Polish Anti-Nicotine Tango: Nikotyna - Albert Harris, 1930
Polish Anti-Nicotine Tango: Nikotyna - Albert Harris, 1930
The Piccadilly Players - Ive Never Seen A Smile Like Yours, 1929
The Piccadilly Players (Under the Direction by Al Starita) with Vocal Trio - I've Never Seen A Smile Like Yours, Columbia 1929 ------------------------------------------------------------ NOTE: In the history of hot dance bands of 1920s, two exquisite dance bands called Piccadilly (or The Piccadilly) Players have to be mentioned. One was the American dance orchestra - a house band for the Edison label, directed by Mel (Melville) Morris. Quite a few recordings of that excellent orchestra can be found in YT. The other was the British band, conducted by clarinetist Al Starita. He was formerly a member of Jack Hylton's famous dance orchestra, that played in one of best London West End night clubs - The Kit-Cat Club, in Haymarket. Hylton was engaged in numerous artistical occupations, and he often let Al Starita take over and conduct the band in his place, when the night was very busy. It's how, in the end of 1920s, the new dance band was born in London - The Piccadilly Players, that started recording for Columbia also as The Piccadilly Revels Band (conducted by Al's brother, Ray Starita).
Commercial foxtrot from Warsaw - Morwitan, 1930
Albert Harris & Orkiestra taneczna „Odeon" dir. By Jerzy Gert Morwitan, Foxtrot (Hen-wy/ Ted-rey) Odeon, ca 1930 NOTE: Here is another commercial song sponsored by „Morwitan" - major cigarette tubes producer in pre-war Poland. This song hasn't any anti-nicotine bias in its text. It is purely commercial and even - it enhances smoking as utterly innocent and pleasure providing occupation. So, when the side A of this record (which is the anti-nicotine tango "Nikotyna") tells a tragic story of a boy, completely possessed by a killer girl Nikotyna, on side B we find a total withdrawal from this idea. „Nothing smokes so well as Morwitan/ it is available in every little store/ it will soothe you to dreams better than hashish or opium/ so go and buy Morwitan!" - sings Harris, to end his canto with the exclamation coda, in a very last second of the side: „Nothing, but Morwitan!" Seeing this, both authors: of the music as well as the lyricist preferred to hide their names under carefully encrypted pseudonyms. Oh, that brutal early free-market capitalism! The slideshow presents some of pre-war Polish posters. See also the Polish anti-nicotine tango "Nikotyna" :
Kazimierz Krukowski - Tango Lopka.
Kazimierz Krukowski "Tango Lopka" Columbia DM 1622 b Wj 274 Nagranie z około 1932 roku.
The New York Twelve - Youre Driving Me Crazy, 1930
The New York Twelve (dir. by Harry Reser)- You're Driving Me Crazy (W.Donaldson) Hit Of The Week, 1930
Polish tango: Mieczysław Fogg - Jesteś bez serca, 1937
Jesteś bez serca (You Have No Heart) Tango (Henryk Gold/ Andrzej Włast) Mieczysław Fogg & Orkiestra Syrena Rekord pod dyr. Iwo Wesby'ego, Syrena-Electro 1937 NOTE: In the end of 1930s, Iwo WESBY took over, after Henryk Wars, artistical directorship of Syrena-Electro record company. Unfortunately, that young and dynamic bandleader did not have much time left to show off all of his talents. Fortunately, he survived the Holocaust owing his life to Mieczysław Fogg, who was hiding him on the „aryan" side until the end of German occupation of Warsaw during the Second World War. To read the whole fascinating story go to Less luck in his life had the real bon viveur of prewar Warsaw - Andrzej WŁAST, director of „Morskie Oko", that was one of the most famous pre war revue theatres in Warsaw. His tragic life story can be found at As for Henryk GOLD - the third important person in this recording - the most detailed story about his life can be found at
German Tango: Eugen Wolff Orch. - Nachtliche Gitarren, 1945
Nocne gitary (Nachtliche Gitarren) Tango (J.Rixner) - Orkiestra Stanisława Godarskiego (Eugen Wolff m.s. Tanz-Orchester) Melodje 1945 (Polish pressing) Odeon 1940 (German matrix) NOTE: In Poland, in short period 1945-47, when the Soviet-style Stalinism was not yet fully installed, a privately owned little record factory „Melodje" located in a small apartment house in the heart of the Old Town of Poznań, issued many very good recordings of the post-WWII Polish jazz & swing orchestras (e.g. Bracia Łopatowscy, Charles Bovery or Kazimierz Bryzek's bands) as well as the excellent jazz and non-jazz Polish singers (Marta Mirska, Tadeusz Miller, the revellers choir Cztery Asy). Also issued were the sides re-pressed from miraculously saved prewar matrixes of Syrena Rekord or Odeon companies. Among them, sometimes you could find the intruguing and, usually, being on the highest artistical level jazz or just the dance numbers, performed by the mysterious band „Orkiestra Stanisława Godarskiego" (Stanisław Godarski's Orchestra). The problem is: such bandleader or such orchestra did never exist! The name was pure hoax, and the sides holding such label were re-recordings of popular nazi-Germany orchestra tunes (God knows in what kind of technology?!) from the matrixes, or from actual records, that were left in Poland by the nazis during their panick evacuation back to Germany, in January 1945. The usage of the label name „St. Godarski" entitled the owners of "Melodje Records" to avoid payments of royalties as well as it protected them from political accusals of being any kind of a pro-nazi conspiracy... I was fortunate to have identified this very side, as German Eugen Wolff's dance orchestra, originally recorded by Odeon, Berlin 1940. Another great tango of Josef Rixner - one of best composers in Germany in late 1930s, also the composer of "Blauer Himmel" - can be listened to if you go
Polish Tango: Faliszewski Twe usta kłamią, 1933
Tadeusz Faliszewski - Twe usta kłamią (Your Lips Are Lying) (Kataszek /Włast) Tango z teatru "Rex", Syrena-Electro 1933 NOTE: Szymon KATASZEK (né Boruch Szymon Kataszek) composer, pianist, bandleader, one of pioneers of Polish jazz. Born in Warsaw 1898; executed by the nazis in Warsaw, 1943. He received his musical education in the Music Institute in Warsaw (the class of piano) and in St. Cecilia Academy in Rome. Having returned to Poland before completing his studies, he got his first job as an organist in St.Trinity Church in Warsaw, working also in the nightclubs as a pianist. He also played for some time in the Military Band of the Garrison of Warsaw. In 1920 he enlisted as a soldier to the Polish Army to fight in the Polish-Bolshevic War. In 1921 he went to Gdańsk and Berlin, to play in dance orchestras. From the end of 1922, back in Warsaw, he and his friend Zygmunt Karasiński - who also had some experience having played with the German dance bands - established a jazz quintett, that appeared on the stage of a newly opened & fashionable restaurant „Oaza". Their performances became a sensation. In 1924 the Krasiński & Kataszek Band recorded its first sides for „Syrena" and until 1928 they toured many times around Poland, performing at the most elegant hotels, restaurants and holiday spas. In his memoirs, the fiddler Aleksander Halicki - one of musicians who played in Krasiński & Kataszek Band, wrote, they were the first professional Polish dance orchestra that applied the instrumental improvisation. Kataszek's activity was not merely bandleading: he also composed dozens of first Polish foxtrotts, black-bottoms, shimmies, charlestons. His hits (called in pre-war Poland „schlagers") were presented on the stages of little theatres of Warsaw: „Qui Pro Quo", „Perskie Oko", „Rex", and sung by the whole of Poland: „A ile mi dasz?" (How Much Shall I Get From You?), „To Zula (W futerko się otula)" (Its Zula, Who Wraps Herself In The Fur - dedicated to the charleston-dance pionieer and a „Qui Pro Quo" singer, Zula Pogorzelska), „Abram, ja ci zagram!" (Ill Play It For You, Abram!) or a tango „Czemuś o mnie zapomniał?" (Wy Have You Forgotten Me?) rewarded the Grand Prix of 1932 Tango Competition, organized by the theatre „Morskie Oko" together with Syrena-Electro Co. In 1933 he and Krasiński wrote music for the film comedy „Każdemu wolno kochać" with two schlagers: the rumba „Chcesz to mnie bierz" (Take Me, If You Feel Like It) and the homonymous tango „Każdemu wolno kochać" (Everybody Has A Right To Love). A nice anecdote is linked with this song: when in 1935 Polish Parliament confirmed the new constitution for the Polish Republic with full rights granted to the homosexuals, from the age of 15 (it was one of few such tolerant law regulations in the world) tango „Każdemu wolno kochać" became an unofficial anthem of the gay circles in Poland and in form of a comment to the new constistution - performed by the male vocal/dance duett - it was sung in the cabarets. Taking profit from his enormous popularity, Kataszek also maintained a social activity. He was a chairman of the Society For Workless Musicians, that forced a rule obliging all artistic unions in Poland of writing 20% off their radio performance incomes for the benefit of the jobless musicians. In 1938 he arranged the enormous Festival Of Dance with 10 best dance orchestras of Poland, performing for the public in Karowa Street in Warsaw. The whole income was conveyed to the National Fund Of The Aircraft Building. Alas, a year later, no aircratf was able to rescue Poland from the murderous attack on her, from the both sides: nazi Germany from the west, and 2 weeks later, the Soviet Union from the East. As most of the artists, Kataszek left Warsaw for Lwow, and he got under the Soviet occupation. In the very beginning he was allowed to perform for the Soviet dignitaries in the night restaurant „Imperial". But when in June 1941 the Soviet-German war blew out, he, instead of fleeing farther eastwards, returned to Warsaw. Many Polish patriotic Jews, who hated communists the same much, as Poles, did so, unaware of horrors carried on in the nazi-occupied Poland. That's how he got to the Warsaw Ghetto. In first few months he managed to carry on with bandleading: he led the Ghetto Jewish Police Orchestra, but when the first deportations to Treblinka and Bełżec started, he managed to slide out to the „aryan" side and he went to Lwow. There - as the unverified sources say - he returned to his „Imperial", where he led the band again. But, recognised by one of the guests, who was the SS officer from Warsaw - he was arrested and sent to the prison of Pawiak in the Warsaw Ghetto. And there - its a version confirmed by the historians - he was shot with a group of prisoners, on 22 May, 1943.
Old Polish tango: Czy pamiętasz tę noc w Zakopanem?
Czy pamiętasz tę noc w Zakopanem? (Do You Remember That Night In Zakopane?) (Muzyka: Zygmunt Karasiński, Text: Aleksander Jellin) - Tadeusz Miller & Orkiestra K. Bryzka, Melodje 1945 (circa) It's one of still popular old Polish songs: tango composed in 1937 by Zygmunt Karasiński and devoted to Zakopane - the most fashionable winter spa in Poland (see: Here the song is performed by a very popular post-war singer Tadeusz Miller. His career was short, in 1947 he died in a car crash. The record was produced by "Melodje" - the private record factory established immediately after WWII in the city of Poznań. Also the life of that enterprise was short: ""Melodje" died in late 1940s, as soon the stalinist regime completed its installation in Poland. (see also: )
Nitta Jo - Ta Voix - Tango - 1930
Ta Voix Tango chanté du film "Cendrillon de Paris" Paroles de E. Recagno - Musique de Roger Dumas Mme Nitta-Jo, de l'Empire Accompagnement d'Orchestre sous la direction de M. Pierre Chagnon Disque Columbia DF 279 / mx. L 2552 1930
Tango from 1935: Pyotr Leshchenko - Tatiana
Tatiana (O.Strok) - Peter Lescenko (Pyotr Leshchenko) mit Orchester Dir. E. Honigsberg -Hecker, Columbia 1935 NOTE: Pyotr Leshchenko - one of the greatest tango-interpretators in 20th century - sings another wonderful tango, composed by Oskar Strok, a Latvijan genial tango composer from Riga. See other YT uploads with both artists and read notes about their lives. Pyotr Leshchenko "Kapriznaja" Moj Drug (My Friend) tango "Vino lubvi" tango "Barcelona" Oskar Strok's tango sung by Leshchenko Siniaja Rapsodija (The Blue Rhapsody) and Slowfox Tell Me Why, madame? (Skazhitie, Poczemu?) another wonderful Strok's tango "Black Eyes"played by Marek Weber's Orchestra and the same tune played by Columbia Records Orchestra and accompanied by the charming vintage phoitos of the Latvijan capital city, Riga and Leshchenko singing a Polish-Russian foxtrot "Andriusha" Have a nice day with Pyotr Leschcenko and Oskar Strok's tunes!!
Polish Blues: Tadeusz Faliszewski - To wiosna gra, 1930
Hallo, all YT guys!! Spring is here! Der Lenz ist da! To wiosna gra!!! Here's a Fanny Gordon's blues (? well, it's rather a slow-fox for me) from happy Warsaw of 1930 - with my best Spring greetings to all of you NOTE: Tadeusz Faliszewski & Orkiestra Henryka Golda (Henryk Gold's Orchestra ?) - To wiosna gra (It's Spring Who's Acting) (Music: Fanny Gordon, text: Krystjan) Blues z rewii: Czy pani lubi bez? (Blues from the revue: Do You Like Lilacs, Madame?), Syrena-Electro 1930 Go to another Fanny Gordon's compositions and to her biogram:
Old German - Polish Foxtrot Zadzwon do mnie - Orkiestra H.Bunda .avi
Tadeusz Faliszewski - Ty i moja gitara , 1931
Tadeusz Faliszewski, artysta teatru "Morskie Oko" (The Artist from "Morskie Oko" theatre) - Ty i moja gitara (You And My Guitar), Tango z rewii "Hallo! Ameryka!" (Tango from the revue "Hallo, America!") Muz.: Jerzy Petersburski/ Tekst: Andrzej Włast, Syrena-Electro 1931 --------------------------------------------------- In his memoirs, Ludwik Sempoliński - one of the most popular comic singers and actors in prewar Warsaw - writes about this premiere, that Andrzej Włast, director of the grandeur revue theatre "Morskie Oko" - who in 1920/30s remained in constant conflict & competition with another histerically popular Warsaw cabaret "Qui Pro Quo" - the smaller, yet more "intellectual" scene - decided - after suggestions of his maitre de danse Antoni Nelle (who just returned from the USA) - to arrange (in spite of the Depression) a great "American" show in Warsaw, entitled "Hello! America". They created a kind of a "girls! girls! girls!" show, that would never be (technically) possible on the small stage of "Qui pro Quo". Włast went as far as to import from New York an American actress Margarethe Donaldson. The stage was whole wrapped in white and black silk weils and courtains, the orchestra was dressed in white tuxedos, the art deco desing made the stage a shop window of the newest worldly trends in decorating. Yet, after 40 performances, the title was closed down. The reason was, among others, Tadeusz Faliszewski, who was employed for this show as master of ceremony, as well as he had to sing a lot of songs (including Jerzy Petersburski's tango "Ty i moja gitara"). This difficult actor/singer task was beyond possibilities of that not smashingly handsome tenor, completely deprived of vis comica, who was not a professional actor. The show and enormous investment of time and money, failed.
Polish Tango - Ty nie jesteś winna by Artur Gold, 1934
Stefan Witas & Ork. Odeon - Ty nie jesteś winna (Że me serce śpi) (It's Not Your Fault /That My Heart Is Asleep) Tango (Muzyka: Artur Gold /Tekst: Andrzej Włast, Igo Kranowski), Odeon 1934 NOTE: In the slideshow are just a few photographs portraying exuberant - and full of most wonderful East European tangoes - nightlife of pre-war Warsaw. The best example of it was famous "Adria" in Moniuszki Street - a night cafe that during its short life in the 1920/30s managed to become a legendary place, where met all people who counted in interwar cultural or social life of Poland. In August/September 1944, during the Warsaw Uprising, one of German bombs ripped open Adria's building from its roof to the basement , putting an end to its existence forever.
Георгий Виноградов Песня встречи и Победы Albert Harris
Георгий Виноградов и оркестр Эдди Рознера Песня встречи и Победы Альберт Гаррис (Аарон Хекельман) - В.Винников Georgi Vinogradov and Eddie Rosner's Orchestra Song of Meeting and Victory Albert Harris - V.Vinnikov
Swinging London - Moaning For You, ca 1930
Tęskniąc do ciebie (Moaning For You) Fokstrot z refrenem (Foxtrot with refrain) Uncredited British Band, Odeon, ca 1930 (?) (Polish pressing) NOTE: This tune is just wonderful! But this record, which I found a decade ago in one of my aunts attics - is scratched, it had been erroneosly labelled, as it seems, and to complete the collection of failures, someone glued on the original label the ugly red and hardly readable Polish title (Tęskniąc do ciebie). So, here is my question to all Most Honourable 78RPM Shellacks Collectors in You Tube: who can recognize this fantastic British jazzy little band, that performs here? The singer's voice rings the bell, alas recalling no exact name. I found in the web two other renditions of „Moaning For You": one American, by Coon-Sanders Nighthawks (1929) and second British, by Bert Ambrose Mayfair Hotel Orchestra (1930). I listened to both, but neither is so hot and jazzy like this one! ------------------------------ ATTENTION! Thanks Muscleco - our YT friend! 50 minutes after uploading, I am able to identify the recording! Here's the message I got a minute ago from Muscleco: "Looks like it is The Four Bright Sparks, Columbia CB-077 with Sam Browne vocal. rec May 21st 1930 in London. With Ted Heath on trumpet, Rudy Starita on xylophone". Wow!
Valentino style Argentinian tango 1930s - Film 164
Valentino style argentinian tango. Very nice !
Albert Harris - Gdy mnie nie będzie , 1938
Albert Harris & Orkiestra "Odeon" - Gdy mnie nie będzie (When I Am Gone) tango (W.Krupiński /A.Włast), Odeon 1938
Polish Tango: Hanka Ordonówna - Kogo nasza miłość obchodzi, 1932
Hanka Ordonówna with piano accopmaniament - Kogo nasza miłość obchodzi? (Whe Cares About Our Love)(Music & Text: Marian Hemar)Tango from theatre "Banda", Syrena Electro 1932 ------------------------------------------- This is another beautiful (and less known) Hanka Ordonówna's tango, written (music and lyrics) by Marian Hemar - a fine poet and one of the best lyricists in pre-war Warsaw. This dramatic love story finds its bitter conclusion in the refrain's canto: "Who cares about our love? Just you and I/ Who will be hurt by our love? Just you and I/ Whose eyes will be blinded with tears from our love? Just yours and mine/ Who will be killed by our love? Just you and I". The slideshow are early and late photos of Hanka Ordonówna - la plus grande vedette in the history of the Polish song.
Pre-War Polish Fast-Fox - Salem Alejkum - Tadeusz Faliszewski - Syrena Electro!
Tadeusz Faliszewski performs the pre-War Polish Fast-Foxtrot 'alla orientale' - 'Salem Alejkum'. One of the first works composed in the late 1920s by Henryk Wars with lyrics by Andrzej Wlast. Many such oriental influenced pieces were composed throughout the 1930s - charming exotic truffles. Enjoy!
Tango Lubię - Faliszewski & Piotrowski, 1937
Lubię (Spoglądać w oczy marzące twe) (I Like/ To Look Deep Into Your Dreamy Eyes) Tango (Kagan, Tychowski /Fox) - Tad. Faliszewski & Z. Piotrowski z akomp. Ork. W. Tychowskiego, Syrena-Electro, 1937 (repressed by "Melodje", ca 1946) NOTE: The slideshow contains photographs of some of best or most popular cinema and theatre actresses in pre-war Poland
1930 BROADWAY BY DAY CLASSIC TV SHOW CARTOONS NEWSREELS on DVD at TVDAYS.com
Ira H. Gallen Video Resources 220 West 71st Street NYC 10023 (212) 724 - 7055 As the unofficial Baby-Boomer( IRA GALLEN )Guru of my Television Coll... Ira H. Gallen Video Resources 220 West 71st Street NYC 10023 (212) 724 - 7055 As the unofficial Baby-Boomer( IRA GALLEN )Guru of my Television Collecting Generation I knew it was the right time to create a Video Network for Baby-Boomers Only. What makes my content unique is that I have spent over 30 collecting and restoring from 16mm & 35mm Film Prints and Kinescopes some of the rarest and in many cases one of a kind FILMS, CARTOONS, NEWS REELS FILM SHORTS, FEATURES, INDUSTRIALS, TV SHOWS and especially COMMERCIALS from the birth of Film and early television. - 400 DVD's for Sale from my personal collection. Now my Video & Film Collection is decomposing and what you're seeing is my work digitizing my Video Elements and funding it by selling Stock Footage and now my line of over 400 DVD's Rare TV SHOWS, FILMS, CARTOONS, NEWSREELS, FILM SHORT SUBJECTS, SILENT & SOUND FILMS, HOME MOVIES, SOUNDIES, INDUSTRIALS & especially COMMERCIALS from the 1950's/60's. ALSO GOOGLE VIDEO DOWNLOADS Links to over 3500 hours of Video's housed on both Google & YouTube Over 7,5000 Commercials to watch -- Sports-Toys-Cars-Soft Drinks-Beer-Cigarettes-Milk-Cosmetics-Ho usehold Products-Drugs-Cereal- Gasoline -Clothing-TV Sets. In Search of TV History -- Hey Boys & Girls of 50's TV were you on a LIVE show, was a family member always telling you they were in commercials back then...Now spot someone. SPECIAL HELP SAVING MY TV HISTORY PRIEMERE EDITING PROGRAMS FOR VIDEO & UPLOADING TO WEB -- GREAT DISC MAKER...needing to buy duplicator machines to make DVD copies at Home or the office. I make all my discs with these. BE AWARE Copyright & Trademarks -- There are over 10,000 Film prints and just as many Video elements in my collection with one of a kind films, TV Shows, Sales Film & especially commercials of products you might own, and if your missing all of your history on film lets us know.
Adam Aston - Jola Jola, 1934
Adam Aston & Orkiestra pod dyr. Juranda - Jola, Jola, Tango (Białostocki /Jellin) - Syrena Electro 1934
Polish Tango: Adam Aston - Graj skrzypku graj, 1935
Adam Aston & Orkiestra Syrena Rekord - Graj skrzypku graj (Play Fiddler, Play) tango (W.Lidauer /Zdrojewski), Syrena-Electro 1935 (In You Tube this song is also sung by Adam Aston in Hebrew! ) NOTE: In the slideshow are prewar photographs of my birth town Bydgoszcz (that slightly unspronounceable Polish name translates also as Bromberg). These days were having a very special anniversary in Poland: 70 years ago, on 23 August 1939 in Moscow the Ribbentrop-Molotov Pact was signed. 7 days after that the Second World War started and Poland was attacked and torn apart by two agressors: two neighbours, both violating the non-aggression agreements, that had been signed with Poland in the 1930s and extended until 1942, and with no declaration of war given. The onset of it was a massacre of the small town of Wieluń, located on the Polish-German border in the Poznań region. During the airraid and bombing of the sleeping town, over a thousand of its inhabitants were killed in their beds. This massacre of the so-called civilised nation on the helpless little town, having completely no military installations or any strategic role, is often overlooked and the attack of the German ship Schlezwik-Holstein on the Polish military base Westerplatte (part of the Port Of Gdańsk) is erroneously considered as the moment when 2nd World War started. At night of the 17 th of September, two weeks after the German invasion from the West, the Soviet troops crossed the Eastern border of Poland. Historical Polish towns: Lwow, Wilno, Grodno, Tarnopol, Stanisławów and dozens of others were occupied and their inhabitants mostly the military and the police, intelligentsia, land owners and officials, all with their families were either immediately executed, or first imprisomned and later executed for the anti-Soviet conspiracy. Many, in the animal cars, were sent in the middle of the winter, with only a handful of things they managed to grab in the moment of their arrest by NKWD, with children, pregnant women etc. - thousands kilometers deep into the Inhuman Land of Russia. As it is estimated today, ca 200 000 300 000 of them died. Russia still denies its responsibility for those crimes and refuses to qualify 20 000 of the Katyń massacre victims (Polish officers who were captured by the Red Army after the Soviet aggression and few months later murdered in the Katyń forest by NKWD) as the victims of the genocide. Instead of this, President Putin during the 60th anniversary of Russias victory over nazi Germany, in May 2005 expressed his views during the interview he gave to the German TV ARD-ZDF. In his opinion, Pact Ribbentrop-Molotov between Germany and Russia was a legal act of defense from the Polish aggressive attitude towards Russia and both: Stalin and Hitler were fully entitled to do what they had done, in accordance with the Pacts agreements. After Wieluń, Bydgoszcz was the next Polish town to be massacred by Germans in September 1939. So called by the Nazis the Bloody Sunday of Bromberg when as result of the streetfights between Poles and German civilian provocators, who opened fire to the Poles from the rooftops and church towers as soon as the Wehrmachts offensive on the city started - about 500 Germans lost their lives - served as the pretext to begin a first genocide in the modern history of Europe. Every tenth inhabitant of the town was selected on the base of the lists of the Polish intelligentsia, that - as it appeared later had been carefully completed by the Germans along before 1939 - and executed in the Old Town Square of Bydgoszcz, as well as in so called Death Valley in the suburbs.
Latvijan tango: Marek Webers Tanz-Orchester - Dark Eyes, 1931
Schwarze Augen (Oskar Strock) - Marek Weber und sein Orchester, mit russischem Refraingesang, Electrola 1931 (Germany) NOTE: I think, this Oskar Strock's masterpiece is one of the most beautiful European tangos of the 1930s and I hope, our dear Friend, Camille does not mind that I'm once more uploading it 11 months after Camille's site had presented it for the first time - however, in a slightly different version. The differences are predominantly of technical nature: Camille's is a HMV recordding while here we have a German pressing, by Electrola. Perhaps it is why the Camille's "Black Eyes" [or "Dark Eyes", as I put it] is played as if softer, while Electrola presents the broader volume and more powerful dynamics. Maybe it's a question of two different kinds of shellac? Neverthelers, Camile's slideshow of Dark-eyed beauties is superb and I persuade everyone to go there and see it at: Also, available in YT is another interesting old version of that tune, played by orchestra "Columbia" with acccompanying collection of vintage photographs of Latvija's capital Riga plus info about that excellent Latvijan composer, Oskar Strock
Tango Palędzie Kapela Zza Winkla.wmv
UWAGA ! W REFRENIE PIOSENKI 0:33 min i 1:32 min ZAMIAST kontre pat Powinno być podle pach ( pod pachę) . ZA BŁĄD W FILMIKU WYNIKAJĄCY Z TEGO ŻE PIOSENKA SPISYWANA BYŁA ZE SŁUCHU BARDZO PRZEPRASZAM :-)
Polish Tango from Berlin: Dajos Béla plays Bronisław Kaper, 1929
Dajos Béla m.s. Tanz- Orchester - Tränen weint jede Frau so gern - Tango (Every Woman Is So Easy To Weep) (Bronisław Kaper), Odeon 1929 NOTE: Bronisław KAPER - Polish composer and pianist, born in Warsaw in 1902. He studied music (in class of piano and composition) at Warsaw Conservatory. During his studies he started writing "schlagers" for the Warsaw cabarets. For Mieczysław Fogg he wrote tango „Why Do You Keep Repeating It?" (Czemu mi wciąż powtarzasz?), English waltz „Maybe Yes, Maybe No" (Może tak, może nie) for Zofia Terné, or foxtrot „I Have A Good Heart" (Ja dobre serce mam!) for the revue theatre „Morskie Oko". After his studies, he went to Berlin where he met a famous composer Walter Jurmann, who suggested him write music for the cinema. In 1933 Bronisław Kaper composed music for the international cinema hit „A Song for You" (Ein Lied für Dich) with a world famous Polish tenor Jan Kiepura; the song from that film: „Ninon", quickly became an international evergreen. In the same year 1933, soon after Adolf Hitler's nazi party took power in Germany, he fortunately decided to leave for France. In Paris he met Louis B. Meyer who signed a contract with him for writing music for the Hollywood movies. The cooperation with MGM lasted 28 years of Bronisław Kapers life. He composed music for about 150 movies, including such great pictures as „San Francisco" with Jeannette McDonald, „A Night At The Opera" with the Marx Brothers, „Everybody Sing" with Judy Garland, „Mutiny On The Bounty" with Clark Gable or the immortal „Lili"(1952). In 1953 he received Oscar. As a member of the American Film Academy he promoted worldwide the Polish film school, with Roman Polański, Andrzej Wajda and other Polish film directors of the 1960/70s., who - thanks to his influences and activity - could reckon on a friendly reception in the United States. Bronisław Kaper died in 1983 in LA, California.
Jerzy Gerts Orchestra, Voc. Albert Harris - Sex-appeal
Plattensammler88 auf Facebook: JERZY GERT-Playlist: Diese Aufnahme entstand 1937 in Warschau. Henryk Wars komponierte den Schlager für den Film "Pietro wyzej", in dem ihn Eugeniusz Bodo in der Verkleidung von Mea West sang. Auf der vorliegenden Aufnahme wird der Refrain von Albert Harris, ein bekannten polnischen Sänger, Schauspieler und Komponisten vorgetragen. ANDERE VERSIONEN DIESES SCHLAGERS AUF MEINEM KANAL (Other Versions of this Song on my Channel): Henryk Wars Orch., Voc. Adam Aston:
Tango from Soviet Russia - Bryzgi Shampanskovo, ca 1930
Bryzgi Shampanskovo (Splashes Of Champaigne) Tango - Orkiestr pod upravlenijem Luisi (Orchestra dir. by Lewis?) Noginskij Zavod, ca 1930 (USSR pressing) NOTE: This record is the 1930s Soviet pressing of some West European matrix - it was a common practice in USSR in the stalinist decades, when Soviet Union did not even keep appearances of respecting any kind of international commercial or copyright regulations. The information on the label is rather modest: there's only a title „Brizgi shampanskovo" (The Champaigne Splashes) and - phonetically transcribed from English into Russian - „Orkiestr pod uprawl. Luisi "(Orchestra dir. by Lewis?). Perhaps someone can identify this interesting recording, as well as the author of that really hot and very well played tango? The photoshow presents examples of artistic poster and book design in USSR in turn of the1920/30s - just before the Great Terror of mid- and late 1930s. NOTE2 (added 5 days later): here's what e-mailed about this recording one of YT visitors. Thank You!! "Original title is "Champagne Bubbles". Music by Jose M. Lucchesi, recorded in 30th by his orchestra on German Electrola, EG6444. Selected for pressing in the Soviet Union by a member of the Soviet Trade Mission in London, Mark Loshak. Alex Tabenkin, USA "
Old Tango from Poland: Stanisław Gruszczyński - Come To Me! 1932
Stanisław Gruszczyński (vocal) Przyjdź (Come!) (Jerzy Petersburski / Andrzej Włast) Tango from the revue „Tęcza nad Warszawą (Rainbow Over Warsaw) in the theatre „Morskie Oko, Syrena Electro 1932 --------------------------------- Stanisław GRUSZCZYŃSKI (b. 1891 in Ludwinów by Wilno, died 1959 in Milanówek by Warsaw) - one of greatest Polish singers (tenor) in the history. During his schoolyears in Wilno, in the age of 14, he was engaged in the Polish anti-Tzarist conspiracy, for which he was expelled from school with no right to continue. Having a natural strong tenor, he decided to go to Warsaw where - in the years 1910-15, working as a waiter in Hotel Angielski, he had a chance to get into artistical circles and to receive first propositions for little roles in the theatres. At last, one of Hotel Angielski regular customers got interested in his vocal talents and helped him in the engagement into Warsaw Operetta. After the very first performance, his success was enormous. Overnight, he could choose among offers. He choose Radames in Warsaw Grand Theatre performance of „Aida", in 1916. This role he guaranteed him forever the nickname of the „Polish Caruso" as well as the solid rank among the greatest Polish tenors of the I-st half of XX century. During 1920 that nice village boy from nearby Wilno used to take all possible roles on the prime stages of Europe: La Scala, Madrid, Barcelona, Hamburg, Paris, Lisbon. Because of the lack of a solid music education he sung in Polish, usually causing the little sensations among conoisseurs and journalists. Nevertheless, they all agreed in one point: Europe has not had for a long time, such performer of Wagnerian roles! He was given enormous voice and phenomenal music memory. He could learn his part overnight. Therefore, he was exploited beyond measure. Lack of education, as well as his spontaneous, uncritical character, made him take at once any proposition and sing anywhere, without guaranteed conditions. Thus he sung in best operas as well as in the smoky cafes; he also performed in the movies. He recorded dozens of sides for best gramophone companies in Europe, which earned him a fortune. This was the beginning - and the end of his hi-speed life as a European celebrity. In the beginning of 1930s, having bought for himself a race horse team and a villa in the snobistic settlement area of Milanówek by Warsaw, he had to consider the first alarming signs of his voices decline. The critics started to complain about his failures on the stage. And suddenly, in 1932 his still great name appears on the posters advertising new revues in Warsaw cabaret "Morskie Oko" - where he was mercifully employed for the revue premiere. Soon he became alcoholic. During 2nd World War he worked as a doorman and a physical worker. After war, his long-time-ago fans arranged the modest jubilee for him in the Warsaw Opera, as well as they found for him the low-paid yet stabile employment in the Music Library. In 1958, he retired, to die soon on a hart attack, in poverty and oblivion.
Tango from Poland: Chór Dana - Jest tylko jedna miłość, 1936
Chór Dana - Jest tylko jedna miłość (There's only one love/ Leaving a mark in your heart/ it is the first love/ from your most long ago years)(Muz.S.Rozsuyai /Tekst Z.Friedwald), Odeon 1936
Marian Demar sings Czy pamiętasz tę noc w Zakopanem?, 1937
Marian Demar & Orkiestra „Syrena Rekord dyr. Iwo Wesby Czy pamiętasz tę noc w Zakopanem? (Do You Remember That Night In Zakopane?) Tango (Muzyka: Z. Karasiński - Aleksander Jellin), Syrena-Electro 1937 ----------------------------------- Its one of the last great Polish tangos of the inter-war period, dedicated to the most fashionable winter sports centre in prewar Poland. Composed by Zygmunt Krasiński it quickly became a kind of a „national anthem for all Zakopane lovers and winter sports fans, not only before 1939. Because the whole title is rather long, ocassionally it is called humorously „Tango Czy-Pa. In the clip are displayed rare protographs showing the interior of the Warsaw-Zakopane Express Train „Narty-Dancing-Bridż (Skiing-Dancing-Bridge). That luxurious train had for its guests the dancing car, the nightclub, tha bathing car etc. so sensational as for that time, that even the „Polish Revelers Chór Dana recorded a funny foxtrott about that train, entitled exactly so: „Narty-Dancing-Bridge. Marian Demar was the operetta tenor in Warsaw, who also recorded popular hits for „Odeon and „Syrena Electro. To know facts from the dramatic life of the bandleader Iwo Wesby, its worth seeing: See also two other renditions of this song in my site:
Tango: Imperio Argentina - Danza Maligna, 1930
Imperio Argentina with guitar - Danza Maligna (tango chanté) (Music: Fernando Randle, Lyrics: Claudio Frollo), Odeon 1930 (Polish pressing) Imperio ARGENTINA (Magdalena Nile del Río) (1906 2003) was a singer and movie actress who was born in Buenos Aires, Argentina, and she became a citizen of Spain. Del Río performed in Argentina's theaters, where she had a long and successful career. At that time, her stage name was Pettit Imperio. But her most successful moments came after she moved to Spain and had her European debut in Teatro Romea de Madrid, in 1924. It was there that she changed her name to Imperio Argentina, as a way to honor her "other country". While in Spain, del Río participated in many movies, and she participated frequently on radio. She was very popular throughout Europe in 1930s, her records were selling in hundreds thousands copies, her most popular songs became international hits („Mi" Caballo Murio", „Viejos Recuerdos, „Pianta d'Aca"). Imperio Argentina obtained Spanish citizenship in 1999. She died in Benalmádena, Málaga in 2003, aged 96. NOTE: „Danza Maligna is a beautiful tango Argentino and I hope my Spanish or Argentinian friends won't mint that I illustrated it with the flamenco dancers, on vintage Spanish posters. That fascinating, slightly „somnambulic" Imperio's interpretation of this wonderful and a little weird song evoked in my imagination the vision of a flamenco rather than any „classical" tango dancer. NOTE 2: added a day later. Sorry, but the last photograph in my clip is not Argenitna's but Dolores del Rio's! - who was also a wonderfu actress and singer, but living on another side of the Atlantic Ocean, in the US... :-(l
Polish tango: Adam Aston - Fordanserka, 1934
Adam Aston & Ork. gitar hawajskich W.Tychowskiego - Fordanserka (A Gigolette) Tango (Holctreger, Buzuk /Reden), Syrena-Electro 1934
Tribute to Tamara Lempicka: Adam Aston sings tango Tamara, 1933
Adam Aston & Orkiestra Syrena Rekord, dyr. Henryk Wars - Tamara - tango z rewii "Wiosna i miłość" teatru Hollywood (from theatre "Hollywood" revue "Spring and Love") (Muz.: Z.Lewandowski / Tekst: Z. Maciejowski) Syrena-Electro 1933 (Polish) NOTE: I dedicate this haunting tango to the memory of Polish painter, Tamara Łempicka (nee Maria Górska) - one of the most fascinating European artists of the 20th century. Her works - together with paintings of Andre Lhote or Maurice Denis were fundamental for the development of art deco style in visual arts. Born in Warsaw in 1898 to a wealthy Polish family Górski (her father was the law advisor for international bankers making business with the Russian tycoons, and her mother's sister was a wife of the representative of Credits Lyonnais in Tzarist Russia) she spent her childhood and youth in Moscow and in St. Petersburgh, where she enjoyed the last years of the blitz and glamour of the upper class life in dying Russian empire. Married in age of 17 to a Polish aristocrat, Tadeusz Łempicki she experienced the atrocities of early stages of the bolshevik revolution, before she managed to flee, together with her whole family, to Finland and farther via Danemark, to France (her husband, who was arrested by the communist Cheka secret police joined them two years later). In Paris, living still on relatively high standard she started studying arts in the renowned school de la Grande Chaumiere. Soon, her paintings drew attention of her professor Andre Lhote who arranged for Łempicka her debut in the Salon d'Autumne. Later, she exhibited in the snobistic Bottega di Poesia in Milan - an event which thanks to the personal involvement of Gabriele d'Annunzio - who was one of the most "fashionable" writers of the era and personal friend of Benito Mussolini -opened to her avenue to international fame. In the end of the1920s and trough early 1930s, Tamara Łempicka was probably one of the most expensive portraitist of the European aristocracy and French artists - she portrayed members of Italian, Greek, German and Russian royal families, counts and marquises, American millionaires (e.g. members of the Bush family) or artists such as Jean Cocteau, Andre Gide, Suzy Solidor. Her personal life, alas, did not make up to her professional success: her beloved husband Tadeusz could not find place for himself in her world of the "beautiful people" of the jazz age in Paris, so - more and more jealous about her numerous romances with men and women - he finally left her for the Polish pharmaceutical heiress, Irena Spiess and moved to Warsaw. Tamara's desperate travels to the Polish capital city and attempts to save her marriage, failed. Tormented by attacks of depression, hypochondria and fear of changes of the artistic trends in Europe - from art deco towards the abstract painting, which she simply did not understand - she married the Hungarian-Jewish baron Kuffner with whom (and with almost the whole of her and her husband's fortunes) she left for America in the very last moments before WW2. Having settled first in Hollywood, then - via New York - in Houston, she finally chose Cuernavaca in Mexico as her harbour for last decades of life. Almost forgotten by the world, she however was at the end given a wonderful chance of witnessing the recurrence of interest about her art, when in 1970, Alain Blondel - French student of arts and group of his artist friends, who gathered around Galerie Luxembourg in Paris - arranged for her a great exhibition and a triumphant Come Back of Tamara Lempicka to galleries, museums and art auctions, where prices of her paintings started to drive quickly up to millions of dollars and people like Madonna or Jack Nicholson quarelled whose private collection of her works is better and more representative for Lempicka's genius (Madonna hunted for the earlier paintings while Nicholson concentrated on collecting later works of the Polish artist, when Lempicka exparimented with the abstract painting).
Polish Tango: Stefan Witas sings Jak sen , 1936
Stefan Witas & Orkiestra taneczna "Odeon" (Odeon Dance Orch.) - Jak sen, jak baśń nasza miłość (Like A Dream, Like A Fairytale Is Our Love) (Music: Adam Lewandowski, Text: Andrzej Włast) Tango, Odeon 1936 NOTE: Stefan WITAS (b. 1908 in Warsaw, d. 2006 in Warsaw) Polish operetta tenor and a popular singer. In 1937 he won the national radio contest for the most popular Polish singer. He recorded hundreds of sides for Columbia, Syrena-Electro and Odeon, (sometimes under his pseudonym Stefan Nowita). He also performed in most elegant cafés and night clubs of prewar Warsaw: „Adria, „Gastronomia, „Alhambra „IPS or „Swann. During 2nd World War he did not appear on the nazi-controlled stages Polish socjety, as well as most of performing artists, boycotted - on the contrary to collaborating France the stages and public performances governed or organized by German officials. After 1945, Witas continued his artistical career in Łódź and in Warsaw, where he was until his retirement in 1970s still very popular as operetta singer, radio comedian and a movie comedy actor. Adam LEWANDOWSKI was not a very prolific composer, but whatever he did was of superb quality. See in YT also his beautiful tango "Tęskno mi" (I Feel Yearning)I uploaded some time ago - one of the most beautiful Polish tangos of the 1930s Also his monumental Boston waltz "Przeminęło z wiatrem" (Gone With The Wind)or another tango "Bo mnie jest szkoda lata" ('Cause I Miss The Summer) are still often sung today.
Tango Argentino from Poland: Grzech , 1938
Janusz Popławski & "Odeon" Dance Orch. dir. by Jerzy Gert - Grzech (Oracion) Tango (E.Bianco /B.Kuroń), Odeon 1938 NOTE: "Grzech" means "a sin". The text of this tango beats all records of erotic graphomania of the second row lyricists of inter-war period - and therefore, it's so lovely and unbeatable! The refrain tells a little story about a couple dancing at night in a huge ball hall, and pressed together by the dancers they think of nothing but - a sin. He reads in her eyes - that she wants to sin. And he wants it too, like "a strong wine". So - his last dramatic exclamation is "may the sweet sin finally link up two of us!".
Faliszewski, Petersburski & Włast - Tango Żegnaj 1930
Tadeusz Faliszewski & Ork. pod dyr. Henryka Golda - Żegnaj! (Adieu) Tango z rewii „Bawmy się razem" (Tango from revue „Lets Play Together") (J.Petrsburski /A.Włast), Syrena-Electro 1930 NOTE: Żegnaj, będę śnił w udręce / Że na skronie biedne omdlałe znów kładziesz białe ręce(Farewell! Ill be dreaming in torment/ that your white hands are laid again on my poor drooping temples)... One of great Polish prerwar tangos composed my Maestro Petersburski has, unfortunately, one most graphomanic Andrzej Własts texts. The poor drooping temples are just a little sample taken from the whole cavalcade of tears, white palms, despairs etc. Włast, who was able to write excellent texts like Ach te Cyganki, Tango Andrusowskie and dozens of others, had similar abilities in turning himself into a real monster of Polish songtext-graphomania. Unforunately, such Dr Jekyll/ Mr Hyde ambiguous role was often played also by the finest poets who earned their living in the revue theatres. In the files of Julian Tuwim - one of the classics of Polish XXth century poetry - can be found, along with sophisticated, poetical songs, also terrible melodramatic texts, obviously written in a hurry and merely for commercial reasons. See also very good German rendition of this tango (in Germany known as "Mara") by Bernard Ette Tanz-Orchester
The Beautiful Poles: Tadeusz Olsza - Takie coś, 1935
In this song, author of a very witty & intelligent text, deliberates about "that something" (Takie coś) what differs the Polish women from other nations. It is, ofcourse, the well known theme of so many well known songs. Yet, here, it becomes a pretext to let Tadeusz Olsza sing his one of two-three recorder songs for the internet audience, as well as to tell the world this unusual story of his Polish-Jewish life. TADEUSZ OLSZA Né.: Tadeusz Blomberg, actor, singer, brother of a stage-actor Michał Halicz. In 1915-17 he studied singing in Warsaw Conservatory. After his degree, he joined the careless life of the small theatres' and cafes' actors' groups of the 1920s. Being an excellent dancer, he soon became the prominent name among the performers in Warsaw cabarets and revue-theaters: "Qui Pro Quo", "Nietoperz" (The Bat), „Morskie Oko", "Stańczyk" (A Jester) or in the operetta "Nowości" (The Novelties). He also performed as a singer, a monologuist, as well as „the best tango-dancer of Warsaw" (his memorable apache-performances with Stanislava Nowicka, the „queen of the Polish tango"). He was also succesfull as a movie actor. Besides the Polish movie comedies („His Excellence, the Driver") he acted in German movies of the Weimar Republic ("Mater Dolorosa" and "Jugendliebe"). During the Nazi invasion on Poland, he -- as a mobilised soldier, took his part in a Setember 1939 campaign, to finally find himself in Bucharest, Romania, where he joined the group of Polish emigree theatre artists. In 1941 he left Romania and joined the Polish Emigree Army in France, then in Scotland, where he run the theatre for First Brigade of the Polish-Scottish Shooters. After the WWII, he returned to Poland in 1946, where he performed first in Cracow, then in a ruined Warsaw, as the leading star in the first great post-war Polish vadeuville, written by the poet Julian Tuwim: „Soldier of The Queen Of Madagascar" (February 1947). In the years 1948-71 Tadeusz Olsza rejoiced himself with the permanent contract he had with „Syrena" theatre in Warsaw -- the only semi-cabaret, semi-vadeuville scene, which was somehow tolerated (and sometimes, used) by the regime vips, in the post-war communist-occupied Poland. In 1972 he left for London, to jion his wife living there. Recording: Tadeusz Olsza, vocal - Takie coś (Henryk Wars/Emanuel Schlechter), Foxtrot from the movie "His Excellence, the Driver", 1935
Polish Tango: Petersburski Śpiewaj, 1931
Śpiewaj (Sing!), Tango z rewii teatru Morskie Oko "Halo, Malicka i Sawan!". (Jerzy Petersburski) - Orkiestra "Columbia" pod dyr. Stanisława Nawrota, 1931 (Polish product) NOTE: On the label the title "Śmiej się" - in English meaning "Laugh!" - is incorrect and it should be "Śpiewaj" (in English: Sing). It was a popular Chór Dana's tango, performed in Morskie Oko hit revue "Halo Malicka i Sawan" in the number "Muzyka z gramofonu" (Music from my gramophone). The revue was meant to be a tribute given to two great theatre stars of interwar Poland: Maria Malicka and Zbyszko Sawan. This recording is a flip side of Also photographs of Zbyszko Sawan and Maria Malicka's can be seen here
Polish Christmas Carol in 1929: Wśród nocnej ciszy
Kolęda: Wśród nocnej ciszy (Polish Christmas Carol: In The Still Of The Night) - -Chór kościelny pod dyr. A. Szczygielskiego (Church Choir dir. by A. Szczygielski), Syrena-Electro, 1929 (Poland)
Przedwojenna Warszawa: Faliszewski - Ach, te Cyganki! 1933
Tadeusz Faliszewski - Ach, te Cyganki! (Rosyjski fokstrot) (Artur Gold / Andrzej Włast), Syrena - Electro 1933 in English: Ah, those Gypsy Girls! (the Russian foxtrott)
Polish tango: Tadeusz Faliszewski - Całuję twoją dłoń, Madame, 1929
Tadeusz Faliszewski -- Całuję twoją dłoń, Madame (I Kiss Your Hand, Madame), Tango z rewii „1000 pięknych dziewcząt" (from Morskie Oko revue „A Thousand Beautiful Girls"), Syrena-Electro 1929 (Poland) NOTE: This internationally famous tango, which needs no explanation, is accompanied by a slideshow presenting three Polish beauties of the stage and silver screen of the 1920s. Maria MALICKA -- was not only the stunning beauty but also one of the greatest actresses in history of Polish theatre. Born in Kraków in 1900, she gained notoriety after her charming role in a romantic movie "Dzikuska" (A Savage Girl; 1928). Her success was followed by a range of enthusiastic reviews and performances on the most prestigeous stages in Poland, when Malicka rejected film career in favor of the serious repertoire. When in Sept 1939 Poland was attacked by Germany and Soviet Russia, Malicka's heyday came to an end. Initially she joined, like the most of her colleagues, the boycott of Warsaw scenes administered by the Germans and she worked as a waitress. But that did not survive long and Malicka soon appeared on stage of theatre Komedia - which under German occupation became place for the cheap farces, unfrequented by more serious audience. Therefore, after the war Malicka received several-year ban on playing on the Warsaw scenes, so she returned to Kraków. Yet, as one of the most beautiful and talented actresses in prewar Poland, she experienced a unique bad luck. Her prewar competitor in talent and beauty - influential actress Nina Andrycz - meanwhile became the wife of the communist prime minister, Joseph Cyrankiewicz. Besides that, Nina Andrycz was not guilty of collaboration with the Germans during the war. Therefore in the 1950s, despite the lapse of Malicka's punishment, she was not engaged by the directors of Warsaw theatres, knowing that Mrs. Premiere -- who meanwhile became a star number one in the communist Warsaw - does not wish to have competition. Malicka stayed in the province until her death in 1992. ------------------------------------------------------------------ Second beauty in my clip is a film actress Jadwiga SMOSARSKA. She was already repeatedly portrayed in my channel, so I will refrain from writing a long story here. Just a reminder, that Smosarska (born 1898 in Warsaw) graduated from drama school in 1920, but still before graduation, she had a successfull debut on stage of the Dramatic Theatre in Warsaw in 1919. A year later she also had her film debut in the silent movie All For The Happiness, ever since her film career continued until the outbreak of WW II, and having made her the unquestioned queen of Polish film in the interwar period. Shortly before the war she married a distinguished architect Zbigniew Protasewicz, with whom she emigrated to America in 1939. From November 1939 she took up social work among the Polish community. Besides occassional appearances on stage - usually, for small emigrant theatres in the Polish communities throughout USA - she never seriously returned to acting career. After the war she has repeatedly visited Poland to finally return with her husband to the country on a permanent basis in 1970. ---------------------------------------------------------------------------- Third diva is Helena MAKOWSKA - perhaps, the most mysterious character among the three. Born in 1893 in Krzywy Róg (now in Ukraine) in the Polish nobility family Woyniewicz, she very young married a lawyer Makowski, whom she soon diviorced, retaining his name. In 1910 she went to Italy, where, thanks to her beauty and passion for theatre, she gained popularity as the star of the Italian silent film. Her talent unfortunately not walked hand in hand with her beauty and the stunning Polish sexpot was often criticized for bad acting. This resulted in her moving to Germany, where she married a German aristocrat and starred in several films, among others with Rudolf Lettinger, actor known for Cabinet of Dr. Caligari. From this fact, however, her talent did not grow. She came back to Italy, where she has become the subject of gossips about her alleged affair with the heir to the throne and the future king of Italy, Umberto II di Savoie. It is said that the royal family exerted pressure on her departure from Italy. Anyway, back in Warsaw in the turn of the 1920/30s, she performed on stage in a lighter repertoire and recorded cabaret songs (her biggest hit was tango "Indie" ). In 1939, arrested by the Germans as the foreign citizen, she was incarcerated in internment camp. Released in 1944 she travelled to UK, where she was active with the Polish military emigration. In 1947 she returned to Rome, where it turned out that nobody remembers her anymore. Having taken a couple of episodes, among others in Quo Vadis directed by Mervyn LeRoy, she died in obscurity in Rome, in 1964. Among younger Poles, her name is completely unknown today.
Harry Roy Orch. - The Continental, 1935
Harry Roy & His Mayfair Hotel Orchestra - The Continental (From RKO film "The Gay Divorcee")(Herb Magidson /Con Conrad, Odeon 1935 (UK pressing)
Mieczysław Fogg - Ostatnia niedziela, 1936
The „Last Sunday" -- erroneously called „THAT Last Sunday" -- was composed by Jerzy Petersburski in 1936. It is a nostalgic tango with lyrics by Zenon Friedwald describing the final meeting of former lovers who are parting. The Polish title was "To Ostatnia Niedziela" ("The Last Sunday"). The song was extremely popular and was performed by numerous artists (best kown performance by Mieczysław Folg). Along the way, it first gained the nick-name of "Suicide Tango" due to its sad lyric (although, the real „suicie song" in the night restaurants of Eastern Europe -- where the shoot in the brow at 12 at night was not any unusual happening - was In 1930s another sad „Sunday": the „Gloomy Sunday" (in Polish: „Smutna niedziela") by a Hungarian composer Rezső Seress. (Soon, an international hit; in the US sung by Billie Holiday). But this Polish „Last Sunday" song also had a terribly sad fate. During World War II In the concentrations camps it was often played while Jewish prisoners were led to the gas chambers and ovens, to be executed. During World War II its Russian version was prepared by Iosif Alveg and performed by Leonid Utyosov under the title of "Weary Sun" (Russian: "Utomlyennoye Solntse"). After World War II, the song remained largely successful and appeared in a number of films, including Yuriy Norshteyn's 1979 "Tale of Tales" (considered by many international critics to be the greatest animated film ever made), the award-winning Krzysztof Kieślowski's "White" (1994) and Nikita Mikhalkov's "Burnt by the Sun" of the same year. The Russian title of the song also became the name-sake for the latter film and -- as the result - even the more educated and worldly Russians nowadays consider the old tango from Warsaw their „Russian national song". Recording: Mieczysław Fogg - To ostatnia niedziela (Petersburski/Friedwald), Syrena-Electro 1936 See also Zygmunt Piotrowski's version
Wystarczy kilka słów...
Edycja z lat 30-tych XX wieku. Piosenkę śpiewa Albert Harris.
Janusz Popławski - Czy pamiętasz tę noc w Zakopanem? 1939
The composer of this tango Zygmunt Karasiński - in 1920s the co-founder of Karasinski-Kataszek Band, the first jazz-orchestra in Poland - was also the composer of many pre-war evergreens, e.g. the slow foxtrot "Każdemu wolno kochac" ("Everyone Is Allowed To Love"), the foxtrot "Yo-yo", the tango "Pamiętam twoje oczy" ("I Remember Your Eyes"), and one of the most famous Polish tangos ever (composed just a few months before the onset of World War II) "Czy pamiętasz tę noc w Zakopanem?" (Do You Remember That Night In Zakopane?). Being a Jew, in September 1939 he left Warsaw for the north-eastern part of Poland, which had been taken by the Soviets. In 1941, he established a jazz ensemble, "The Belorussia Jazz", in Białystok, and later organised a big jazz revue group of performers in Lwow. After WWII, he returned to Warsaw where he worked as the music editor for the Warsaw Broadcasting service. In 1945 the citizens of Warsaw, who remembered and loved his music and songs, organized in the "Roma" - the one and only Warsaw cinema building that survived in the totally ruined city - the gala anniversary of 25 years of his artistic career. Up until 1968, he continued composing songs, e.g. "Deszczowy koncert" ("The Rain Concerto") for a popular singer Fryderyka Elkana, and he ran the radio program "A Thousand Tacts of Jazz". In 1968, a victim of the infamous Polish communist regime's anti-Jewish campaign, he left for Denmark. Zygmunt Karasinski died in Copenhagen on 20 June 1973. The tango tells about "one night in Zakopane" - which until 1939 was the most elegant and fashionable winter-resort in Poland. After 1945, when the stalinist regime was installed, this refrain became one of the symbols of the high-life glamour of the pre-war Poland. Recording: Janusz Popławski, Orkiestra "Odeon" pod dyr. Olgierda Straszyńskiego - Czy pamiętasz tę noc w Zakopanem? (Muzyka: Zygmunt Karasiński - Tekst: Aleksander Jellin), Odeon c. 1939
Paul Godwin Tanz-Orchester - Fräulein, pardon, 1928
Paul Godwin Tanz-Orchester mit deutschem Refraingesang - Fräulein, pardon (Grammophon 1928)
Tadeusz Faliszewski - Cała Warszawa 1930
Tadeusz Faliszewski - Cała Warszawa (Zobaczyć musi to!) (All Warsaw Must See It!) Foxtrot 6/8 z rewii "Cała Warszawa" teatru Morskie Oko (6/8 Foxtrot from Morskie Oko revue "All Warsaw") (Zygmunt Karasiński /Andrzej Włast) Syrena-Electro, 1930 NOTE: Slideshow: photoes and posters from prewar Warsaw cabarets
Polish-German Tango: Tadeusz Faliszewski - Łza w butonierce , 1931
TADEUSZ FALISZEWSKI - Łza w butonierce (A Tear In My Boutonnière) Tango z rewii "Wino, kobieta i śpiew" (Tango from "Morskie Oko" revue "The Wine,The Woman and The Song") (Fr.Holländer / W.Jastrzębiec), Syrena-Electro 1931 Syrena-Electro, 1931