By Chris Bourke
Bringing to existence the musical worlds of recent Zealanders either at domestic and out in town, this historical past chronicles the evolution of renowned song in New Zealand in the course of the twentieth century. From the kiwi live performance events in the course of international warfare I and the coming of jazz to the increase of swing, kingdom, the Hawaiian sound, after which rock’n’roll, this musical research brings to existence the folks, areas, and sounds of a global that has disappeared and uncovers how song from the remainder of the area was once formed by way of Maori and Pakeha New Zealanders right into a melody, rhythm, and voice that made feel on those islands.
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Extra info for Blue Smoke: The Lost Dawn of New Zealand Popular Music, 1918–1964
Hinehou, a mezzo-soprano, sang at silent movies and was a member of a country and western group. Weno, also a mezzo, trained with H. Temple White and could play classical piano exquisitely or ‘rattle the keys’ for any request. But how the trio came to make the recordings is unknown. Kingi was unable to go with them and was reluctant to let his sisters travel to Sydney without a chaperone – even though their brother Henare had been a Maori All Black, he was also known for his rakish charm. ‘They got on the boat and took off anyway’, said Hinehou’s daughter Horiana Joyce.
The dance diet at the Dixieland was mostly jazz, though ‘if someone asked for a maxina, we’d oblige’, trumpeter Vern Wilson recalled. At old-time dances, older crowds stayed with old-time dancing, even when ‘they introduced a jazz dance into an old-time dance: a one-step was considered a version of a jazz dance. ’96 An evening would begin with a fast Viennese waltz; once jazz arrived, this changed to a slow waltz, which also closed proceedings. And in between, . . [there were] different dances, no set programme.
170 A regular in the audience at Fuller’s Christchurch shows in the early 1920s was Eddie Hegan, aspirant entertainer. As a teenager, every Monday night he would be in the Opera House stalls to watch a variety show, the format of which rarely varied: six vaudeville acts in the ﬁrst half, a revue in the second. ‘A revue then was really a potted musical comedy, complete with ballet girls, singers, dancers and a featured comedian. ’171 ‘I never saw a really bad one’, recalled Hegan, who regarded George Wallace as the greatest act of the era.
Blue Smoke: The Lost Dawn of New Zealand Popular Music, 1918–1964 by Chris Bourke