Note Franklyn Baur's hand .... From an interview with Gus Haenschen ("Carl Fenton") : "One funny thing about Baur that used to drive Frank Black nuts was that Baur 'conducted' while he was singing. He’d 'conduct' with his hand and index finger, and Frank [Black] felt that he did it just to call more attention to himself. Frank had to lay down the law with him about that, but Baur would still do it every once in a while."
From left to right (corrections appreciated): Franklyn Baur (tenor) Frank Black (piano) Elliot Shaw (baritone) Lewis James (tenor) Wilfred Glenn (bass)
I'm discovering a hidden crevice of music history and harmonic achievements within a vocally driven genre thru Pax41's channel on UA-cam. these barbershop type singers were incredible. I miss you Grandpa. I'm sorry I never realized how superior this music was back when you were alive. -John
He had a hard job to do, to keep all those 4 voices straight, and appropriately support them on the piano, without running over any of the voices or the harmony, and he does this superbly here. Most likely, he wrote out a carefully-harmonized piano arrangement and is concentrating hard to remember every single correct voicing, and not mess up on camera. In this instance, smiling might be beside the point of not spoiling the beautiful music, although you're right: we can tell he likes what he hears from time to time. Also, commercially-produced sound movies (Vitaphone etc) were brand new when this was filmed/recorded, and in these, you will see many great musical performers who are more or less awkward in front of the camera, since they'd been taught about playing music, and some level of stage decorum, but not necessarily taught showmanship, unless they were playing solo in vaudeville etc. (Remember, most piano accompanists in vaudeville sat at the piano in the pit... unless they were an integral part of a lively vocal duo, or trio, in which case they, and the piano, would more likely be onstage if possible, depending upon the size and budget of the theatre).
I should add that the Revelers were supposed to be a "classy" group, and their subtle motions and lack of circus theatrics also reinforce the notion of 'class' in this case.
@@andrewbarrett1537 I read somewhere that on the basis of Frank Black's work with the Revelers, he was hired as the (1st?) Music Director for the National Broadcasting Company. The is information about him, however scant, elsewhere on UA-cam.
![Former Slave Owner Interview in 1929 [Colorized]](/img/n.gif)
That's my grandfather Wilfred Glenn on the right.
Wow, what kind of person was he? Did you inherit his singing talent?
Gracias por ayudarme a comprender mucho mejor el onirico mundo de Dali. OUI
The Revellers were the role models for that what the Comedian Harmonists did back in the day. Good stuff
Note Franklyn Baur's hand .... From an interview with Gus Haenschen ("Carl Fenton") :
"One funny thing about Baur that used to drive Frank Black nuts was that Baur 'conducted' while he was singing. He’d 'conduct' with his hand and index finger, and Frank [Black] felt that he did it just to call more attention to himself. Frank had to lay down the law with him about that, but Baur would still do it every once in a while."
From left to right (corrections appreciated):
Franklyn Baur (tenor)
Frank Black (piano)
Elliot Shaw (baritone)
Lewis James (tenor)
Wilfred Glenn (bass)
Truly amazing :-) I do appreciate Your sharing !
Mark
I'm discovering a hidden crevice of music history and harmonic achievements within a vocally driven genre thru Pax41's channel on UA-cam. these barbershop type singers were incredible. I miss you Grandpa. I'm sorry I never realized how superior this music was back when you were alive. -John
Zeitlos gut :-)
The song that gave Fannye Rose Shore her professional name.
Thanks for posting this!
NICE!
Klasse die Jungs
You can see Frank Black smile a couple of times. Interesting.
He had a hard job to do, to keep all those 4 voices straight, and appropriately support them on the piano, without running over any of the voices or the harmony, and he does this superbly here. Most likely, he wrote out a carefully-harmonized piano arrangement and is concentrating hard to remember every single correct voicing, and not mess up on camera.
In this instance, smiling might be beside the point of not spoiling the beautiful music, although you're right: we can tell he likes what he hears from time to time.
Also, commercially-produced sound movies (Vitaphone etc) were brand new when this was filmed/recorded, and in these, you will see many great musical performers who are more or less awkward in front of the camera, since they'd been taught about playing music, and some level of stage decorum, but not necessarily taught showmanship, unless they were playing solo in vaudeville etc.
(Remember, most piano accompanists in vaudeville sat at the piano in the pit... unless they were an integral part of a lively vocal duo, or trio, in which case they, and the piano, would more likely be onstage if possible, depending upon the size and budget of the theatre).
I should add that the Revelers were supposed to be a "classy" group, and their subtle motions and lack of circus theatrics also reinforce the notion of 'class' in this case.
@@andrewbarrett1537 I read somewhere that on the basis of Frank Black's work with the Revelers, he was hired as the (1st?) Music Director for the National Broadcasting Company. The is information about him, however scant, elsewhere on UA-cam.
This was part of a restored 1927 film with the Revelers doing 3 songs. It was posted on UA-cam. What happened to it?
Is this what you want? ua-cam.com/video/QzSbql15FMs/v-deo.html