[78-L] Hanshaw musings, for whatever they are worth

[Harold Aherne]

For many people (me included), Annette was a gateway to this era of music, partly becauseshe seemed to exemplify it--perhaps in a retroactive sort of way--and partly because hersinging is indeed quite accessible to those whose ears aren't yet attuned to the otherstyles then dominant.
I wouldn't say that she's my *absolute* favourite these days, but as I periodically go backand listen to the Pathé and Harmony sides that first captivated me, I find that I still holdher talent in great esteem. The many, many of older recordings that I've heard in theyears since discovering Annette haven't diminished the finely-crafted quality of her vocals on "Thinking of You" (Nov. 1927) or "Walking My Baby Back Home" (Feb. 1931).If Annette doesn't put in the dramatic punch that Ruth Etting or Helen Morgan often do,she's just displaying another variation of human emotion. Annette's version of "Body and Soul" makes you think that she'll be lonely for a time but will recover eventually--sortof a half-smiling farewell. Etting's rendition makes you wonder if she's going to jumpright into the Hudson. Both approaches (towards singing, not towards romantic breakups)have their place, and Annette's has given me a great deal of pleasure.
-HA
--- On Thu, 3/15/12, Taylor Bowie <bowiebks at isomedia.com> wrote:

From: Taylor Bowie <bowiebks at isomedia.com>
Subject: [78-L] Hanshaw musings,  for whatever they are worth
To: "78-L Mail List" <78-l at klickitat.78online.com>
Date: Thursday, March 15, 2012, 12:40 PM

Frankly (yes,  this is just me no judgment to be inferred about the taste of 
anyone else),  I've always been baffled by the adulation heaped upon Annette 
Hanshaw by record collectors.  To my ears,  she has an appealing  but 
limited range in her voice,  and in her musical concepts.  I'll play one or 
two sides of her at a time,  and then I'm ready to move on.

What she does,  she does well.   I have a lot of her records from 1927 to 
1933.   But she's static.  The early ones sound about the same as the late 
ones,  just with different orchestral accomp.  Other singers of the era 
seemed to "grow" over a period of time...a Ruth Etting record from 1932 does 
not sound like one from 1927,  and a Mildred Bailey record from 1931 sure 
does not sound like one from 1941 or 1946 (I'm thinking of those late sides 
she made for Majestic with Ellis Larkins which are so great,  e.g. Me and 
the Blues).

Maybe if Hanshaw had stuck with music she would have evolved as an 
artist...we'll never know.  I've listened to that interview with her and she 
seemed like a delightful and happy human being,  with few regrets about 
leaving show business.  That peace of mind might have been her greatest 
accomplishment.

Do any of you have Hanshaw sides which you think are her best?  My pick 
would be the Columbia of Big City Blues b/w That's You,  Baby.


Taylor