In spring and summer 1930, Jack Hylton and his orchestra went to an European tour. Among others Germany and Sovjet was visited. Hylton came also Sweden in April witch included concerts in Malmö, Gothenburg and Stockholm. Invitor was the big Swedish revue king Ernst Rolf. And even if the event wasn’t sucessfull economicly it was an inspire for Swedish musicians who normally was quite limited to smaller orchesteral groups. On Marsh 14th, Hylton prepared the visit by record four Swedish hits from the year. All of them used in mr Rolf’s revue. The melodies was composed of the most celebrated Swedish schlager composers among them Rolf himself. Typical for this time the Swedish schlagers was a bit ”jumpy”. I had beeen happy if the recording included som hot solos, bu t it gives a quite good picture of Swedish poupular music from 1930.
The melodies was ”Jag är törstig efter kyssar” = I'm thirsty for kisses by Ernst Rolf
”Jag orkar inte det” = I can not take it by Karl Wehle
”Fast det bara är en liten bit” = Although it's just a small piece by Jules Sylvain
and ”En vrå för två” = A corner for two by Helge Lindberg
The record was available for Swedish buyers from Maj, was only edited in Sweden and is not very easy to find.
Jack Hylton did various recording just for the Swedish market, but this is the only electrical edition, all others was from the acoustic era.
Maybe it could be fun to read what Swedish press wrote about Hylton’s visit in Stockholm
(I’v just used google translate on the following text)
”Jack Hylton, Europe's born jazz king, has announced for the first time
in Stockholm. It became something of an experience. Ernst Rolf, as himself
acted as conferencier, assured us that we never until now had
experienced what jazz wanted to say, and we must give him the right. Each and everyone of
the members of the orchestra were virtuoso on their instrument, not to mention
the conductor, Jack Hylton himself, who turned out to be cut and dried for his
task. He had the real ability to fire up his 'boys' to it
true game mood. The rhythm, the interplay and the agility of the big one
the orchestra, everything was fabulous. Several of the events were in a class
themselves, testifying to the organizer's good taste, sense of sound effects and
ability to utilize the orchestra's resources. The rhythmic background was in addition to percussion based on two pianos together with 'string bass' and sousaphone together, of which the latter greatly contributed to
the orchestra's powerful total effect. The blowers' performance was, to say the least
phenomenal. Several of the performed 'hot solos' evoked veritable shivers of rhythmic pleasure, at least in the younger, more objective part of the audience. Unfortunately, a lot of people consider performances of this kind as a kind of circus fun, but they miss out on
many who do not understand the essence of 'jazz'. Nevertheless, you get sometimes
to life by their 'expert critique' of modern, rhythmic music,
'negro music', as it is affectionately called by the incomprehensible audience. There was no need to fear that not Jack Hylton and his orchestra
were appreciated to their full value, it clearly showed the violent
applause boxes that filled the salon after each issue. The xylophonist's heartbreaking play in particular provoked a sincere response. Repeatedly
it turned out that some of Jack Hylton's boys were also true revue artists. In the more humorously emphasized music tracks did
this their ability great effect, which helped to raise the mood in
salon. Special recognition deserves one of the violinists, who showed
himself to be a step-dancer of rank. The vocalist, on the other hand, who accompanied some numbers with their song, did not stand on the same high level as them Others”
(the critique was cited in the Swedish book ” Svensk jazzhistoria - en översikt av Erik Källberg, Swedish jazz history - an overview by Erik Källberg)
