankin signed up with MGM staff By CHARLES EMGE ork to share piano assignments with Jakob Gimpel. Gimpel will continue to do the HollywooiF—When You’re Smiling. Columbia's “Frankie concert calls, with Milt doing pop and jazz jota. Laine picture." is a neat little bundle of musical entertain­ Bob Simmer«. guitar. added to staff orje at Universal-International, taking the p1hc£ cat« ment that ia juet that because it’s neither lavish nor preten­ of a viola, as that department was reduced tious and doesn't try to be. The format, sort of a new type from four to three. Jack Marshall, at MGM, is only other guitarist holding studio con­ developed by ex-publishing man y—■————------------------------------------------- tract. (Complete personnels of studio con­ Hud Jonu Tap» (thia i* hi» first film a» tract staff orks, with exception of names a chance to do much. Country fina an officially credited producer), given above, appeared in Down Beat Sept. Washburne (unseen) did the nov­ 22 issue.) Sep! combine* the review-type mu«ical elty tuba work. Gloria Wood set for ghost-singing stint with the eleiiH-nl« of the conven­ for actress Adele Jergen» in forthcoming Just Reprodue-lions tional filmusical. Monogram film. The Bowery Thrush, fea­ The other musical numbers are turing Leo Gorcey and Huntz Hall. John Th» sto»y, ade- Lourens doing similar job same pic for tng ui ' । i j his just visual reproductions of phono­ Huntz Hall. graph recordings by the original Page Cavanaugh trio, which has been not performers as they might do them backing Doris Day on singer's recent plat­ Arti 1■ ter dates, is handling similar assignment wha ■ - ' ■ in a stage or nitery appearance with Doris on her next Warner Brothers .• M 1 without the usual over-emphasis starrer. Lullaby of Broadway. Whether unit to i on production values that movie will do visual work in film not determined this writing. Loir .-■ > I -1 ■ makers stem to be obsessed with June Hutton, erstwhile Pied Piper now Hollywood—New Ringing sensation with the cafe net is Billy Daniel», ' ' ' 1 ' V (Videoperators, please note). appearing as single, draws featured solo Musical highlights: spot in Columbia’s That* a My Deaire, in »hown above with hi» pianint-arranger, Benny Payne. Pic is a acene funi Frankie Laine in Georgia on My preparation by producer Junie Taps as from Columbia'» When You’re Smiling, which also spot* star« like ■ full-scale starring vehicle for Frankie Frankie Laine, Kay Starr. Bob Crosby, nnd other*. See Movie Music r, - Mind. He drew actual applause on this number in Los Angeles show­ for review. ■ 1 J.. • ■ WU (Spike Jones, specializing in 1 ' H ings, a rare tribute from a movie ma j novelty instrument studio calls, headed oc­ sent into cam i) by * audience Frankie is not in fact carina quartet featured in underscoring of gal sharpie, who, Charlie the “star” of the picture, but he is Oh. Them Dudea number in Betty Hutton- thinking he is a millionaire, figures being given top billing, and wisely. Dance. Har- HENRY LEVINE bam on marrying him and thus saving Billy Daniels in Black Magic and that her pop, operator of a big platter Deed I Do. Many night clubbers MODERN DIXIELAND STYLE quences turned out for movie score. Piano not firm, from seeing his company hold Daniels to be th«- greatest sequences by Fred Astaire in same picture taken over by a bookie, to whom he male singer in that field. Some find are strictly bona fide. Astaire conceived witl is in hock down to his last master. him downright nauseating. How Hora’* His real lowdown on Dixieland nunc, fully ery movie audiences react to him will duets—musically and visually. explained by Henry Levine, foremen authority. be interesting to note. His pianist, Teachert, Students and Musicians will And hu No one could guess what hap- Benny Payne, who is actually more expert analysit the most modern study an this jiens. The “plot” is exposed bj a New York—Mary Mayo, onetime a team-mate, should get more singer with Tex Beneke’s bund, has subject. Also contains his Dixieland arrangements sweet little girl stenographer; Je­ attention. of China Boy, Darktown StruHers’ Ball, Jo-Da. rome is “discovered” (by Frankie beer signed by Capitol records to Runnin’ Wild, Wong Wang Blues. Bluin’ The Blues, Durable Brother* Laine, among others) to be the a five-yeai pact. Inking came af­ Clarinet Marmalade, etc . oming ‘ sensation” as a singer. The Mills Brothers in their mem­ ter she had sliced four sides for That insures the happiness and/or orable Lazy River. The most du­ the label. She had been working in studio '.horal groups since leav­ financial success of every one who rable, if not actually the best, ROBBINS MUSIC CORPORATION inatteis vocal group in the business. The ing Beneke. The right girl gets th« boy und production men, with their weak all ends in a cheerful, if -hghtly imitation of a fishing scene, flopped confusing, conclusion. It seemed to on their end. us that the bookie foreclosed on the The Modernaires in their own record man’s daughter instead of version, much like the original they his company, but inasmuch as both did with Glenn Miller, of Juke Box were satisfied with the deal, that Saturday Night. They not <nly could only prove that “MOVIES sing it—they know how to sell it. ARE Bl :r than ever. visually. No Complaint One of the complaints heard Kay Starr in Mama Goes Where about filmusicals it that the mu­ Papa Goes bay gets it over (could sical numbers interfere with the she ever fail?), but it’s not Kay narrative We can assure you that Starr at her strictly wonderful in When You’re Smiling the narra­ best. tive is not permitted to interfere Jerome Courtland When with the music, and so the thing } ou’re Smiling (also <> new ballad. Arch Freemen has used moves right along despite the fact When the Wind Is Green) as a that theie are no “production duet with Frankie Laine. There SLINGERLAND Radio numbers.” aren’t many young actors who Bob Crosby’s If You Can’t Get would attempt this (Courtland Kings for over ten years. a Drum i« ins« rud imoothly u doec not use a ghost singer). Court­ sequence in the recording studio. land not only attempts it—he gets Arch boasts “They're This is the number for which a away* with it. The angle in this number of ex-Crosby bandsmen screen story that whoever holds the Greatest That’s why were assembled: Jess Stacy, piano; Jerome Courtland’s contract has no Matty Matlock, clarinet; Nappy more fiancial worries is thoroughly 4 out of 5 top stars buy Lama re, guitar, and Lou McGar- credible. ity, trombone, can be seer (they Slingerland “ also did the sound tracking). Pres­ Coleman Hawkinn will Iw the ent via soundtrack only is tenor­ next subject of ihr Beat’s "Bou­ man Eddie Miller, though the quets for the Living" «eries in the number doesn’t give any of them Oct. 20 i«sue. 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