Blue Smoke: The Lost Dawn of New Zealand Popular Music, - download pdf or read online

By Chris Bourke

Bringing to existence the musical worlds of recent Zealanders either at domestic and out in town, this heritage chronicles the evolution of renowned track in New Zealand in the course of the twentieth century. From the kiwi live performance events in the course of international struggle I and the arriving of jazz to the increase of swing, nation, 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 realm used to be formed through Maori and Pakeha New Zealanders right into a melody, rhythm, and voice that made experience on those islands.

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Additional info for Blue Smoke: The Lost Dawn of New Zealand Popular Music, 1918–1964

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Songs like Alfred Hill’s ‘Waiata Poi’ have used Maori rhythm, but not Maori melody . 157 Opposite: Ana Hato (right) and Deane Waretini made the first commercial recordings in New Zealand, when an Australian mobile unit visited Rotorua with the Duke and Duchess of York. Twenty years later, their Parlophone discs were still selling. Peter Downes collection WELCOME TO THE JAZZ AGE voice shone through, and from the age of sixteen she was being asked to give solo recitals and to perform at official functions.

Regular dances were established all around the city. As part of Ernie Beacham’s Melody Boys, Wilson would bus out as far as Otahuhu or Titirangi. In town, Edgar Bendall led the band at the Masonic Hall on Belgium Street; there Hello, sailor: in the 1920s Ernie Beacham’s Melody Boys employed many leading Auckland dance-band musicians. Beside him are, from left, Vern Wilson, Alf ‘Chips’ Healy, Vic Clark, J. F. Meyers, Bunny Cannan, George Wallace and George McGrath. Dennis Huggard Archive, 35mm-90427-4, Alexander Turnbull Library, Wellington WELCOME TO THE JAZZ AGE was also the Druids’ Hall, the Gaiety and the Railway Social Hall.

His expression I leave you to imagine. ’166 Parlophone was quick to follow up its success with Ana Hato and Deane Waretini with more recordings by Maori. ‘Everybody with a gramophone these days is “talking Maori”’, reported the Levin Daily Chronicle in July 1930. The small town paper had reason to be proud: a Maori trio from nearby Otaki had just released two 78 rpm discs. The Tahiwis had travelled to Sydney on the Ulimaroa especially to record for Parlophone, accompanied by Australian musicians.

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