The Discographer - June 2014 - 6

Supplement newsletter to the 78rpm Collectors Community -
www.78rpmcommunity.com
The 78rpm Collectors Community is a social network for collectors of 78rpm
recordings, phonographs, memorabilia, recording machines and the history of
the 78rpm recording era. It's like FaceBook - but for collectors of all things
78rpm related.
Welcome
This edition of The
Discographer Magazine
takes a detour of
sorts and features a
heap of newly written
articles for the
magazine by a number of
extremely qualied authors/
bloggers in their elds.
First up, we feature two extensive
articles written for us by Missy
Kyzer. The rst is an excellent
exploration on The End of the Golden
Age of Chicago-Style Jazz - which
outlines in some depth what is
now called, the Chicago-Style Jazz
of early last century, and the
reasons for its premature demise.
As well, Missy has prepared an in-
depth article on Frank
Teschemacher for us. As many
readers will know, Teschemacher
was one of the original members
(and, according to many, the
The Discographer Magazine - Number 6
June 2014 / 1
The Discographer Magazine
Volume 1, No.6
musical leader) of the infamous
Austin High Gang, a group of
young men from the Chicago
suburbs who were instrumental in
forming the Chicago-style.
Teschemachers style of playing
the clarinet and alto sax was
incredibly unique and distinctive
angular, ery, and passionate,
with a piercing tone. The wild,
driving characteristics of Teschs
playing became characteristic of
the Chicago-style as a whole.
Also featured in this edition,
Alexandros Kozk has written an
article especially for our
magazine on Elsie Carlisles
recording, My Man o War. Elsie
Carlisle (1896-1977) was a
popular English dance band
singer of the 1920s-1940s,
sometimes billed as Radio
Sweetheart No. 1.
By the way, I highly recommend
Kozks excellent website on Elsie
Carlisle [www.elsiecarlisle.com]. It is
June 2014 / 2
Highlights in this Edition:
Page 5 - 78rpm Record Dealers Directory
Page 6 - Letters to the Editor
Page 8 - Elsie Carlisles My Man o War
Page 13 - Reissuing 78 rpm Records?
Page 15 - 1930s 'Hot Rhythm' Series and the
Birth of 'Traditional' Jazz in Britain
Page 23 - The Restoration of early Vladimir
Horowitz Live Performances
Page 26 - A Few Choice Elsie Carlisle 78s
Page 30 - 78rpm Community Website
Roundup
Page 37 - Joseph Szigetis Columbia ML Lps
Page 49 - Phonogalerie Photos
Page 52 - The Spirit of Chicago Jazz - Frank
Teschemacher
Page 57 - WWII German Propaganda Labels
Page 62 - The End of the Golden Age of
Chicago-Style Jazz
Page 69 - 50, Dance Band 78rpms to Enjoy
Page 73 - Columbia LX - Discography - Pt.3
Page 120 - Volume 1 - Contents Index
---------------------------------------------------------------
COVER: Our cover features a Dominion Record label
with Elsie Carlisle as vocalist singing Tell Me More
About Love. Catalog No. A.168; Matrix No. 1363
Scan by Mick Johnson.
---------------------------------------------------------------
Produced by the 78rpm Collectors Community -
Copyright 2014 to respective authors. Reproduction
prohibited without permission - www.
78rpmcommunity.com
Editorial Control for this edition: Sam Hopper
Writers for this edition:
- Alexandros Kozk
- Jon M. Samuels
- Sam Hopper
- Missy Kyzer
- Frank Forman
- Lawrence Davies
- Shane Farrell
Elsie Carlisle
beautifully presented and
illustrated and comprehensive. It
deserves a visit if you havent
yet...
We have also organized Lawrence
Davies to write an article for the
magazine on the role of the "hot
rhythm" and swing series by
Parlophone, HMV etc., by
exploring their role in changing
ideas about jazz and blues as
black "folk" music.
Lawrence is a blues researcher,
pianist and PhD student at Kings
College, London. His current
interests are devoted to research
in blues and jazz, particularly in
Britain before the 1960s.
He is also exploring the
connections between performing/
listening, teaching and writing
about music and on using the
potential of social media and
blogging tools as a platform for
academic discussion about music.
He has a blog which you may also
like to explore at the following url:
allthirteenkeys.wordpress.com
We also feature a short article on
the detailed work of restoring
Vladimir Horowitzs concert
recordings for publication,
written by Jon M. Samuels.
Jon Samuels is a life-long New
Yorker, and has been a reissue
producer and engineer of
classical, jazz and Broadway
recordings for over twenty-ve
years. His work has appeared on
many labels, and has won him
consistent acclaim with both the
press and the public, as well as
numerous awards, including a
Grammy and a Gramophone
Award.
An audio presentation links to
this article which features Jon
Samuels and Joseph Patrych
discussing the legacy of the live
performances of Vladimir
Horowitz.
Other interesting articles and
discographies for this edition
include a survey of Joseph
Szigetis Columbias ML Lp
Recordings written by Frank
Forman.
Frank is a research economist
June 2014 / 3
We strive for accuracy in our newsletter.
If you nd a problem, inaccurate fact or
discographical error(s), please let us
know...
www.elsiecarlisle.com
and the author of many
comprehensive discographies on a
range of genres and performers
including Wilhelm Kempff.
Franks, Szigeti discography
concentrates on the very early
Columbia ML series. This early
label was used by Columbia for the
introduction of the Masterworks
Long Play format in 1948 - the
successor of the 78rpm format.
The ML label background color
varies from medium to dark blue
depending on the year of release.
The record prex ML, stood for
Masterworks Long Play.
Interestingly, some of Szigetis
ML releases were dubbed from
earlier 78rpm recording sessions
(which Frank Forman notes in his
discography), but many were
recorded specically for the new,
long play format pioneered by
Columbia.
Also this month, we continue the
Columbia LX-Discography
[featuring Nos. LX 801to1200] as
well as present an short,
interesting article on Reissuing
78rpm Records.
Id also like to take a moment to
inform you that two articles and
discographies written especially
for our February 2014 magazine
[Volume 1, No.4] by Bryan Bishop and
Bill Anderson have both been
nominated for ARSC Awards for
research excellence. Possible
winners will be announced later
this year. Our ngers are crossed
for Bryan and Bill.
Bryan has been nominated for his
discography on the Virtuoso
String Quartet. The discography
featured in the February 2014
edition of the Magazine [Page 11
onwards] and featured an extensive
article on their 78rpm output.
Secondly, the discography written
and researched by Bill Anderson
on the rst recordings of the St.
Louis Symphony Orchestra and
his excellent accompanying
article was also featured in the
February 2014 edition of our
Magazine [Page 63 onwards], and is in
the running for the awards at the
end of 2014. We wish them both
luck.
As you can see, this edition is
packed with interesting reading
and will hopefully appeal to our
members. The magazine/
newsletter can only continue with
your support. Remember, we need
your contributions to help it
continue...
Sam Hopper Editor: 78rpm Community
June 2014 / 4
78rpm Dealers
We aim to keep this list as updated as
possible. Are you able to help us to keep it
current? If you know of any additional
dealers, please let us know...
The Diskery
99-102 Bromsgrove Street, Birmingham
B5 6QB
Tel: 0121-622-2219
Speciality is jazz and swing music.
Ben's Collectors Records
5 Tunsgate Guildford, Surrey GU13QT
Tel: 01483 301165
Website: www.bensrecords.com
E-Mail: ben@bensrecords.com
Greg's Greats - 79 High Street, Foxton,
CAMBS. CB2 6RP
Over 90,000 78's available now in ALL
music genres from Dance Bands, Jazz,
Blues, Vocals, Rock and Roll, Skife etc.
Tel: 01223 872 937
Website www.gregsgreats.co.uk
Email: greg@gregsgreats.co.uk
The Soundbox - 10 High Street, Hampton
Hill, Middlesex TW12 1PD
Opens Saturdays only. Good range of
gramophones, some phonographs, and
several thousand 78s, mainly jazz and
dance.
The Music Nostalgia Corner
A & C Antiques & Collectibles
266 Uxbridge Road, Hatch End, Pinner,
Middlesex
Selection of 78rpm records from the late
1920s to early 1950s, prices from 75p to
3.00, depending on wear. Also a range of
nostalgia CDs, again mainly from the late
1920s to early 1950s digitally remastered
from 78's.
Riverside Two Antiques
The Maltings, Sawbridgeworth Herts
CM21 9JX
Good selection of 78s, mainly 30s/40s All
in alphabetical order by artist. Prices
range from 1 to 5 dependent on rarity
and condition.They also have a good range
of Gramophone ephemera and some
gramophones.
Tel: 01279 600985
Harold Moores Records
2 Great Marlborough Street, London W1
Nice collection of 78s for sale, as well as a
stock of over 50,000 33-1/3 vinyls.
Website: www.hmrecords.co.uk
Email: harold@hartill.demon.co.uk
Scene and Heard
49 Teign Street, Teignmouth, Devon TQ14
8EA
Tel: 01626 776400
All Our Yesterdays
3 Cattle Market, Sandwich, Kent, CT13
9AE
Tel: 01304-614756
Email: cbgramophones@aol.com
Archive Records
196 Stanton Road, Addlestone, Surrey
KT15 2PD
Email: archive.records@ntlworld.com
Chris McDonald - Chichester
Gramophones, boxes of 78's and offers a
repair service.
Website:
www.chichestergramophones.co.uk
Email: chrismac@gram51.fsnet.co.uk
Nooks & Crannies
60 High St., Ryde, Isle of Wight.
Over 10,000 78's priced from 30p to 50p.
Reg Dixon, Bing Crosby, Charlie Kunz and
Vera Lynn etc.
Tel: 01983 568984
Dinosaur Discs
35 Lower Street, Horning, Norwich,
England
Website: www.78rpm.co.uk
Email: dinodiscs@tesco.net
Do you have a sell list of 78rpms? You
can reach over 5,000 other like-
minded people here by advertising
your sell lists for free. Just drop us a
line at admin@78rpmcommunity.com
and well add your sell list here in the
next issue.
June 2014 / 5
Letters
I have just nished reading your
wonderful article written by
Jonathan Holmes. [April 2014, Page 6-]
What a delightful read! His
enthusiasm for collecting 78s clearly
showed through in this well written
piece. I look forward to exploring his
YouTube channel. Sam
A great read - Collecting 78s - A
Personal Journey. Much enjoyed.
Neville G.
Thanks for the article on the young
collector- Jonathan Holmes. Its great
to see young collectors keeping the
tradition alive for the next
generation! Alex
Your article/discography on Louis
Levy and the authors who put this
work together are to be highly
praised. [April 2014, Page 26-] It was
comprehensively compiled. Mike
Hammond
Many thanks for the Louis Levy
discography. [April 2014, Page 26-] Paul
Knight
Louis Levy discography -
professionally written and
researched. Well done everyone
concerned. Johnathan Swan
Congratulations to Terry Brown and
Tony Middleton for the excellent
discography on Louis Levy. Very
professional. Mark V.
I am a dormant member who much
appreciates the efforts that you and
more active collectors share with us.
Chris Albertyn
Want to send us a letter to feature here?
Drop us a line at
admin@78rpmcommunity.com for our
next issue.
June 2014 / 6
Cover of Edition 5 - The Discographer
June 2014 / 7
Compiled and Produced by the
78rpm Collectors' Community
www.78rpmcommunity.com
If you nd omissions, incorrect
details or weve got our facts
wrong, please drop us a line at
admin@78rpmcommunity.com
COMPETITION
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to be in the running for great prizes..!
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and be in the running for three great
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Competition closes: 15th August 2014
SYMBOLS USED IN THIS MAGAZINE:
The recordings featured in this booklet are
mostly 78rpms. We use the following symbols
to designate format and recording
characteristics:
! 78rpm Acoustic
" 78rpm Electric
# 78rpm Acoustic/Electric Dubbing
$ 78rpm ExtendedPlay
% 78rpm Vinyl pressing
& 33 1/3rpm
Elsie Carlisles My Man o War -
(Dominion C 307 & Filmophone 143)
Written by Alexandros Kozk
Out of the 334 recordings that
Elsie Carlisle is known to have
made between 1926 and 1942, a
great deal of attention is paid to
her two versions of My Man o
War on Dominion C 307 and
Filmophone 143, and rightly so:
it is an especially funny, naughty
song, brilliantly performed by the
celebrated comedienne. She
recorded other ribald songs that
were considered unsuitable for
airplay (Pu-leeze! Mister
Hemingway! for example), but
the Dominion version of My Man
o War is unique in being
associated with a supposed legal scandal. The story can be found in its
classic form in the account of Brian Rust, who refers to the song as an
obvious piece of recorded pornography:
It is said that the censors, who were very active in the Lord Chamberlains ofce in those
days, vetoed the issue of further copies when the dreadful deed was discovered. The
subsequent ne reportedly put Dominion out of business.
[Brian Rust. The American Record Label Book. New Rochelle, NY
(1978) 101.]
It is worth noting that Rust does not particularly insist on the veracity
of this industry rumor, and indeed he goes on to point out that
Dominions nancial position at the time was so poor that it would have
collapsed anyway. If the company had been ned, one would expect that
there would be a record of the penalty in some government ofce, but no
such evidence has ever surfaced, to my knowledge.
June 2014 / 8
Alexandros Kozk is an authority on the life of Elsie Carlisle. His website on her life
and music [www.elsiecarlisle.com] is comprehensive and beautifully illustrated
with photos, audio and video and features numerous articles on this singer.
True or false, this is a story that people like to repeat. They look at their
coveted copies of Dominion C 307 with their simple black-and-white
labels and want to see them as precious contraband. They take delight
in listening to the risqu disc and feel a sudden, intimate connection to a
supposedly historical scandal. The suggestion that My Man o War is
June 2014 / 9
not just naughty but criminally transgressive evokes the common motif
of the subversive artist taking on a repressive society, and one takes
vicarious pleasure in thoroughly enjoying something once forbidden
(albeit morally pedestrian in terms of todays popular music).
I would like to focus on the genuine artistic merits of Elsie Carlisles
Dominion recording of My Man o War (and of the Filmophone version
that she did over a year later), simply because it is an exceedingly
clever composition artfully interpreted by a consummate mistress of
comic music.
Which is not to say that a pretty girl singing a smutty song is not of
perennial fascination.
My Man o War was composed by Spencer Williams, with words by
Andy Razaf, and was published in New York at the beginning of 1930.
Razaf, a prolic lyricist (and interestingly also a member of the deposed
royal family of Imerina, now Madagascar), helped to write other songs
that Elsie Carlisle sang, including Aint Misbehavin, The Porters
Love Song, and My Handy Man, the latter being almost as sexually
suggestive as My Man o War (with which it is paired on Filmophone
143).
The lyrics of My Man o War involve an extended metaphor in which a
woman compares her lover to a soldier and her bedroom to a battleeld.
The rhetoric ratchets up quickly from simple comparison (My at looks
more like an armory) to sexually suggestive expression (Takes out his
bugle when he sees me) to raunchy double-entendre (At night hes
drilling me constantly).
By the second refrain the assault of word play has become relentless:
He storms my trench and hes not dead,
His bayonet makes me cry for aid,
Oh, how he handles his hand grenade
If Im retreatin he goes around
And gets me in the rear.
He keeps repeatin a ank attack
Til victory is near
The rst recording of My Man o War features blues singer Lizzie Miles
accompanied by Harry Brooks on the piano. Victor 23281 was recorded
in New York on January 27, 1930, only a few weeks before Elsie Carlisle
did her Dominion version. The tempo is slow, almost mournful, but
Miless voice is powerful, and the attitude that she projects is brazen. It
is hard to tell if she is complaining about or rather boasting about her
lovers indefatigable prowess in bed, and the ambiguity contributes to
the comic effect.
June 2014 / 10
Elsie Carlisle made her rst recording of the song in March 1930 with
Dominion Records, when Jay Wilbur was still musical director there.
The differences between her version and Lizzie Miless are striking. The
latters hint of bragging is replaced by Elsies girlish persona of mock-
innocence and mock-earnestness. The tempo is faster (with more
complex orchestration to make up for the lost time), and Elsies delivery
is more varied. She feigns shock, surprise, and exhaustion; her voice
quavers wearily. In short, Elsies performance is dramatic in character,
and what less would we expect from a veteran of the musical theater
who had only a year before introduced the world to Cole Porters What
Is This Thing Called Love? (supposedly at the composers own request).
In My Man o War, she does not merely sing naughty lyrics beautifully;
she conveys a persona that suggests innocence but delivers lth, and
the incongruity makes the song uproariously funny.
Whether or not there really was a problem with the authorities over this
record, Dominions nances were in ruins, and in July Jay Wilbur quit
his job as musical director to take up a similar position at Crystalate
(where Elsie would start recording again the next month). Elsie seems
to have gone on a four-month recording hiatus after My Man o War,
but it is clear that she kept busy, even appearing in an experimental
Baird Television broadcast in June 1930.
The Dominion recording turns up again over a year later, in November
1931, this time reissued on the physically less friable, decidedly oppier
Filmophone 143. Whereas the earlier Dominion record had had Elsies
rendition of the comparatively respectable Body and Soul on its other
side, Filmophone 143 is pure impropriety; its reverse side has her
singing Razafs My Handy Man, another example of sexual innuendo
(in this one, the singer declares that her man greases [her] griddle,
churns [her] butter, strokes [her] ddle you get the idea). Many, but
not all, copies of the Filmophone record have the pseudonym Amy
Brunton on them, but it is not clear that Elsie was really distancing
herself from the song. The Lawrence Wright sheet music of the time
features nothing but a striking photograph of her on the cover, and she
ultimately recorded a second version of the song that appears on many
pressings of Filmophone 143.
In the second version of My Man o War, Elsie sounds less nave, more
condent, more mature; in other words, somewhat more in on the joke;
and yet the humor is not diminished. It is in fact somewhat enhanced by
the addition of Max Goldberg on the trumpet, who introduces comical
variations on the idea of a military bugle. The song is punctuated at the
end by a collective sigh suggestive of sexual passion subsiding.
Elsie Carlisle was particularly good at singing ribald songs because she
combined a beautiful voice with an ability to project a comical persona
and a knack for letting her voice quaver or falter dramatically at just the
June 2014 / 11
right moment. She could use these talents on occasion to make a song
edgier. Whereas the Andrews Sisters 1939 version of Oh Johnny, Oh
Johnny, Oh! suggests a mere teenage crush, Elsies 1940 version, with
the same lyrics, has so much vocal frustration, urgency, and excitement
in it that it seems considerably less innocent.
This ability to add or enhance sexual innuendo with dramatic vocal
effects was, however, but one of Elsie Carlisles talents. We have seen
that My Man o War on Dominion C 307 is the ip side of Elsies
moving rendition of Body and Soul, and her very next record
(Imperial 2318) has her sublimely touching Exactly Like You on it.
Her tone of vulnerable, bittersweet optimism in her 1932 version of
The Clouds Will Soon Roll By with Ambrose and His Orchestra (HMV B
6210) provides a further example of the range of passions that she
could evoke but one has to admit that she was rather good at singing a
dirty song.
_____________________________________________________________________
Web References
Lizzie Miles on Victor 23281
https://www.youtube.com/watch?v=m0s36s-d3Us
Elsie Carlisle on Dominion C 307
http://www.78rpmcommunity.com/music/674/elsie-carlisle-dominion-recordi
Elsie Carlisle on Filmophone 143
https://www.youtube.com/watch?v=uq_36tD2ZeA
June 2014 / 12
Reissuing 78 rpm Records?
Written by Shane Farrell
An interesting discussion came to light on the 78-L discussion list the
other week relating to 78 rpm re-issues. It seems one reader was
reading through the Historic Masters
[1 and 2]
[www.historicmasters.org]
website and wondered if anything besides opera ever saw the light of
day, on vinyl - pressed directly from original metal parts. He suggested
jazz, pop music, classical symphony pieces or solo works might be
sources of possible re-issue material.
It will be real pleasure to listen i.e. Goodman, Ellington, Basie on newly processed 78 rpm
record in quiet (virgin) vinyl. Or 16" transcriptions. Any plans for such records you
"know" something about?
One member wrote about the Symposium label and some re-issues
during the 1990's:
Some time in the 90s, new vinyl pressings were made of instrumental classical recordings
from the EMI vaults. I'm thinking there was only one brief series of single discs by Bela
Bartok, Elgar conducting, and a few others..my brain refuses to dredge up the name of the
label, which still does a lot of historical reissuing on CD. And I think Historic Masters was
considering doing jazz at one point but I don't know if anything came of the idea.
Another reader however, argued that changes to the way music is
distributed since the widespread use of the internet made the
idea economically unviable.
This would have been a good idea about ten-fteen years ago. But with virtually
everything issued today being converted into audio les, without loss of sound quality,
and with the improvements of sound restoration techniques, I'd doubt that there'd be
enough collectors to make such a project protable. Even with previously unissued
Beiderbecke or Basie masters as raw material.
Another member commented on the 78-L discussion board with similar
thoughts:
I was going to say something similar. The market for reissues, even the best ones, is very
small, and virtually everything that is put out gets swiped and put online for free.
Personally, I disagree with the rst part of this point. I believe there
June 2014 / 13
would be sufcient interest if the project got off the ground. Another
member of the 78-L also agreed that interest is still there for re-issues.
He argued the point that if there are insufcient collectors to make such
a project protable - wouldn't that be the case for Historic Masters who
issue opera 78 rpm reissues? I tend to agree. In fact, marketers would
argue that there would be greater interest in re issuing jazz, blues,
swing 78s then opera 78s. The same member of the list countered this
line of thought with:
What's important here is that the Historic Masters series started when there was no mp3
trafc around. An original unissued EMI operatic master on 78 rpm was an unique object
in the beginning of the 1990's, and if copied, copied on tape, which always was the
"second best" alternative. Today it's the gramophone record and compact disc which is the
obsolete, third best, alternative. Historic Masters survive because they have true
customers from another era. In a few years time it wont be possible. And a "Historic Jazz
Masters", if introduced today, would probably be a hobby project for an enthusiast who
runs out of money in a year or two.
I still disagree however, because I personally know at least three other
"young" collectors (under 40) who have purchased a number of the H.M.
issues and intend to continue. I think age has really nothing to do with
it. In fact, it all comes down the idea of collecting and what collecting 78
rpm records is all about. Many would argue that music is fundamental
to collecting 78s - and I don't disagree - but I also think that collecting
78s is deeply rooted in the idea of "collecting the object" - of holding and
admiring the 78 rpm record. Mp3's are great, convenient and easy to
store - but they're not like the real thing! I found this interesting post
(The Eccentricities of Collecting 78s) on 78rpm Community website
[http://www.78rpmcommunity.com/blogs/7/2/the-eccentricities-of-collecting or
See Volume 1, No.1., The Discographer Magazine. Page 34] relating to a young
man collecting 78s. The whole post is worth reading. His parting
comment is pertinent to this discussion: Collecting is about the desire to
preserve and play back a piece of living history something you can hear, feel and
experience music has the power to do that. If youre a little crazy as well so be it!
NOTES
1. Hear an audio sample of a recent Historic Masters release [HMB 172B] - http://www.
78rpmcommunity.com/mp3-music/albums/316 - THE MAID OF ORLEANS
Farewell, forests (Joans Aria) sung in German. (Rec. 10/8/50) Mat. nos. 2EA 14953/4;
Unpublished HMV (as direct 78 rpm pressing) from Historic Masters - Side 1 only
2. Additional audio samples of Historic Masters - Fyodor Chaliapin release [HM 173A/B
and 174A/B] - http://www.78rpmcommunity.com/mp3-music/albums/317
June 2014 / 14
1930s 'Hot Rhythm' Series and the
Birth of 'Traditional' Jazz in Britain
Written by Lawrence Davies
Note: This article quotes from several historical sources that use culturally insensitive terminology
when describing African American musicians. I have retained this terminology when quoting,
despite its uncomfortable resonances, as it is important to critique its use.
One of the most signicant musical developments of the twentieth
century was the British traditional jazz movement. This was a
concerted effort to preserve and revive the music of 1920s and 30s New
Orleans, epitomised in the recordings of
African American performers such as
Louis Armstrong. Beginning with hushed
murmurings in the 1930s, by the early 50s
the word on the street and in the clubs
for that matter was that traditional jazz
was the only type of true jazz. It was an
exuberant, gritty, people's music, and was
the wellspring from which all other styles
of jazz had sprung. What it was not was
swing, a more popular style lambasted by
British critic Iain Lang as mass-
production jazz...[an] article of commerce
pumped out on the air waves at all time of
the day and night.
As a movement, traditional jazz was unprecedented in its appeal. Male
and female, old and young ocked to hear musicians such as Chris
Barber and Humphrey Lyttelton, at local pubs and theatres. In contrast
to what we might think, the draw was not one of rebellion or
disillusionment. Instead, the traditional jazz movement integrated well
with postwar leisure activities; social historian Eric Hobsbawm
described the average concert as less like that of Storyville [the red
June 2014 / 15
Lawrence Davies is a blues researcher, pianist and PhD student
at Kings College, London. His current interests are devoted to
research in blues and jazz, particularly in Britain before the
1960s. He is also exploring the connections between
performing/listening, teaching and writing about music and on
using the potential of social media and blogging tools as a
platform for academic discussion about music.
light district of New Orleans], than like
that of an old-fashioned youth club.
Traditional jazz went on to spawn a
subsidiary skife scene, which is
credited as one of the primary
inuences on British popular music
from the 1960s onwards.
Although the inuence of traditional
jazz is well known, there is more debate
about the birth of the traditional jazz
movement. How did British musicians,
audiences and critics come to identify
New Orleans jazz performed by African
Americans as the gold standard of
jazz? Although we take this idea for
granted nowadays, it's worth
remembering that many conicting
claims about jazz were made in the
early decades of the twentieth century.
For example, The Original Dixieland Jazz Band, a group of white
American musicians visiting Britain in 1919, had laid claim to being the
originators of jazz. Throughout the 1920s, too, it was generally
understood that jazz although African American in origin would be
improved by white bandleaders classical training. As I will explain
below, it was not until the 1930s that jazz performed by African
Americans came to be widely appreciated specically because African
Americans performed it.
June 2014 / 16
One way to trace the development of the
traditional jazz genre would be to identify
the rst British traditional jazz band. Jazz
promoter and historian Jim Godbolt did just
that in his History of Jazz in Britain,
1919-1950, in which he identies George
Webbs Dixielanders as the rst British
performers to cultivate the New Orleans
style in their performances. From 1943
onwards, Webbs band performed regularly
at the Red Barn pub in Barnehurst, later
branching out into broadcasting, recording,
and other gigs around London.
As to the inuence of the Dixielanders, Godbolt is not wrong;
contemporary critics such as Albert McCarthy and Charles Wilford also
identied their importance. Indeed, both Chris Barber and Humphrey
Lyttelton two giants of the 1950s traditional jazz scene began their
careers playing with the George Webb band. Unfortunately, identifying
an ensemble as the catalyst for a whole movement can be misleading: it
contradicts much of what we know about how bands and their audiences
operate. Bands need to be condent that their audiences will know what
to expect when they play, and in turn audiences need to be able to dene
the type of music they are going to hear. A band can only decide to do
something different if they are already playing in an existing style and
participating in an existing music scene that contains some shared
meanings with the new style they
are in the process of developing.
This process can only happen over
time; to fully understand it, we
need to be looking more closely at
the development of a new style
rather than pinpointing the rst,
fully-formed appearance of it. This
means searching beyond the
actions of musicians and groups,
toward other ways of
communicating musical meaning
to audiences. In short, the question
we should be asking is not how did
British traditional jazz start, but
instead what conditions allowed
the meanings given to traditional
jazz to ourish?
An important, but relatively neglected, avenue to look at is that of
several record series produced by labels such as Parlophone and His
Masters Voice. Parlophone led the way in 1929, with HMV following in
June 2014 / 17
1931; each label made regular releases,
many of which remained in circulation on
10 78rpm discs well into the 1950s. Using
names like Rhythm Style Series and Hot
Rhythm Series, these companies set
about reissuing sides from American
labels such as Okeh, ARC, and (American)
Brunswick. Parlophones Rhythm Style
releases had the series name and number
printed on the label, above the
performance title. HMVs Hot Rhythm
Series releases were not labeled on the
disc itself. Instead, HMVs catalogues
included a separate heading in their Dance
Music listings for Hot Rhythm, amongst Foxtrot, Waltz and other
dance styles.
The table below lists the top ve artists with the most released sides in
Parlophone's 'First New "Rhythm-Style" Series' (1929-1932):
Now, its important to note that these record series did not purely
release music from New Orleans. From Parlophones 1929-31 First New
Rhythm-Style Series, only Louis Armstrong hailed from the city. The
rst year of HMVs 'Hot Rhythm Series' was similar, with none of its top
selling artists (Duke Ellington, McKinneys Cotton Pickers, and the
Mound City Blue Blowers) from New Orleans. Yet what is most
immediately interesting about these record series is that they are
beginning to exhibit what we might call traditionalist values that would
come to the fore during the traditional jazz movement.
To begin with, record series distinguished a particular segment of dance
June 2014 / 18
Artist Number of Sides Released
Louis Armstrong 36
Joe Venuti 14
Duke Ellington 8
Frankie Trumbauer 8
Eddie Lang 8
Miff Mole 5
Luis Russell 5
OK Rhythm Kings 5
music repertoire to be different in some way from
the overall mass of contemporary dance releases.
This can be seen in HMVs initial advertisement for
their Hot Rhythm Series of Modern Dance Music in
the catalogue of November 1931:
In response to insistent demands from the ever-increasing
number of enthusiasts for the less conventional types of dance
music, we have pleasure in announcing the inauguration of the
His Master's Voice series of hot rhythm records. It will consist
entirely of hot novelties, the performances illustrating the most
advanced trains of thought in modern rhythmic interpretation by
the world's most famous white and coloured soloists and dance
orchestras.
Here, HMV clearly demarcates the items in the series to be less
conventional, and the preserve of a particular group of enthusiasts.
Moreover, these recordings are distinguished by particular musical
qualities: their style is advanced, rhythmic and hot.
The idea that one type of contemporary dance music was the preserve
of a smaller connoisseur group of listeners resonates with the way
later traditional jazz audiences idolised authentic jazz based on the New
Orleans style. For HMV, and presumably its customers as well, Hot
Rhythm was an innovation: its sound was modern, its performers at the
forefront of the dance music style. Yet, for 1940s traditionalists, these
same artists were regarded as precisely the opposite of modern.
Writing in 1946, French critic Hugues Panassi declared that the
famous New Orleans style, of which so much has been said, is none other
than the original and primitive Jazz music the style from which all
others have sprung.
The rst of HMV's Hot Rhythm releases was B.6066: Limehouse Blues
backed with Echoes of the Jungle, performed by Duke Ellington and his
Cotton Club Orchestra. HMVs in-house reviewer
introduced it as follows:
In addition to being renowned as the leader of the world's
nest negro dance band, Duke Ellington himself a
coloured man is renowned as a brilliant pianist, a
clever composer, and a genius of modern rhythm
orchestration. His technique and originality are
amazing, and his work gives us a deep insight into the
negro spirit and mentality. One of his greatest
admirers is Paul Robeson, who has known Ellington
since the early days when both were struggling for
renown. Limehouse Blues shows Ellington in one of his
most imaginative moods, while Echoes of the Jungle,
June 2014 / 19
perhaps more characteristic, is an Ellington masterpiece of colourful orchestration
interpreted with that sense of style and rhythm which belong only to the nest exponents
of the art.
Here, another aspect of traditionalist
value is apparent; descriptions of
Ellingtons skill make reference to his
ethnicity. This is in keeping with a
widespread contemporary belief that
African Americans possessed innate
musical skill. Moreover, the perceived
strength of African Americans musical
tradition meant that audiences heard
Ellingtons performances as being able to
speak with deep insight on behalf of
African Americans as a group. A review
later that year of Ellingtons Creole Love
Call coupled with Tailspin Blues by the
Mound City Blue Blowers on B.6252
declared
Hot music can be more than just good dance rhythm and amusing instrumental effects.
Like all other music it has a story to tell the story of the soul and life of the coloured
folk.
In contrast to the 1920s, when jazzs African American attributes were
thought to be in need of civilising, by the 1930s Hot Rhythm is being
appreciated precisely because these attributes were clearly audible.
Interestingly, too, the
HMV Hot Rhythm series
preview included both
white and coloured soloists
and dance orchestras.
Casting a look back to the
table of Parlophone artists,
many of the most popular
artists are white,
notwithstanding the clear
preference for Louis
Armstrong releases. It is
also worth highlighting
that HMVs in-house
reviewer thought that
Tailspin Blues could tell
the story of African
American life even though the Mound City Blue Blowers were in fact a
white band!
June 2014 / 20
The multi-racial makeup of these record series is due to a number of
factors, not least the distribution deals between HMV, Parlophone, and
the American labels whose music they were reissuing. Yet it may also
suggest that, in the early 1930s at least, British listeners
understanding of what was authentic in jazz was not inextricably linked
to ethnicity. By the 1940s, however, many traditionalist critics
positions on jazz and race had hardened. Rudi Blesh, a particularly
polemic critic whose writings were popular in Britain, exclaimed
Let us learn from Negro music, and refrain from giving it the kiss of death of our
improvement; encourage the Negroes not to ruin it in order to please us but to revive
and develop it. Improve it[?] White men cannot even play it!
Record series such as Parlophones Rhythm Style, and HMV's Hot
Rhythm Style, laid what we might call an interpretive foundation for
the British traditional jazz movement. There were several similarities:
the way in which the record series categorised some dance music as
more artistic and authentic, often asserting that this authenticity
relied on the presence of African American musical attributes, such as
hot tone and an emphasis on rhythm. In contrast, questions remain as
to why music that was regarded as a gold standard because of its
modernity in 1931 came to be heard a decade later as the only
remaining link with an authentic musical past.
Similarly, it is important to ascertain how an appetite for music that
sounded African American was gradually extended into a demand for
music performed by African Americans. Later traditionalists insistence
on this raises an interesting tension: if the authentic qualities of
traditional jazz were so dependent on ethnicity, then what implications
did this have for the white, British musicians such as George Webb,
Humphrey Lyttelton, and Chris Barber, who were earnestly beginning to
perform in this style? This is a question I hope to be able to answer in
the future.
Most fundamentally, the roots of British traditional jazz can be found
much earlier than many historians have thought to look. These roots
are located not only in written criticism and in the actions of musicians,
but also in the way record labels marketed music to audiences. In this
article I have touched only briey on two series, but there are many
more in need of further research.
_____________________________________________________________________
Lawrence Davies researches the history of traditional jazz and blues in Britain
and America, and is a PhD candidate at King's College London. He blogs about
his research at http://allthirteenkeys.wordpress.com
June 2014 / 21
Further Reading
Andrews, Frank, and Ernie Bayly (eds.), A Numerical Listing of the H. M. V. "B" Series
of 78 rpm Records (Wells-next-the-Sea: City of London Phonograph and Gramophone
Society, 2000).
Barber, Chris, with Alyn Shipton, Jazz Me Blues: The Autobiography of Chris Barber
(Shefeld: Equinox, 2014).
Godbolt, Jim, A History of Jazz in Britain 1919-1950 (London: Northway Publications,
2010).
Parsonage, Catherine, The Evolution of Jazz in Britain 1880-1935 (Aldershot: Ashgate,
2005).
Raeburn, Bruce Boyd, New Orleans Style and the Writing of Jazz History (Ann Arbor,
University of Michigan Press, 2009).
Contemporary Sources Cited
Blesh, Rudi, This is Jazz: A Series of Lectures Given at the San Francisco Museum of Art
(London: Jazz Music Books, 1943).
Gramophone Company, Catalogue of 'His Master's Voice' Records for November 1931
(London: Gramophone Company, Ltd., 1931).
Gramophone Company,, Catalogue of 'His Master's Voice' Records for November 1932
(London: Gramophone Company, Ltd., 1932).
Hobsbawm, Eric [as Francis Newton], The Jazz Scene (London: MacGibbon & Kee, 1960).
Jackson, Edgar (ed.), Parlophone Rhythm Style Catalogue 1942, (Hayes, The Parlophone
Company, Ltd. 1942).
Lang, Iain, Background of the Blues (London: Workers' Music Association, 1943).
Lyttelton, Humphrey, I Play As I Please (London: MacGibbon & Kee, 1954).
Panassi, Hugues, The Real Jazz (New York: Smith & Durrell, 1942).
Wilford, Charles, 'Jazz Over England', in McCarthy, Albert, (ed.) The PL Yearbook of Jazz
(London: Nicholson & Watson, 1946).
June 2014 / 22
The Restoration of early Vladimir Horowitz Live Performances
Written By Jon M. Samuels
A brief behind the scenes look at the preparation of the Vladimir Horowitz - Live at
Carnegie Hall, CD Set - Restored by Jon M. Samuels
In early 1989, I was asked by
the distinguished music critic,
Harold C. Schonberg to compile
a discography to be added to
his soon to be published
Vladimir Horowitz biography.
In order to do so properly, I
needed to track down and
listen to every surviving
Horowitz recording that I
could locate.
By September 1990, in part
due to my Horowitz
discography, I was hired by
BMG (the successor to RCA) to
remaster their historic recordings, including many of Horowitz own.
Over the next thirteen years, I looked for every Horowitz recording I
could nd in the BMG vaults. (Although it may be hard to believe, RCA
did not keep paper records of what concerts they recorded of any artist,
let alone Horowitz, so this turned out to be a monumental task.) Among
other things, I discovered that many of the unedited concert tapes no
longer survived in their original form. At the time these recordings were
made, no one thought of them as important historical documents worth
preserving for posterity. Their purpose was simply as raw material for a
nal edited, possible released LP. Sadly,
very often the original tapes were
discarded after the edited masters were
approved. Still, I was able to nd many
bits and pieces, here and there. For
example, I found part of one recital as
tape padding on an unrelated Horowitz
tape. I also turned out to be very lucky;
one day a friend and fellow record
collector found LP test pressings of
Horowitz' three 1950s recitals,
unedited, and was kind enough to
buy them for me.
June 2014 / 23
Vladimir Horowitz (pictured in 1936)
Vladimir Horowitz Live At Carnegie Hall
In 2003, I remastered my rst
Horowitz Carnegie Hall recital
(from November 16, 1975) for
BMG. In 2009, I produced a
seventy CD set of the complete
issued RCA and Columbia
recordings for Sony
Masterworks (the successor to
BMG). In the process, I was
asked to choose two live recitals
for inclusion as bonus material.
In order to do so, I had to
carefully listen to all of the
Horowitz recitals recorded by
RCA and Columbia. I made
copious and very detailed notes
about every one of these recitals,
including what was on each tape,
where the edits were, what (if anything) was missing, what the proper
playback equalization and mix should be and what technical aws could
be found on each tape. One of the recitals I chose for inclusion was
the March 5, 1951 Carnegie Hall concert.
In the meantime, Sony planned to issue three complete Horowitz
Carnegie Hall recital recordings owned by Yale University. (Horowitz
paid to have them recorded in the late 1940s and early 1950s direct-to-
disc, and then donated the discs to Yale in the 1980s.) Since I had
remastered all ve of the previously released CDs of Yale material, I
was asked to choose and remaster the three recitals to be included. Sony
also thought it worthwhile to add all the previously released live (but
edited and incomplete) Horowitz concerts recorded in Carnegie Hall,
and make a large set out of it. I recommended instead that they include
ALL the live (and this time, unedited) Horowitz concerts recorded by
RCA and Columbia. They didnt believe that such a project was possible,
but I explained that I had already done a great deal of the necessary
work back in 2009, so they agreed.
Perhaps I didnt know what I was letting myself in for. As it turned out,
from March to July of last year, I worked sixteen to twenty hours a day,
seven days a week in order to nish tracking down, transferring,
unediting, patching, equalizing, correcting pitch uctuations and
mixing these concerts. I also supplied the stereo sound track to the
bonus DVD, Horowitz on Television. I thought I would never nish!
Fortunately, though, I did, and the results are amazing. Not so much for
my work, but for Horowitz playing. For here we hear him in his
element, before a live audience. We hear the concerts exactly as he
programmed them. We may not be literally able to attend an actual
Horowitz recital anymore, but this is the next best thing - with a little
June 2014 / 24
Vladimir Horowitz Live At Carnegie Hall
imagination, we are there. We become part of the audience ourselves,
and its just thrilling. And for me, that makes all of this worthwhile.
You can hear Jon Samuels and Joseph Patrych discuss the process of restoring
and editing this major project here (Part 1): http://www.78rpmcommunity.com/
music/960/recorded-interview-with-jon-samu. Part 2 of the discussion can accessed
here: http://www.78rpmcommunity.com/music/961/recorded-interview-with-jon-samu
Details of the music samples in the Recorded Interview:
1) Beethoven: 32 Variations in C Minor, WoO 80 (Excerpt from recital of April 17, 1966)
2) Prokoev: Toccata in D minor, Op. 11 (Excerpt from recital of March 20, 1950)
3) Chopin: Grande Polonaise Brillante, Op. 22 (Excerpt from recital of March 20, 1950)
4) Barber: Sonata in E-at minor, Op. 26 Second Movement (Excerpt from recital of March 20, 1950)
5) Scriabin: Vers la amme, Op. 72 (From recital of February 21, 1949)
6) Chopin: Mazurka in B Minor, Op. 33, No. 4 (From the recital of April 17, 1966)
7) Scarlatti: Sonata in G, Kk. 55, L. 335 (From the recital of January 02, 1968)
8) Rachmaninoff-Horowitz: Sonata No. 2 in B-at, Op. 36 Second Movement (Excerpt from the recital of
November 24, 1968)
9) Liszt: Annes de plerinage, Premire anne: Suisse Valle dObermann (Excerpt from the recital
of November 27, 1966)
10) Sousa - Horowitz: The Stars and Stripes Forever (From the recital of April 23, 1951)
[Editors Note]: Joe Patrych and Jon Samuels will give another Horowitz talk on
Sunday, July 20 at 3:30 PM at the International Keyboard Institute & Festival at
Mannes College, 150 West 85th Street in New York City. Tickets are free.
---------------------------------------------------------------
Jon M. Samuels is a life-long New Yorker, and has been a Reissue Producer and Engineer of classical,
jazz and Broadway recordings for over twenty-ve years. His work has appeared on many labels, and
has won him consistent acclaim with both the press and the public, as well as numerous awards,
including Grammy and Gramophone Awards. He was associated for thirteen years with BMG/RCA.
Among his engineering credits for BMG include signicant work on the complete recordings of Julian
Bream, Jascha Heifetz and Arturo Toscanini. He produced many outstanding releases for BMG
including signicant retrospectives of William Kapell, Pierre Monteux, Leontyne Price and Leopold
Stokowski. He created, produced and engineered the critically acclaimed reDiscovered series. He was
the co-engineer on three major New York Philharmonic CD collections, released by the orchestra itself.
For Sony Classical, he has produced and engineered comprehensive sets devoted to Jascha Heifetz,
Vladimir Horowitz and Arthur Rubinstein. As a highly respected scholar, he has compiled numerous
discographies, including ones of Leo Blech, Piero Coppola, Emanuel Feuermann, the Flonzaley Quartet,
Leopold Godowsky and Vladimir Horowitz.
Joseph Patrych is a recording producer and the owner of Patrych Sound Studios in New York City. He
has produced and/or engineered over 350 CDs for various labels including Albany, Arbiter, BIS, BMG,
Bridge, Centaur, Classico, Diva Productions, Koch, Music & Arts, Nonesuch, New York Philharmonic
Special Editions, Pearl, Pierian, and Warner Classics, and thousands of private clients.
Mr. Patrych was educated at the Aaron Copland School of Music where he studied music theory,
history, analysis and performance, and has performed as a pianist, conductor and choral singer. From
1980 to 1993 he was Classical Music Director at WFUV-FM, and also the co-producer and co-host of
Concert Grande, a radio program devoted to the piano that aired from 1977 to 1993. He has been
involved in the design and construction of studios for Harvard University, The University of Missouri at
Kansas City, The Edison National Historical Site and The International Piano Archives at Maryland, as
well as many private studios, and is a member of The Association of Recorded Sound Collections
Technical Committee.
June 2014 / 25
A Few Choice Elsie Carlisle 78s...
Elsie Carlisle (January 28, 1896-September 5, 1977), born in Didsbury,
Manchester, England, was a celebrated comedienne who became a
prominent vocalist for the great British dance bands of the 1920s,
1930s, and early 1940s. Their recordings and her solo output became a
mainstay of British radio, and she acquired the nickname Radio
Sweetheart Number One.
Carlisle had a long association with Ambrose and His Orchestra. She
also made recordings with such bandleaders as Jay Wilbur, Arthur
Lally, Ray Starita, and Jack Harris. She partnered with Sam Browne in
the early thirties, recording noteworthy duets.
Carlisles style has been compared to that of American singers Ruth
Etting and Annette Hanshaw, but she mixed the romantic with the
comical in a truly unique fashion. Her repertoire even extended to
bawdy songs such as Pu-leeze! Mister Hemingway! My Handy Man,
and My Man O War,
[1]
all of which are full of sexually suggestive
expressions, double-entendres, and metaphors.
More recent generations have had their attention drawn to Elsie
Carlisles music by Dennis Potters remarkable 1978 television series
Pennies From Heaven, in which Bob Hoskins implausibly lip-synchs
Carlisles 1932 recording of the sublime The Clouds Will Soon Roll By
and Cheryl Campbell does the same with the 1933 song Youve Got Me
June 2014 / 26
Crying Again while reading a psalm to schoolchildren.
Elsie Carlisle sometimes recorded under the pseudonyms Amy Brunton,
Sheila Kay, Gracie Collins, and Lallie Lack.
"Unusually for British singers of her era, Carlisle habitually used
American material without too much self-conscious Anglicizing.
Although she featured songs associated with Ruth Etting, her style was
closer to that of Annette Hanshaw. Unlike Hanshaw, however, she also
tried her hand at blues, performing numbers that were, by the
standards of the day, rather raunchy. During the early 30s, Carlisle, who
sometimes recorded as Amy Brunton, was featured with the popular
dance band led by Bert Ambrose where she met singer Sam Browne.
After the Ambrose stint, she and Browne continued to sing together
until the outbreak of World War II. By the time the war had ended,
Carlisle had decided to retire. Singing with an airy, delicate voice,
Carlisle brought a wistfully engaging quality to her material, usually
well chosen from the great songwriters of the day. Thus, it was that her
decision to perform songs such as "My Handy Man" and "My Man O'War",
which, with their sexual overtones, came as something of a shock to the
rened sensibilities of inter-war British audiences."
[2]
She is known to have recorded for
Dominion, Rex and Decca. The
selections listed below (from
the 78rpm Collectors
Community website), are
from her Dominion opus.
Dominion Records
issued their rst discs
in October 1928 but
failed to ourish,
disappearing from the
market by August 1930.
The catalogue included
material from the
American Cameo and
Grey Gull labels as well as
their own list of artists
including Elsie Carlisle. They
sold for half a crown in a
competitive market place. In
1929 the 'B' series was introduced
with the company offering a series of
classical records.
June 2014 / 27
Elsie Carlisle .w/ Orchestral
Accompaniment
Tell Me More About Love
Catalog No. A.168
As the restorer
[3]
of the following 78rpm
tracks notes:
"Dominion records had probably the worst recording
quality and roughest pressings of all UK labels. I've
managed to rescue these ne performances from a
torrent of noise using Click Repair, Wave Studio 7 and
a few other tricks. Took me a couple of days, Hope
you all enjoy them!"
[3]
Indeed, we do!
Here is an outline of the eight samples on
offer (as featured on the 78rpm Collectors
Community website). I personally ask you
to take a moment to listen to them as they
are real treats - not only because of the ne
job Mick has done in restoring them - but
because of the interesting lyrics that many
of them contain. Many of them feature
Carlisle in very ne voice as well. Her
treatment of some of the 'blues-like' tracks
give us an interesting glimpse how British
singers tackled singing what is
traditionally songs of the 'American tradition'. In particular, listen to 'Is
There Anything Wrong With That?' and 'My Man o' War'
AVAILABLE SELECTED 78RPM TRACKS ON 78RPM COMMUNITY:
(First 8 tracks all feature Orchestra cond. by Jay Wilbur)
1. ! Is There Anything Wrong With That? (Dominion A.83, mx 1148,
Recorded: 1929)
A classic, risqu track full of classic lines and innuendo.
2. ! Dreaming of To-morrow (Dominion A.83, mx 1147, Recorded:
1929)
Typical 1930s love song.
3. ! Mean to Me (Dominion A.168, mx 1362, Recorded: 1929)
4. ! Tell Me More About Love (Dominion A.168, mx 1363, Recorded:
1929)
One of her better recordings, good vocalization.
5. ! Ain't Misbehavin' (Dominion A.215, mx 1531, Recorded: 1930)
6. ! Honey (Dominion A.215, mx 1532, Recorded: 1930)
7. ! Body and Soul (Dominion C.307, mx 1713, Recorded: Mar. 1930)
June 2014 / 28
Elsie Carlisle
A good rendition of this timeless classic. Her voice is mellow and seductive.
8. ! My Man o' War (Dominion C.307, mx 1714, Recorded: Mar. 1930)
[5]
Another interesting risqu track full of classic lines and innuendo. Well worth listening too. How did
this recording ever slip by the censors, unnoticed?
http://www.78rpmcommunity.com/music/674/elsie-carlisle-
dominion-recordi
[The restorer has also included a sample of the raw audio for 'Mean to Me' for
comparison.]
(Next 2 tracks feature Jack Harris and his Orchestra with Elsie Carlisle)
9. ! I'm A little Prairie Flower (HMV B.D.5289, mx OEA.5109,
Recorded: 25 Oct. 1937. London)
10. ! The Girl In The Hansom Cab. (HMV B.D.5289, mx OEA.5119,
Recorded: 25 Oct. 1937. London)
http://www.78rpmcommunity.com/music/957/jack-harris-and-
his-orchestra-wi
(Next track features Jay Wilbur Orchestra with Elsie Carlisle)
11. ! Elsie Carlisle - Till The Lights Of London Shine Again (1939)
http://www.78rpmcommunity.com/mp3-music/albums/222
_____________________________________________________________________
NOTES
1 - See selected 78rpm track listing - Number 8
2 - http://www.music.us/biography/artist/27162/elsie_carlisle.html
3 - Mick Johnson
4 - Mick Johnson
5 - See label scan - Page 29. Courtesy of Alexandros Kozk - http://www.elsiecarlisle.com
June 2014 / 29
78rpm Community Website Roundup...
Prepared by Nathan Davis
The members of the 78rpm Collectors Community (http://www.
78rpmcommunity.com) has a wealth of knowledge and experience
related to 78rpms. With a wide variety of music uploads, videos and
posts, you can appreciate our community is an active, increasingly
important resource for collectors as well as a great place to share a
hobby and interest.
Amazingly, members add so much signicant music and photos to the
site that its often difcult to appreciate it all in just one or two visits a
month.
As result, you may have missed the following tunes and content
uploaded recently to the site. The following is a review and roundup of
some highlights...
JAZZ / DANCE BANDS
Lets start with a mint, choice recording by George Olsen. George Olsen
was an American band-leader. Born in Portland, Oregon, he played the
drums and attended the University of Michigan, where he was drum
major. Here he formed his band, George Olsen and his Music. He later
transitioned to Broadway, appearing in Ziegfeld Follies of 1924. Olsen
recorded prolically for Victor. His records are among the most
numerous found by record collectors today, testifying to his popularity.
This early Victor scroll electric, Hello, Aloha! How Are You? (Victor
#20060 - Recorded May 26, 1926) was mint when the collector found it.
The transfer on our site is amazingly clear and precise. One of the best
Ive heard in ages. Top marks go to our member, Bob Roth for an
excellent transfer. And yes, as many members know, you can get great
sound from 78s!
You can hear this ripper track at the following url - http://www.
78rpmcommunity.com/music/282/hello-aloha-how-are-you-georg.
Another gem you may have missed is performed by the California
Ramblers. Also transferred by Both Roth. An early Columbia Electric,
Sweet Georgia Brown - originally released on a black label
(Columbia-380-D), it was recorded May 14, 1925. This puts this
recording as an early Columbia electric - and although not the rst, by
any measure, it is still surprisingly good for the time. Clear and
somewhat spacious, the tune is brisk and toe-tappingly friendly. You can
June 2014 / 30
hear this transfer at the following url - http://www.
78rpmcommunity.com/music/283/sweet-georgia-brown-california.
Another active member, J.E. (Knox) is a avid collector of Bluebird and
Victor recordings and some of his recent transfers are top notch.
Two that you may have missed, both performed by Teddy Powell and his
Orchestra feature It All Comes Back To Me Now (Bluebird - BS
058304-1) and Sunset At Sea (BS 053807-2). Both were recorded in
New York on December 4, 1940. Vocals are by Ruth Gaylor (who sounds
a little like Judy Garland?) and Jimmy Blair, respectively.
The tracks can be found at - http://www.78rpmcommunity.com/mp3-
music/albums/161/popout/1/song_id/246.
You can also explore the Bluebird label in more detail on our site at -
http://www.78rpmcommunity.com/ynadvsearch/search?
is_search=1&query=bluebird.
They call the 1920s - the Jazz Age - and you get a sense of that sound
in the following two tracks by Fletcher Henderson's Orchestra recorded
by Victor in New York, April 27, 1927. Featuring St. Louis Shufe (BVE
38496-2) and Variety Stomp (BVE 38497-3), these transfers by J.E.
are from different takes that aren't commonly heard. Both 78s were
recorded with three takes each. Here, we explore a second and third
take respectively. As J.E. notes in his post, Unlike the rst two takes, the sax
section plays over Fletchers piano solo in Take 3 of Variety Stomp.
The website, RedHotJazz (http://www.redhotjazz.com/fho.html)points
out, The Fletcher Henderson Orchestra was the most popular African-American band of
the 1920s. The smooth, carefully arranged sound of Hendersons orchestra was a huge
inuence on the Swing style of the next decade... In 1924 Henderson hired Louis
Armstrong to replace Joe Smith on trumpet. Armstrongs thirteen months in the band
caused quite a stir among New York Jazz musicians who had never heard anything like
him... The orchestra recorded with dozens of record companies under a number of
different names and pseudonyms including Hendersons Dance Orchestra, Hendersons
Club Alabama Orchestra, The Dixie Stompers, Hendersons Happy Six Orchestra, Fletcher
Henderson and his Sawin Six, Louisiana Stompers and the Connie's Inn Orchestra.
The two tracks shared by J.E. are well worth a listen. If you can, turn
your speakers up and let your neighbors stomp along with you... Access
them here - http://www.78rpmcommunity.com/mp3-music/albums/269/
user_id/107 .
Another two tracks recorded by Victor in 1932 and transferred by J.E.,
feature Warings Pennsylvanians playing Old Man Of The
Mountain (BSHQ 73039-1; vocal by Chick Bullock) and Old
Yazoo (BSHQ 73037-1; vocal by Frank Zullo and chorus).
June 2014 / 31
Zullos vocal on Old Yazoo is worth a chuckle or two - particularly when
you realize he blew the lyric during this recording session - and despite
his uff, they released it without change. On the alternate Take 2, he got
it right... but Take 1 was issued. Take 1 also has reverb; none of the
other sides from that session do.
Listen to these excellent transfers here - http://www.
78rpmcommunity.com/music/387/victor-24062.
Charlie Palloy was a singer from the 1930s who has ended up becoming
less known now-a-days. Little is known of the man's life but his singing
style was as Ian Whitcomb, historian and author of the The First
Crooners writes, Obviously... modeled... on Russ Columbo, but all we know is that he
played guitar, led a band for a while, and recorded for the short-lived Crown label. His
careful pronunciation of an s borders on the sibilant... Charlie Palloy is a real
obscurity.
Two tasty treats of Palloy have been transferred from a Crown 78rpm
accompanied by the Gerardine Dance Orchestra. (Crown 3376, Me
Minus You. mx 1845-2-A. Sentimental Gentleman from Georgia.
mx1844-2-B). This ne, talented singer can be experienced at the
following URL - http://www.78rpmcommunity.com/posts/5466/charlie-
palloy-with-the-gerardin.
Another Charlie Palloy & His Orchestra recording uploaded by the
78rpm Community's member, Jonathan Holmes, features Brother, Can
You Spare A Dime. This video montage of Depression photos has been
expertly put together and is highly recommended viewing. Watch the
video here: http://www.78rpmcommunity.com/vid/154/charlie-palloy-
his-orchestra-brother-can-you-spare-a-dime.
Other video montages recently uploaded to the 78rpm Collectors
Community by Jonathan, which are worthy of a view include:
Ray Starita And His Ambassadors Band (Columbia #5042, Recorded:
London, September 29, 1928). Featuring, I Just Roll Along Having My
Ups And Downs - this great bouncy tune from Ray and his Band comes
from a clean, black label, English Columbia recording. As with all
Jonathan's videos, interesting photos have been sourced to match the
era and subject matter... Access it here - http://www.
78rpmcommunity.com/vid/158/i-just-roll-along-having-my-ups-and-
downs-ray-starita-and-his-ambassadors-band-columbia-5042.
Another recently uploaded video by Johnathan is the Savoy Hotel
Orpheans, At The Savoy Hotel, London. The only British recording of
this classic with a great Charleston riff! (HMV B.2174 mx 4-247)
Recorded, Hayes, Middlesex, October 23, 1925.
June 2014 / 32
Sticking with Dance Bands from the 20s and 30s, a recent upload of an
Ace Brigode and Harry Reser 1925 disc can be heard in mint condition.
Transferrer and member of the 78rpm Collectors Community, Mick
Johnsons copy is particularly ne. Recording details: Columbia #3730
(mx W140569-5 and mx W140738). The cheerful tracks can be heard
here - http://www.78rpmcommunity.com/music/655/columbia-3730-the-
denza-dance-ba.
Ace Brigodes Band made gramophone records for various record labels,
including OKeh, Edison, Cameo and Pathe Records. His biggest hit was a
1925 version of Yes Sir, Thats My Baby for Columbia Records.
Harry Reser was an American banjo player and bandleader. Reser was
best known as the leader of the Clicquot Club Eskimos. He was regarded
by some as the best banjoist of the 1920s.
Other recently uploaded tracks worth exploring include:
A selection of 1926 Columbia recordings by Jay Whiddens Hotel
Metropolitan Band (9 tracks) - http://www.78rpmcommunity.com/
music/654/jay-whidden-and-his-new-midnight.
Brain Rust, in his book, The Dance Bands (p.76- 1974) wrote of Jay
Whidden, ...Jay Whidden.., was a violinist with a case of wanderlust. Born in
Livingstone, Montana, in the eighties, he was a cowboy at ten, a budding violinist at
fteen in Spokane, Washington, and claimed to have founded one of the rst jazz bands in
1908. Jay Whidden was also the vocalist with his band; for some time at the turn of the
twenties and thirties, his pianist and principal arranger was George Scott-Wood, a young
man with a great interest in and ability for jazz, hot dance music and light classical
alike... Judging by its records, Jay Whidden's band obviously had a air for hot dance
music and most of its records are interesting musically even today. One of them, a
typically cute number of 1929, A Dicky Bird Told Me So, features a whole chorus on
trumpet, played with tremendous attack and zest by an eighteen-year-old lad named
Norman Payne.
The last item in this section worth hearing is another Bluebird transfer
featuring Vaughn Monroe and his Orchestra performing Thumbs
Up (BS 060654-1; vocal by Marilyn Duke [with band members]) and a
rare-for-VM instrumental, Clam Chowder (BS 060655-1). Recorded,
NYC, February 17, 1941. At the present time, these tracks have only
been played a couple of times on the website... You can enjoy them here -
http://www.78rpmcommunity.com/mp3-music/albums/323/user_id/107.
CLASSICAL MUSIC
On the classical side, a wealth of new posts feature a rich cornucopia of
historical performances worth exploring.
June 2014 / 33
Bill Anderson has been an active member of the 78rpm Collectors
Community since its inception almost four years ago. His knowledge of
classical 78rpm recordings is impressive to say the least. His transfers
of many Victor and Columbia releases are often highly praised when
uploaded to the site. He has also written an excellent article for this
magazine as well. [See - February 2014 edition]
Bills recent transfer of Offenbachs, Orpheus in Hades Overture by
Arthur Fiedler and the Boston Pops Orchestra (RCA Victor 78 12-0240)
was one which may have been missed recently. It was recorded October
29, 1947. As Bill writes in his post, Restoring 78s is a good outlet for my
borderline obsessive - compulsive behaviors. Post war Victors can have good sound, but
many are affected by the limiters that the RCA engineers introduced around 1945,
compressing the dynamic range. My software can offset this a bit but cant completely
eliminate the effect... You be the judge on this terric recording - http://
www.78rpmcommunity.com/mp3-music/albums/132/user_id/42.
By the way, Bill was part of an interview that the 78rpm Collectors
Community featured a year or so back regarding the process of
transferring 78rpm recordings. If you missed this fascinating article or
want a refresher, you can access it here - http://www.
78rpmcommunity.com/siteblog/2011/09/restoring-78rpms-part-1/.
Another recording worth mentioning this month is Golschmann and the
St. Louis Symphony Orchestra performing Sibelius's 7th Symphony.
Recorded by RCA Victor (Set DM922) on April 5, 1942. This was the
rst studio recording of the work released. (Stokowski recorded it in
1940 for Columbia but it was never issued). A direct, unfussy reading
with some great playing from the strings.
Overall, a excellent transfer job by Bill. You can access the recording
here - http://www.78rpmcommunity.com/posts/2593/bill-anderson.
An interesting transfer from a Columbia Masterworks set is also worth
spending a few minutes on. This transfer features Howard Barlow and
the Columbia Broadcasting Symphony in a recording of the Iphigenie an
Aulide Overture by Gluck on 3 sides. (The ller to this set is also
included). Barlow was an American born conductor active from 1923
until 1968. This transfer, also by Bill, was released on Columbia Set
X-138 - http://www.78rpmcommunity.com/music/653/howard-barlow-
amp-cbs-set-x.
A recent discussion on electric light ray recording on the 78-L mailing
list, got me searching our site for an older transfer of the Waiata Poi on
Brunswick Records. The two recordings feature an acoustic and electric
light ray recording that Brunswick recorded in 1924 and 1926
respectively. Both are performed by the Minneapolis Symphony
Orchestra under Henri Verbrugghen. Interesting to hear both
June 2014 / 34
interpretations using different recording systems - mechanical and
electrical. Access them here - http://www.78rpmcommunity.com/posts/
1076/waiata-poi-brunswick-records.
Dont forget about these tasty treats as well:
- http://www.78rpmcommunity.com/music/651/william-bergsma-paul-
bunyan-su - Paul Bunyan Suite - St. Louis Philharmonic Society
- http://www.78rpmcommunity.com/music/650/the-savoy-orpheans - The
Savoy Orpheans - Columbia 3395 Acoustically recorded -1924
- http://www.78rpmcommunity.com/music/647/handel-oboe-concerto-
hermann-t - Handel -Oboe Concerto in G minor, Bach Orchestra of Berlin.
Recorded November 1955
- http://www.78rpmcommunity.com/music/646/elsie-janis-basil-hallam -
Cast recording from The Passing Show, (1914) Music by Herman Finck.
HMV 04116
- http://www.78rpmcommunity.com/music/645/pietro-mascagni-
conducts-rossini - Pietro Mascagni conducts Rossini
PHOTOS
A wealth of record label scans have been appearing on the site over the
past month or so and should be of great interest to members.
Covering a variety of countries and makes, these scans are visually
interesting as well as essential to record research.
Michael Biel (a well known member of the 78rpm fraternity and
member) recently uploaded a series of scans of early HMV album
covers. This was in relation to a discussion on when early colored album
covers were rst introduced. Many collectors think Steinweiss was the
rst but in actual fact, he was a relative late comer to album cover
design... You can view Michael's scans here - http://www.
78rpmcommunity.com/albums/view/174.
Other scans worth exploring, include...
http://www.78rpmcommunity.com/albums/view/173 - Early British
78rpm Label Scans
http://www.78rpmcommunity.com/albums/view/170 - Interesting
78rpm Label Scans
http://www.78rpmcommunity.com/albums/view/169 - Gramophone
Magazine Covers (from the 78rpm era) -1
June 2014 / 35
http://www.78rpmcommunity.com/albums/view/168 - Gramophone
Magazine Covers (from the 78rpm era) -2
http://www.78rpmcommunity.com/albums/view/159 - Various 78rpm
Labels
http://www.78rpmcommunity.com/albums/view/166 - 12inch 78rpm
Red Vocalion Records
http://www.78rpmcommunity.com/albums/view/157 - 78rpm Jazz
Record Labels
http://www.78rpmcommunity.com/albums/view/150 - 78rpm Album
Covers - Records for Children
http://www.78rpmcommunity.com/albums/view/144 - RCA Victor
78rpm Record Album Covers
And to nish off, some
other brief news:
+ A interesting article has
been written by Wes
Williams - Parlophone
Records - A Guide To
Identication. Well worth
a read. Access his wiki
article here - http://www.
78rpmcommunity.com/
wiki/view/pageId/12/
slug/updated-article.
Also worth exploring is
our new Parlophone Label
Scan Index. http://www.
78rpmcommunity.com/
wiki/view/pageId/11/
slug/parlophone-label-
index-wiki
Editor
June 2014 / 36
Joseph Szigetis Columbia ML Recordings
Discography prepared by Frank Forman
Born into a musical family, Szigeti spent
his early childhood in a small town in
Transylvania. He quickly proved himself
to be a child prodigy on the violin, and
moved to Budapest with his father to
study with the renowned pedagogue
Jen" Hubay. After completing his studies
with Hubay in his early teens, Szigeti
began his international concert career.
His performances at that time were
primarily limited to salon-style recitals
and the more overtly virtuosic
repertoire; however, after making the
acquaintance of pianist Ferruccio Busoni, he began to develop a much
more thoughtful and intellectual approach to music that eventually
earned him the nickname The Scholarly Virtuoso.
Following a bout of tuberculosis that required a stay in a sanatorium in
Switzerland, Szigeti settled in Geneva, where he became Professor of
Violin at the local conservatory in 1917. It was in Geneva that he met his
future wife, Wanda Ostrowska, and at roughly the same time he became
friends with the composer Bla Bartk. Both relationships were to be
lifelong. He made numerous recordings with Bartok for the Columbia
label.
From the 1920s until 1960, Szigeti performed regularly around the
world and recorded extensively. He also distinguished himself as a
strong advocate of new music, and was the dedicatee of many new
works by contemporary composers. Among the more notable pieces
written for him are Ernest Blochs Violin Concerto, Bartks Rhapsody
No.1, and Eugne Ysaes Solo Sonata No.1. After retiring from the
concert stage in 1960, he worked at teaching and writing until his death
in 1973, at the age of 80.
June 2014 / 37
Frank Forman was a research economist at the U.S. Department of Education,
retired after twenty-seven years. He is the author of many comprehensive
discographies on a range of genres and performers including Wilhelm Kempff.
Joseph Szigeti - 1942
Image in the Public Domain
Frank Formans, Szigeti
discography concentrates on
the very early Columbia ML
series. This early label was used
by Columbia for the
introduction of the
Masterworks Long Play format
in 1948 - the successor to the
78rpm format. The ML label
background color varies from
medium to dark blue depending
on the year of release. The
record prex ML, stood for
Masterworks Long Play.
Interestingly, some of Szigetis
ML releases were re-pressings
of earlier 78rpm recording
sessions. From about 1947 onwards, Columbia Records recorded all
performances direct-to-disc for 78rpm release as well as on direct-to-
disc 16inch, 33 1/3rpm in preparation for later issue on their soon to be
released LP format.
This discography features Szigetis recordings between 1949 and 1956.
It also features links to available audio samples of many of these early
ML releases from Frank Formans personal collection.
June 2014 / 38
Columbia ML-4642 - Joseph Szigeti, violin
(See page 45 for record details)
Columbia ML-2097 - Joseph Szigeti, violin
(See page 39 for record details)
Joseph Szigeti Discography
COLUMBIA ML (Masterworks Long-playing) Recordings
Compiled by Frank Forman
All recordings feature - Joseph Szigeti (Violin)
LP matrices and take numbers from Frank Forman's collection.
Most of the recordings featured in this discography can be streamed at the
indicated URLs. (No ownership of audio les is claimed by this magazine)
Sufxs A and B signify Side A and Side B of recording | A1 sufx signies
Side A, Track 1 etc.
KEY: " 33 1/3rpm; ! 78rpm Electric
Beethoven Violin Sonata No.7 w/Mieczyslaw Horszowski, p
" ML 2097A$ $ 1949.3.9$$ $ LP Mat. LP 1957-1A
! Also on set - M 888$ 78rpm$ $ $ Mat. XCO 41051-8
Stream - http://www.lefactory.com/stream/cc7a36f
" ML 2097B$ $ 1949.3.9$$ $ LP Mat. LP 1958-1A
! Also on set - M 888$ 78rpm$ $ $ Mat. XCO 41051-8
Stream - http://www.lefactory.com/stream/cc7a365
Stravinsky Pastorale Group cond. by Stravinsky
" ML 2122A $ $ 1946.2.9$$ $ LP Mat. LP 2383-1C
! Also on 72495-D$ 78rpm$ $ $ Mat. XCO 35830
June 2014 / 39
Bloch Baal Shem w/Andor Farkas, p.
" ML 2122B1$ $ 1940.6.4$$ $ LP Mat. LP 2630-1D
! Also on set - X 188$ 78rpm$ $ $ 78 Mat. XCO 27411-3
" Also on Columbia LP. $ ML 4679B2
Stravinsky Duo Concertante w/Igor Stravinsky, p.
" ML 2122B2$ $ 1945.10.11&13 $ $ LP Mat. LP 2630-1D
! Also on set - M 922$ 78rpm$ $ $ 78 Mat. CO 35325-30
Bartok Contrasts w/Benny Goodman, cl., Bela Bartok, p.
" ML 2213A$ $ 1940.5.13&14 $ $ LP Mat. LP 13615-1A
! Also on set - X 178 $ 78rpm$ $ 78 Mat. WXCO 26819-A +20A +21A + 22C
" Also on CBS LP $$ MK 42227
Stream - http://www.lefactory.com/stream/cc7a39e
Bartok Portrait 1, Op.5, No.1, Sz.37, No.1, BB 55, No.1 w/Phil. Orch.
! ML 2213B1 $ $ 1946.6.22$ $ LP Mat. LP 13616-1A
Bartok Rhapsody 1 in G w/Bela Bartok, p.
" ML 2213B2$ $ 1940.5.2$$ $ LP Mat. LP 13616-1A
! Also on 11410-D $ 78rpm$ $ $ 78 Mat. XCO 34298-9
June 2014 / 40
Mendelssohn Violin Concerto w/Thomas Beecham, L.P. Orch.
" ML 2217A $ $ 1933.927&28$ $ LP Mat. LP 15043-1A
Stream - http://www.lefactory.com/stream/cc7a4ab
Mendelssohn Violin Concerto w/Thomas Beecham, L.P. Orch.
" ML 2217B $ $ 1933.927&28$ $ LP Mat. LP 15844-1A
Stream - http://www.lefactory.com/stream/cc7a4a7
Beethoven Violin Concerto in D, Op. 61 w/Bruno Walter, N.Y. Phil. Orch.
" ML 4012A$ $ 1946.4.5$$ $ LP Mat. XLP 251-2A
! Also on set - M 697$ 78rpm$ $ $ 78 Mat. XCO 36344-6 & 36589-95
(Leslie Gerber notes that the matrices differ between M 697 and ML 4012)
Beethoven Violin Concerto in D, Op. 61 w/Bruno Walter, N.Y. Phil. Orch.
" ML 4012B$ $ 1946.4.5$$ $ LP Mat. XLP 252-2A
! Also on set - M 697$ 78rpm$ $ $ 78 Mat. XCO 36344-6 & 36589-95
(Leslie Gerber notes that the matrices differ between M 697 and ML 4012)
Stream - http://www.lefactory.com/stream/cc7a54b
Brahms Violin Concerto w/Ormandy, Philadelphia Orch.
" ML 4015A$ $ 1945.2.23$ $ LP Mat. XLP 285-1C
! Also on set - M 603$ 78rpm (9 Sides)$ $ 78 Mat. XCO 34296-304 (Filler is
Sonata 3:2, Leonid Hambro, p. Never reissued.)
June 2014 / 41
Brahms Violin Concerto w/Ormandy, Philadelphia Orch.
" ML 4015B$ $ 1945.2.23$ $ LP Mat. XLP 286-1A
! Also on set - M 603$ 78rpm (9 Sides)$ $ 78 Mat. XCO 34296-304
Beethoven Violin Sonata No.1 w/Mieczyslaw Horszowski, p.
" ML 4133A$ $ 1946.5.20$ $ LP Mat. XLP 875-1A
! Also on set - X 312$ 78rpm (3 Sides)$ 78 Mat. XCO 34304, 35246, 35247, 36243
Stream - http://www.lefactory.com/stream/cc7a59a
Schubert Sonatina 1 in D, Op.137, No.1, D.384 w/Andor Foldes, p.
" ML 4133B$ $ 1941.11.25*$ $ LP Mat. XLP876-1D
! Also on set - X 312$ 78rpm (3 Sides)$ $ 78 Mat. XCO 42059, 41051-2
* Creighton gives the date as 1942.4.17
Prokoev Sonata No.1 in F, Op.80 w/Joseph Levine, p.
" ML 4257A$ $ 1949.3.4,8,9$ $ LP Mat. XLP 1804-1C9
Prokoev Sonata No.2 in D, Op.94 w/Leonid Hambro, p.
" ML 4257B$ $ 1945.12.7,8$ $ LP. Mat.XLP 1805-1B4
Bach Sonata No.3 in C, S.1005 (Unaccompanied)
" ML 4286A$ $ 1949.11.30&12.2$ $ LP. Mat. XLP 2120-2B
June 2014 / 42
Bach-Reitz Concerto No.1 in D, S.1052 w/Fritz Stiedry, New Friends of
Chamber Music
" ML 4286B$ $ 1940.4.24$ $ LP. Mat. XLP 2121-1B
Stream - http://www.lefactory.com/stream/cc7a6bf
Schubert Fantasia in C, Op.159, D.934 w/Joseph Levine, p.
" ML 4338A $ $ 1949.11.21$ $ LP Mat. FXLP 3401-1A
Corelli-Lonard$ $ Sonata in D, Op.5, No.12 $ w/Andor Farkas, p.
" ML 4338B1$ $ 1940.6.5$$ $ LP Mat. (?)
Debussy Clair de lune w/Andor Foldes, p.
" ML 4338B2$ $ 1942.4.22
Stream - http://www.lefactory.com/stream/cc7a6dc
Lalo Aubade w/Andor Farkas, p.
" ML 4338B3$ $ 1941.3.21 (Labeled Andor Foldes, which distinguishes Foldes from his
penname, Farkas.)
Stream - http://www.lefactory.com/stream/cc7a6d4
Tchaikovsky Valse sentimentale w/Henry Kaufman, p.
" ML 4338B4$ $ 1944.4.12$ $ LP Mat. XLP 2629-1C
Stream - http://www.lefactory.com/stream/cc7a6d5
June 2014 / 43
Bach Brandenburg Concerto No. 5 In D Major w/Eugene
Istomin, p, John Wummer, , Pablo Casals, Prades Festival Orchestra
" ML 4346B$ $ 1950.6.10&12$ $ LP Mat. FXLP 3378-1AB (From ML
54346)
Stream - http://www.lefactory.com/stream/cc7a6ef
Bach Concerto No.1 in D, S.1052 w/Pablo Casals, Prades Festival Orchestra
" ML 4352B$ $ 1950.6$ $ $ LP Mat. XLP 3385-1D
Stream - http://www.lefactory.com/stream/cc7a60a
Stravinsky Russian Maiden's Song w/Igor Stravinksy, p.
" ML 4398A3$ $ 1946.5.9$$ $ LP Mat. XLP 27581L
Prokoev Concerto No.1 in D, Op.19 w/Thomas Beecham, L.P. Orch.
" ML 4533A$ $ 1935.8.25$ $ LP Mat. XLP 9236-1E
Mozart Concerto No.4 in D, K.318 w/Thomas Beecham, L.P. Orch.
" ML 4533B$ $ 1934.10.08$ $ LP Mat. XLP 8636-1B
Schubert Rondo brillante in B, Op.70, D.895 w/Carlo Bussotti, p.
" ML 4642A$ $ 1952.1.24$ $ LP Mat. XLP 9326-1C
Stream - http://www.lefactory.com/stream/cc7a64f
June 2014 / 44
" ML 4642B$ $ 1952.1.29$ $ LP Mat. XLP 9327-1E
Bloch Violin Concerto in A (1938) w/Charles Munch, Paris Cons.
" ML 4679A&B1$$ 1939.3.22&23$ $ LP Mat. XLP 6627-3B/6620-3A
(Front cover says SPECIAL COLLECTORS ISSUE)
Stream - http://www.lefactory.com/stream/cc7a65d (and) http://
www.lefactory.com/stream/c4a5fd6
Bloch Baal Shem w/Andor Farkas, p.
" ML 4679B2$ $ 1940.6.4$$ $ LP Mat. XLP 6620-3A
" Also on Columbia LP. $ ML 2122
Brahms Piano Quartet No.3 in C, Op.60 w/Myra Hess, p., Milton Katims,
va, Paul Tortellier, c.
" ML 4712A$ $ 1952.6$ $ $ LP Mat. XLP 14023-1AA
(Front cover says 5th ANNIVERSARY SPECIAL)
Brahms Piano Quartet No.3 in C, Op.60 w/Myra Hess, p., Milton Katims,
va, Paul Tortellier, c.
" ML 4712B$ $ 1952.6$ $ $ LP Mat. XLP 14024-1B
Stream - http://www.lefactory.com/stream/cc7a67d
June 2014 / 45
Schubert Sonata in A, Op.162, D.574, ("Duo") w/Myra Hess, p.
" ML 4717A$ $ 1952.6$ $ $ LP Mat. XLP 14009-1B
Brahms Piano Trio No.2 in C, Op.87 w/Myra Hess, p., Pablo Casals, c.
" ML 4720A$ $ 1952.6$ $ $ LP Mat. XLP 1401-1D
(Front cover says 5th ANNIVERSARY SPECIAL)
Brahms Piano Trio No.2 in C, Op.87 w/Myra Hess, p., Pablo Casals, c.
" ML 4720B$ $ 1952.6$ $ $ LP Mat. XLP 14016-1B
Cowell Sonata No.1 w/Carlo Bussotti, p.
" ML 4841A$ $ 1952.1.17&18$ $ LP Mat. XLP 9139-1C
(Front cover says NORTH AMERICAN MUSIC SERIES)
" ML 4870A$ $ 1953.12.1$ $ LP Mat. (?)
Stream - http://www.lefactory.com/stream/cc7a7bc
" ML 4870B$ $ 1953.11.27$ $ LP Mat. (?)
Stream - http://www.lefactory.com/stream/cc7a7b8
June 2014 / 46
Bach-Schreck Concerto No.5 in F, S.1056 w/George Szell, Col. Sym. Orch.
" ML 4891A1 $ $ 1954.1.13*$ $ LP Mat. XLP 31209-1K
* Creighton gives the date of January 15.
Stream - http://www.lefactory.com/stream/cc7a7f6
Handel Sonata 7 in D, Op.1, No.13 in D w/Carlo Bussotti, p.
" ML 4891A2$ $ 1954.3.23$ $ LP Mat. XLP 31209-1K
Stream - http://www.lefactory.com/stream/ce41616
Tartini Concerto in D, D.45, C.61 w/George Szell, Col. Sym. Orch.
" ML 4891B1$ $ 1954.1.15*$ $ LP Mat. XLP 31210-1J
* Creighton gives the date of January 13.
Tartini Sonata 13 in G: 1, Adagio w/Carlo Bussotti, p.
" ML 4891B2$ $ 1954.2.22$ $ LP Mat. XLP 31210-1J
Mozart Sonata No.32 in Bb, K.454 w/George Szell, p.
" ML 5005A$ $ 1955.3.23$ $ LP Mat. (?)
Mozart Sonata No.33 in Eb, K.481 w/George Szell , p.
" ML 5005B$ $ 1955.3.25$ $ LP Mat. (?)
June 2014 / 47
Ravel Sonata in G w/Carlo Bussotti, p.
" ML 5178A1$ $ 1953.11.13&12.3$ $ LP Mat. XLP 31236-1A
Hindemith Sonata in E w/Carlo Bussotti, p.
" ML 5178A2$ $ 1953.12.4$ $ LP Mat. XLP 31236-1A
Prokoev Sonata in D, Op.115 (Unaccompanied)
" ML 5178B1$ $ 1954.1.11$ $ LP Mat. XLP 31237-2E
Prokoev (5) Melodies, Op. 35 w/Carlo Bussotti, p.
" ML 5178B2$ $ 1952.11.12$ $ LP Mat. XLP 31237-2E
Busoni Violin Concerto in D, Op.35a w/Thomas Scherman, Little Orch. Society
" ML 5224A$ $ 1954.12.22$ $ LP Mat. - XLP 34592-1A
Busoni Sonata 2 in E, Op.36a w/Mieczyslaw Horszowski, p.
" ML 5224B$ $ 19560.2,20,21,24&3.3&9$ LP Mat. - XLP 42006-1C
Brahms Violin Sonata No.1 in G, Op.78 w/Mieczyslaw Horszowski, p.
" ML 5266A$ $ 1951.4.20$ $ LP Mat. XLP 43045-1AF
Brahms Violin Sonata No. 3 in D, Op. 108 w/Mieczyslaw Horszowski, p.
" ML 5266B$ $ 1956.2.3$$ $ LP Mat. XLP 43046-1D
June 2014 / 48
Phonogalerie - Paris Exhibition Space
June 2014 / 49
Use of photos under Creative
Commons license
June 2014 / 50
June 2014 / 51
The Spirit of Chicago Jazz - Frank Teschemacher
Witten by Missy Kyzer
Few jazzmen who had considerable
inuence in jazz are as shrouded in
mystery, obscurity, and controversy
as Chicago reedman, Frank
Teschemacher.
Jazz acionados, historians, and
critics have conicting views of him.
Some say he was a genius and a long-
lost jazz giant, some say he was
unmemorable or even unremarkable.
But he did have an impact - and an
important one at that. Listen to a
number of hot jazz records from the
1920s and early 1930s and youll
hear that his inuence is clear and
present.
Part of the obscurity that surrounds
Teschemacher is due to his untimely
death - he was just short of his 26th
birthday when he died in a car
accident on March 1, 1932. He had
little time to develop his craft, but
with the little time he did have, he developed a highly unique sound and
proved himself to be a daring improviser.
Teschemacher was the musical leader and an original member of the
infamous Austin High Gang, a group of young like-minded classmates
from Austin High School in the Chicago suburbs. They fell in love with
the jazz they heard on records at the local ice cream parlor and in the
inner citys South Side clubs. Enthusiastically, they decided to get
together a band of their own and learn to play this new music style, and
in doing so they became, as author Richard Hadlock calls them in his
book Jazz Masters of the 1920s, the rst self-conscious students of
jazz. The eager young Chicagoans began developing their own brand of
jazz known as the Chicago-style which had an energetic and almost
Missy Martin is a 20year old college student from Southern California attending
the University of California, pursuing her Bachelor of Arts in Music & Culture. She
aspires to be a professional vocalist & a music historian or musicologist.
June 2014 / 52
Frank Teschemacher
frantic sound that was full of tension and drive.
The clarinet playing of Frank Teschemacher was the very spirit of
Chicago during the Roaring Twenties - wild, uninhibited, driven, frantic,
excitable almost to the point of nervousness. He introduced a hard,
astringent, and brassy quality to jazz clarinet playing that was far from
the usual uid sound of the New Orleans players before him and his ery
playing style became a dening characteristic in Chicago-style jazz.
There are only 34 existing recordings that Teschemacher is known to be
playing on and compared to the recording output of most of his peers,
Teschemachers known body of work is rather small. Because of this,
many argue that there is not enough material to fully determine his true
talent. Teschemachers peers have also said that he was, at times,
nervous about recording and sounded better live. Still, he left a number
of solid recordings that made an impact within Chicagos jazz scene
during his lifetime and helped solidify his place in jazz history.
Possibly the most important and inuential recordings that he made
were his very rst recordings with the rest of the Austin High Gang
boys, under the name McKenzie and Condons Chicagoans. The groups
two session dates for OKeh Records on December 8 and 16 in 1927
featured a line-up of Jimmy McPartland on cornet, Frank Teschemacher
on clarinet, Bud Freeman on tenor saxophone, Joe Sullivan on piano,
Eddie Condon on banjo, Jim Lanigan on string bass, and Gene Krupa on
drums. The records from these sessions utilized two musical devices -
the explosive sound and the shufe rhythm - which established that the
boys were drifting away from New Orleans style elements and were
already creating their own Chicago style. Even in his rst recordings,
Teschemachers originality is impossible to ignore, and after the release
of these records many clarinetists began trying to imitate him. These
records even garnered high praise from Teschemachers idol, the
legendary cornetist Bix Beiderbecke.
Teschemacher made the bulk of his
recordings in 1928. He made his rst
recordings as a bandleader for
Brunswick Records on April 28, 1928
with a group eventually billed as
Frank Teschemachers Chicagoans.
The line-up for this date featured
Frank Teschemacher on clarinet and
alto saxophone, Rod Cless on alto
saxophone, Mezz Mezzrow on tenor
saxophone, Joe Sullivan on piano,
Eddie Condon on banjo, Jim Lanigan on
bass, and Gene Krupa on drums. For the
session, they played Jazz Me Blues and
June 2014 / 53
Singin the Blues but only a test pressing of Jazz Me Blues survived.
Jazz Me Blues is a signicant recording, not only because
Teschemacher takes the role of leader here but also because he wrote
the arrangement of the tune, takes most of the solos, and plays on both
clarinet and alto saxophone. Interestingly enough, this record was
supposed to have been rejected like Singin The Blues but when a test
pressing of it was found it was issued in 1939 (seven years after
Teschemachers death) by the United Hot Clubs of America.
Teschemacher traveled to New York City in mid-June 1928. It was in the
Big Apple that he and his Chicagoan friends had another signicant
recording date with New York musicians Red Nichols and Miff Mole on
July 6, 1928 for OKeh Records. The group, billed as Miff Mole and His
Little Molers, included Nichols on cornet, Mole on trombone,
Teschemacher on clarinet, Joe Sullivan on piano, Eddie Condon on
banjo, and Gene Krupa on drums. Nichols, a top jazzman in New York,
had been drawn to the Chicagoans fresh sound and so this recording
session was a sort-of musical test for them. The Chicagoans rose up to
the challenge and added enough of their unique spark to impress the
New York jazzmen, establishing themselves as a force to be reckoned
with. Unfortunately, the recordings of Windy City Stomp (One Step to
Heaven) and Shim-Me-Sha-Wabble recorded during this session were
also not issued until 1940, when record producer George Avakian
discovered them.
Teschemachers last two recording dates took place in 1929 and 1930,
respectively. The rst of the two sessions was with Elmer Schoebel and
his Friars Society Orchestra for Brunswick Records on October 18,
1929. In addition to Teschemacher on clarinet, the line-up included
Schoebel on piano, Floyd Town on tenor saxophone, George Wettling on
drums, Dick Feige on cornet, Jack Reid on trombone, Charles Barger on
guitar, and John Kuhn on brass bass. During this session, the band
recorded Copenhagen and Prince of Wails and what is notable about
these records is how much Teschemacher had matured. Teschemacher
sounds more at ease, condent, and assured in his style, and in these
records he plays some of the most brilliant solos hed ever done. He
cleaned up his tone and improved his intonation without sacricing any
of the vigor and re that made him Frank Teschemacher.
He exhibits the same perfect blend of inspiration and maturity on his
last known recording date with a group called The Cellar Boys.
Recording multiple takes of Wailing Blues and Barrel House Stomp
for Brunswick Records on January 24, 1930, the line-up here included
Wingy Manone on cornet, Frank Teschemacher on clarinet, Bud
Freeman on tenor sax, Frank Melrose on piano, and George Wettling on
drums. It was believed that the accordion player was the brother of
Frank Melrose, but the actual identity of the person is now under much
speculation. At any rate, if Teschs sound on these records were a
June 2014 / 54
precursor of what could have been had he lived longer, then he could
have very well become a more respected and well-known jazzman in the
years ahead.
Though the common knowledge is that there is only 34 known
Teschemacher recordings, there are rumors and speculations that he
may be on certain other recordings in which the musicians are
unknown.
In the Frank Teschemacher boxset of Time-Life Records Giants of Jazz
LP series, 6 possible Teschemacher recordings, voted upon by jazz
experts and friends of Teschemachers, are included. Of the 6, the two
records that are the most likely to include Teschemacher are
Limehouse Blues and Dear Old Southland by a group called The
Original Wolverines. Contrary to the name, this was not, in fact, the
original Wolverines band of 1923-1924 that featured Bix Beiderbecke.
Rather, these new Originals were directed by pianist Dick Voynow, a
member of the rst Wolverines band. The line-up for these tunes,
recorded in Chicago on May 24, 1928 for Brunswick Records, is largely
unknown, other than Voynow. A substantial number of the consultants,
including Teschemachers close friend Jess Stacy and fellow Austin High
Gang musician Bud Freeman, believed that Teschemacher was the
clarinetist and was also possibly playing alto saxophone. The clarinetist
on the records denitely does have the same piercing tone and angular
placement of notes characteristic of Teschemachers playing.
Its also been suggested that Teschemacher could have been present on
a few Sam Lanin/Ipana Troubadours recordings from 1928, considering
he was playing with the band in September and some fellow sidemen
remember him being on a couple Lanin record dates. A second recording
of Out of the Dawn by the Dorsey Brothers Orchestra recorded in New
York on November 24, 1928, was recently discovered, and might also
have Teschemacher in the list of sidemen.
Theres always the possibility that recordings that were never issued or
were previously considered lost are still waiting to be discovered.
Though the recording of Singin the Blues recorded for the April 28,
1928 session lead by Teschemacher was denitely rejected and more
than likely has perished, a published discography of Brunswick
Records Chicago and regional sessions up to 1931 states that there was
a session by the same band recording the same tunes (Jazz Me Blues
and Singin the Blues) held a month prior on March 17, 1928. Could
there be a possibility that the Singin the Blues recorded here survived
and is sitting unissued in a vault? Or was the account of this session
simply an error?
One of the most intriguing rumored recordings is the possibility that the
June 2014 / 55
musicians from the Floyd Towns Midway Gardens Orchestra, which
included Teschemacher, made records in early 1928. In the discography
appendix of Jess Stacy: The Quiet Man of Jazz by Derek Coller, it states
that drummer George Wettling said the musicians of the Floyd Town
band cut records that were never released. Coller also mentions that if
such a session took place it might have been for Paramount, many of
whose matrix numbers have not been traced, which keeps the hope
alive that these records might still exist somewhere. If they do, they
feature an impressive line-up that features Muggsy Spanier on cornet,
Frank Teschemacher on clarinet, Jess Stacy on piano, George Wettling
on drums, and leader Floyd Town on tenor saxophone. Each of these
jazzmen were very talented and all of them were great friends, so its
safe to assume that they were a musical powerhouse when playing
together. Recordings of this group would be a treasure to nd, not only
because it would provide us with a glimpse of one of Chicagos most
revered hot jazz bands, but also because it would provide another look
at Teschemacher's playing when he worked with tremendously skilled
musicians whom he trusted and admired.
Teschemacher has attracted controversy from critics because he tended
to favor passionate improvisation over correct technique. Accurate
intonation was also sometimes sacriced, though more often than not
the wrong notes he played were deliberate. In many ways, he was
ahead of his time and sought to push the boundaries of the musical
conventions of his era, which is why his critics tend to label his playing
as awkward and unconventional.
Regardless, Frank Teschemachers devotion to jazz and its innovative
tradition is clear. His music painted a portrait of his era, but also hinted
to what was ahead. What is incredible is that in his short 25 years, 10 of
which he spent playing jazz, he proved to be one of the most exciting
soloists in the musics history. It is remarkable how someone with so few
recordings could leave such an indelible impression on the Chicago style
and on jazz clarinet playing as a whole. This quiet young mans unique
musical voice always had something to say - usually something bold and
daring. What he may have lacked in technique, he made up for in
passion and spirit. He left us with, what Marty Grosz writes in the liner
notes of the Giants of Jazz LP booklet, an instrumental voice instantly
recognizable and, once heard, impossible to forget.
June 2014 / 56
WWII German Propaganda Labels
Prepared by Alexander Ross
A few records from the collection of Alexander Ross featuring German
78rpms made during the National Socialist era in Germany. Please see
Rosss Youtube channel for the recordings. "youtube.com/galacnor" -
View the complete series of label scans here: http://www.
78rpmcommunity.com/albums/view/290
June 2014 / 57
[Above] Das ist die Liebe der Matrosen
(This is the love of the sailors)
Image courtesy of the collection of
Alexander Ross
[Top right] ImSchutzenhaus ist Blasmusik mit Tanz (ImSchutzenhaus is brass band
music with dance) [Bottom right] Ein jedes Mdel liebt das Militr (Each girl loves the
military)
Image courtesy of the collection of Alexander Ross
June 2014 / 58
Badenweiler Marsch
Als die Goldne Abendsonne (As the evening sun Golden)
June 2014 / 59
Radetzky Marsch (Radetzky March)
Marie, Mara, Maruschkata
Latest Videos on our Site
Compiled by Nathan Davis
The following videos were recently added to the 78rpm Collectors
Community website. To view each video on your SmartPhone, iPad,
Tablet or Android enabled device, point your QR Reader App at a
barcode below. The video will load automatically on your device.
June 2014 / 60
Crazy Words - Crazy Tune played by Victor
Vorzanger Dance Band - Posted by Mick Johnson
One of four sides recorded for Broadcast by Vorzanger
on 4th Oct 1927, his only session for them and his last
recording session. Vocal not conrmed, but John
Thorne was vocalist for the other record from this
session.
Vorzanger vn & dir; Alf Bowes, t; Walter Crowley, tb-bb;
Jimmy Goss & Nat Star, cl-as-ss; J Lewis, ts; Cyril
Jochau, p; Bob Couzens, bj; Sid Simmons, d.
Al Bowlly Heart & Soul + Nat Martin - Posted by
Chunny Chunny
EMG Xb Oversize. Using Expert 4 spring reproducer to
play an Australian laminated pressing of Geraldo
Orchestra with Al Bowlly on vocals. Heart and Soul.
Second track played using a Visconia reproducer .
Playing an Edison Diamond Disc , So that's the kind of
girl you are by Nat. Martin and his Orchestra.
Siegfried's Funeral March (Wagner) - Posted by
Duncan James
This video shows the problems of playing long music
items like siegfried's funeral march by Wagner. Albert
Coates conducts the London Symphony Orchestra. This
version has the added ending on side 1.
QR Reader apps can be downloaded from
iTunes or GooglePlay.
The videos can also be viewed manually by
using the following links:
http://www.78rpmcommunity.com/videos
and http://www.78rpmcommunity.com/vids
June 2014 / 61
What Wouldn't I Do For That Man? - Frankie
Trumbauer's Orchestra - Parlophone R583 - Posted
by Jonathan Holmes
A rare exception to the usual fare, but I do love this
song! I picked this disc up recently, and was reminded
about how much I enjoy Smith Ballew's vocals.
FRANKIE TRUMBAUER'S ORCHESTRA Frankie
Trumbauer, cm, as, dir: Andy Seacrest, c / Charles
Margulis, t / Bill Rank, tb / Chester Hazlett, as / Irving
"Izzy" Friedman, cl, ts / Min Leibrook, bsx / Joe Venuti,
vn / Lennie Hayton, p, cel / Snoozer Quinn, g / George
Marsh, d / Smith Ballew, v. New York, October 19, 1929
Lane Hardin - Hard Times Blues - Posted by Texas
Hobart
Classic blues.
Hard Time Blues (L. Hardin) (91449-1) Recorded July
28, 1935, Chicago, Ill.; Lane Hardin, vocal and guitar
Crazy Feet - Spike Hughes And His Decca Dents -
Decca F 1690 - Posted by Jonathan Holmes
An effortlessly smooth recording with the superb
vocals of Al Bowlly. Even though this is a wonderful
song, Arthur Lally's band was the only one to record
this during the dance band era, which is a real shame.
ARTHUR LALLY AND HIS ORCHESTRA - Arthur Lally,
cl, as, bar, dir: Probably - Max Goldberg and another, t /
Tony Thorpe, tb / cl, as / cl, ts / Claude Ivy, p / Alan
Ferguson, g / Spike Hughes, sb / Rudy Starita, d / Al
Bowlly, v. - Chelsea, London, September 29, 1932.
The End of the Golden Age of Chicago-Style Jazz
Written by Missy Kyzer [Article reproduced with permission]
It was a music very characteristic of its time, forever preserving the
sound of Jazz Age Chicago on shellac records. But the Jazz Age could
not live forever and Chicagos role in the development of jazz could not
always keep stranglehold of its power on the music. Jazz, especially, is a
music that always moves, always evolves. And when the music moves
on, it takes on a new form, it transforms into something new and
something more timely for the new era.
And while it is a simple fact that change is inevitable and that pop
culture will always shapeshift to better t the times, this common fact of
nature is not the lone force that brought the demise of Chicago-style
jazz. Rather, alongside this natural change there were specic factors,
societal and musical, that contributed to the fall of the Chicago-style and
the rise of swing.
What Is Chicago-Style Jazz?
But before we can delve into the factors that ended the Chicago-styles
golden age, we must rst understand the music. Who were its players?
What was its distinguishing sound? And, rst and foremost, how did it
come about?
Legend has said that a huge reason for the signicant shift from jazzs
home in New Orleans to Chicago was due to the closing of New Orleans
celebrated red light district Storyville in 1917. Many New Orleans
musicians also performed in bands on steamboats traveling up and
down the Mississippi River and so it has long been said that jazz
traveled up the river from New Orleans to Chicago.
In William Howland Kenneys Chicago Jazz: A Cultural History,
1904-1930, he argues that, in reality, the closure of Storyville was not
necessarily the nal straw that pushed jazz musicians upwards to
Chicago it only pushed the music (and the scandalous activities that
June 2014 / 62
Missy Martin is a 20year old college student from Southern California
attending the University of California, pursuing her Bachelor of Arts
in Music & Culture. She aspires to be a professional vocalist & a music
historian or musicologist.
took place in Storyville) to other surrounding neighborhoods in New
Orleans. And while theres no doubt that jazz was traveling up and down
the country in the riverboats, the Mississippi River doesnt ow through
or very near Chicago.
Instead, the most logical explanation for the shift from New Orleans to
Chicago lies in the rst wave of the Great Migration (generally regarded
to have occured from 1910-1930), in which many African-Americans
moved from the rural American South to Northeastern and Midwestern
cities. Jazz musicians were particularly interested in Chicago because of
its thriving market for entertainment and popular music development.
June 2014 / 63
(Photo - Previous Page: Clockwise, starting from top left: Joe King
Oliver, Jelly Roll Morton, Jimmie Noone, Louis Armstrong)
Jazz greats such as Joe King Oliver, Louis Armstrong, Jimmie Noone,
and Jelly Roll Morton began to reach much critical, popular and
creative acclaim following their move to Chicagos South Side in the late
1910s. While they brought the music of New Orleans with them, they
also began adapting the music to t the city and in doing so, they
inspired musicians of all races from all over town including young,
aspiring white musicians from the suburbs known as the Austin High
Gang and a fellow from Iowa named Bix Beiderbecke.
Chicago-style jazz of the 1920s and early 1930s is characterized by a
very hot, energetic, almost frantic sound. While Chicago-style still
utilizes collective improvisation, the focus on individual soloists
becomes incredibly important. In this style, elaborate introductions and
endings become increasingly common, saxophones began to take on a
role in jazz, and time signatures generally switch from the common New
Orleans 4/4 to a shufing 2/4. Where New Orleans-style was
characterized by a sense of ease and leisure, Chicago-style is all about
tension and drive. Chicago-style bands tended to be of a small or
moderate size, usually consisting of no more than 9 or 10 players.
The End of The Chicago-Style Era
One of the biggest factors in the death of the Chicago-style was the end
of the Jazz Age, particularly the end of Prohibition and the onset of the
Great Depression.
A crackdown on the organized crime that was centered in 1920s
Chicago brought the rst blow. The brutal St. Valentines Day Massacre
in 1929 drove the public to push for more police control. Police raids on
speakeasies, especially South Side clubs, increased and this actually
increased gang violence for a while, making clubs even more unsafe for
jazz musicians.
In what History and Tradition of Jazz author Thomas Larson calls the
nal blow to the jazz age in Chicago, the twenty-rst amendment the
repeal of Prohibition was passed in 1933. With the repeal of
prohibition on alcohol and increased political reforming, many key
Chicago speakeasies and nightclubs closed. The Jazz Age, with its loose
morals and bootleg gin on which this style of jazz thrived, was ofcially
over.
June 2014 / 64
And though New York had already begun to tantalize and pull in jazz
musicians in the late 1920s, the city now seemed even more inviting.
With the 1929 stock market crash and the Great Depression on the rise,
jazz musicians were drawn to the jobs available in New Yorks many
nightclubs and theaters. Radio and recording industries, as well as the
sheet music publishers of Tin Pan Alley, were now centered in New
York.
But what may have
also had a detrimental
effect on the demise of
the Chicago-style was
the tragic deaths of
many of its key
players. The deaths of
cornetist Bix
Beiderbecke and
reedman Frank
Teschemacher, two of
the most inuential
musicians of the style,
were especially hard-
hitting blows.
Bix Beiderbecke was a huge inuential and innovative gure in the
midwestern jazz scene of the 1920s, alongside Louis Armstrong (and
both men were mutual admirers). Part of Beiderbeckes unique musical
voice was his clear, bell-like tone on the cornet and a cooler, more lyrical
approach to jazz, decades before the cool jazz movement. He had an
impeccable musical ear and he was a huge inuence to black and white
musicians alike.
Frank Teschemacher, commonly known as Tesch, was one of the
original members (and, according to many, the musical leader) of the
infamous Austin High Gang, a group of young men from the Chicago
suburbs who were instrumental in forming the Chicago-style.
Teschemachers style of playing the clarinet and alto sax was incredibly
unique and distinctive angular, ery, and passionate, with a piercing
tone. The wild, driving characteristics of Teschs playing became
characteristic of the Chicago-style as a whole.
Though Beiderbeckes death in 1931 was not entirely unexpected (Paul
Whiteman had granted him a paid leave to rest due to noticeable health
ailments), it had an incredible impact on the jazz scene that was felt far
June 2014 / 65
(Frank Teschemacher, left, and Bix Beiderbecke,
right)
and wide. The death of such an inuential gure, along with the societal
factors previously mentioned, left many musicians mournful and
discouraged.
Teschemacher, an ardent admirer of Bix Beiderbecke, unfortunately
met an untimely end like his hero. His death, however, was far more
sudden and unexpected: he died from severe head injuries following a
car accident in which trumpeter Wild Bill Davison was driving the
automobile. The two were putting together their own big band, a project
which ultimately fell apart after the abrupt tragedy.
Beiderbeckes death is the most remembered and may have had a wider
impact on a larger scale but Teschemachers death was basically the
nal straw. In the Teschemacher entry of American National Biography,
he is described as perhaps the most versatile of the Beiderbecke
disciples and, after Beiderbeckes death, he was their most ardent
cheerleader. With his death, Chicago-style jazz had lost its last
ringleader, and many believe the spirit of the Chicago-style died with
him. The fact that Beiderbecke, a giant in the scene, and Teschemacher,
the dedicated disciple, died within months of each other was daunting.
Some of the younger budding jazzmen at the time even started
wondering if Chicago jazz was cursed.*
Jazz mythos aside, it is extremely odd that so many key players were
taken so soon and within such a short time-frame. Clarinetist Don
Murray, who played with and was close friends with Bix Beiderbecke,
died a few years prior to Bix in 1929, from severe head injuries after a
car accident at age 25 eerily similar to Teschs death three years later.
Eddie Lang, a guitarist most notable for his work alongside Bix and
Frank Trumbauer, died a year after Teschemacher from complications
following a tonsillectomy.
Interestingly enough, an In Memoriam page for these 4 young jazzmen
(and Carleton Coon of the Coon-Sanders Orchestra) appears in a concert
program for New Yorks First Swing Music Concert, held at the
Imperial Theatre on May 24, 1936. It seems symbolic of the transition
from Chicago-style to swing simultaneously honoring the ill-fated
Chicago-style and its innovative players while celebrating the onset of
the swing era.
The Dawn of the Swing Era
So the music began to lose some of the gritty edge that helped
characterize the Chicago-style and, though still loud and exuberant, it
June 2014 / 66
became smoother, more
dance-oriented, and more
commercially-appealing.
Jazz took on the new form
of swing, and in this new
form jazz became the
mainstream popular
music. Big bands are truly
big, usually with 17 or
more players, neatly
divided into sections by
instrument. Collective
improvisation is even less
important as individual
solos become the norm.
Many credit Benny
Goodmans incredibly
well-received concert at
the Palomar Ballroom in
Los Angeles in 1936 to
have been the ofcial start
of what we now call the
swing era. Goodman
himself came of age in the
Chicago-style era and was
well-associated with the
Austin High Gang.
Benny Goodman became one of the most popular bandleaders of the age
of swing but he was far from the only one. Other bandleaders such as
Duke Ellington, Artie Shaw, Count Basie, and Glenn Miller were elevated
to a celebrity status and became household names.
The swing era injected a country struck by a harsh economic depression
with the vigor and optimism to keep going. With its harmonic
sophistication and danceable rhythms, swing music brought jazz to an
even more widespread audience and provided a high-energy yet
sentimental soundtrack for the war years ahead.
____________________________________________________________________________
* I cannot for the life of me nd where I had read this anecdote, though I clearly remember
reading it. I, unfortunately, failed to cite it any of my notes. If anyone happens to nd the
source to this, please, please let me know so I can make note of it here!
June 2014 / 67
(In Memoriam page as found in the Imperial
Theatre 1936 concert program)
Victor Talking Machine Advert
June 2014 / 68
50, Dance Band 78rpms to Enjoy...
Prepared by Nathan Davis [Key: # 78rpm Acoustic; ! 78rpm Electric]
Jack Hylton and His Orchestra
1] ! Yes Sir, That's My Baby - HMV B2110, mx Bb6269-2, June 30 1925
2] ! She's Drivin' Me Wild - HMV B2088, mx Bb6270, June 30 1925
3] ! Nobody's Business - HMV B2265, mx Bb7626-4, 6 Jan 1926
4] ! When It's June Down There - HMV B5056, mx Bb8310-3, 23 April 1926
5] ! So Is Your Old Lady - HMV B5092, mx 8560, 18 June 1926
Scan the corresponding QR Code to access these tracks on your mobile phone or tablet or use the
following URL to access them directly: http://www.78rpmcommunity.com/music/649/jack-hylton-
his-orchestra
The Savoy Orpheans
1] # That's Everything - Columbia 3395, mx A601, 1924 (Acoustic)
Scan the corresponding QR Code to access these tracks on your mobile phone or
tablet or use the following URL to access them directly: http://www.
78rpmcommunity.com/music/650/the-savoy-orpheans
Jay Whidden and his New Midnight Follies Band
1] ! Youve Got Those Wanna Go Back Blues - Columbia 4010, mx A3328, 1926
2] ! That Girl Over There - Columbia 4010, mx A3331, 1926
3] ! I dont Mind Being All Alone - Columbia 4138, mx A4246, 1926
4] ! Hello Baby - Columbia 4139, mx A4247, 1926
5] ! Lonely Acres - Columbia 4138, mx A4249, 1926
6] ! I Dont Want Nobody But You - Columbia 4139, mx A4248, 1926
7] ! Lets All Go To Marys House - Columbia 4130, mx A4307, 1926
8] ! The Whole Towns Talking - Columbia 4170, mx A4308, 1926
9] ! Whistle Away Your Blues - Columbia 4241, mx A4588, 1926
following URL to access them directly: http://www.78rpmcommunity.com/music/654/jay-
whidden-and-his-new-midnight
The Denza Dance Band
1] ! Yes Sir, That's My Baby (Ace Brigode) - Columbia 3730, mx W140569-5, 1925
2] ! Ukulele Lady (Harry Reser) - Columbia 3730, mx W140738, 1925
78rpmcommunity.com/music/655/columbia-3730-the-denza-dance-ba
Charlie Palloy with The Gerardine Dance Orchestra
1] ! Me Minus You (Charlie Palloy) - Crown 3376, mx 1845-2, 1932
2] ! Sentimental Gentleman from Georgia - Crown 3376, mx1844-2-B, 1932
June 2014 / 69
78rpmcommunity.com/music/656/charlie-palloy-with-the-gerardin
Hal Swain's Cafe Royal Band
1] ! Because My Baby Dont Mean Maybe Now - Regal G9223, mx WA7683, Aug 21
1928, London
2] ! Just Like A Melody Out Of The Sky - Regal G9223, mx WA7682, Aug 21 1928,
London
3] ! From Monday On... - Regal G9263, mx WA8131, Nov 21 1928, London
4] ! Virginia - Regal G9263, mx WA8133, Nov 21 1928, London
following URL to access them directly: http://www.78rpmcommunity.com/music/959/hal-
swain-039-s-cafe-royal-band
Ben Bernie and his Hotel Roosevelt Orchestra
1] ! Heading For Louisville (Ben Bernie) -
Brunswick Cliftophone 2991, mx 16909,
1925 (Light Ray Recording) (See scan left)
2] ! Lonesomest Girl In Town - Brunswick
Cliftophone 2991, mx 16912, 1925 (Light
Ray Recording)
Scan the corresponding QR Code to access
these tracks on your mobile phone or tablet
or use the following URL to access them
directly: http://www.78rpmcommunity.com/music/663/
ben-bernie-and-his-hotel-rooseve
The Rhythm Band (George Fisher & his Kit-Kat Band)
1] ! Calling Me Home - HMV B5449, mx Bb13029, March 7, 1928 (See
scan left)
2] ! Why Should I Feel Lonely? - HMV B5449, mx Bb13030,
March 7, 1928
3] ! A Room With A View - HMV B5466, mx Bb13209, April
18/25, 1928
4] ! We Wont Go Home Till Morning Blues
- HMV B5484, mx Bb13211, Apr 18/25
1928
5] ! Teach Me To Dance Like Grandma -
HMV B5484, mx Bb13235, Apr 18/25 1928
6] ! Half-A-Kiss - HMV B5466, mx
Bb13236, April 18/25, 1928
7] ! Sweet So And So - HMV B5482, mx
Bb13345, May 17, 1928
8] ! Fancy Our Meeting - HMV B5482, mx Bb13346, May 17, 1928
78rpmcommunity.com/music/667/the-rhythm-band-george-sher
June 2014 / 70
Scan courtesy - Mick Johnson
Scan courtesy
Mick Johnson
Jack Payne and His Band
1] ! Hot Coffee - Imperial 2677, mx 6014, March 10, 1932 (See scan below)
2] ! An Evening In Caroline - Imperial 2666, mx 6025, March 11, 1932
3] ! Now That Youre Gone - Imperial 2665, mx 6027, March 11, 1932
4] ! The Turning Of The Tide - Imperial 2694, mx 6058, April 1932
5] ! Good Morning, Mr. Sun - Imperial 2773, mx 6192, August 1932
6] ! Everybodys Going But Me - Imperial 2745, mx 6197, August 1932
7] ! Smile And Sing Your Cares Away - Imperial 2773, mx 6202, August 1932
8] ! Howm I Doin, Hey! Hey! - Imperial 2783, mx 6252, October 1932
following URL to access them directly: http://www.78rpmcommunity.com/music/705/jack-payne-
and-his-band-on-imper
Percival Mackey and His Kit-Kat Band
("The Riviera Band"
items 1/2
and "The Riviera Club Dance Orchestra"
items 3/4
)
1] ! Magnolia - Edison Bell Winner 4761, mx 11075, Sept 8, 1927
2] ! Here am I Broken Hearted - Edison Bell Winner 4761, mx 11074, Sept 8, 1927
3] ! The Devil Is Afraid Of Music - Edison Bell Winner 4717, mx 11188, Oct 11,
1927
4] ! Souvenirs - Edison Bell Winner 4717, mx 11187, Oct 11, 1927
following URL to access them directly: http://www.78rpmcommunity.com/music/708/percival-
mackey-and-his-kit-kat
June 2014 / 71
Sydney Baynes and his Radio Dance Band
(Vocals by The Carlyle Cousins
items 1/2
)
1] ! Nobodys Sweetheart Now - Edison Bell Winner 5419, mx 14000, November 1931 (See scan below)
2] ! When Its Sleepy Time Down South - Edison Bell Winner 5419, mx 13999, November 1931
following URL to access them directly: http://www.78rpmcommunity.com/music/744/sydney-
baynes-and-his-dance-band
Spike Hughes and his Dance Orchestra
1] ! I Like To Do Things For You - Decca F.1844, mx MB.1547, June
27, 1930, London (See scan left)
2] ! Happy Feet - Decca F.1844, mx MB.
1548, June 27, 1930, London
Scan the corresponding QR Code to access
these tracks on your mobile phone or tablet
or use the following URL to access them
directly: http://www.
78rpmcommunity.com/music/751/spike-
hughes-and-his-dance-orche
June 2014 / 72
Columbia LX-Discography -Pt.3
Continuing the third part of this lengthy
discography - Nos. LX 801-1200
The following compilation is a preliminary listing of the
third 400, 78rpms from the Celebrity LX series
issued by the English Columbia label (LX 801-LX
1200) The rst part of this discography can be found in the
October 2013 edition - p.93 and the second part is found in the
December 2013 edition - p.57. Matrix numbers are
difcult to ascertain in this series as Columbia
often replaced recordings in their catalogues with
newer takes using the original matrix number.
Sometimes they also duplicated (and replaced) sides
during the late acoustic period to the early electric
period. Corrections and/or omissions can be directed to
admin@78rpmcommunity.com.
KEY - ! 78rpm Electric # 78rpm Acoustic
#Rec.No. #Matrix No. #Personnel #Composition(s) #Composer
1. ! LX 801 CAX8349-1 LONDON PHILHARMONIC ORCHESTRA/
WEINGARTNER Siegfried Idyll Pt.1 Wagner
5. ! LX 803 CAX8488-1 LONDON SYMPHONY ORCHESTRA/
WEINGARTNER Concerto Grosso D Major Pt.1 Handel
8. ! LX 804 CAX8491-2A LONDON SYMPHONY ORCHESTRA/
June 2014 / 73
BEECHAM Prelude a lapres midi dun faune Pt.1 Debussy
BEECHAM Prelude a lapres midi dun faune Pt.2 Debussy
11. ! LX 806 CAX8434-2 PETRI Sonatina (As Usum Infantis) Pt.1
Busoni
12. ! LX 806 CAX8435-3 PETRI (a) Sonatina (As Usum Infantis) Pt.2
Busoni (b) Don Giovanni Serenade Mozart-Busoni
13. ! LX 807 CLX2127-1 SAUER Valse Oubliee No.1 Liszt
14. ! LX 807 CLX2126-1 SAUER Consolation No.3 D at Major Liszt
15. ! LX 808 CAX8445-1 LENER STRING QUARTET Quartet F Major K590
Pt.1 Mozart
Pt.2 Mozart
Pt.3 Mozart
Pt.4 Mozart
Pt.5 Mozart
Pt.6 Mozart
WEINGARTNER Consecration of the House Overture Pt.1 Beethoven
WEINGARTNER Egmont: Death of Clarchen Beethoven
25. ! LX 813 CRX92-2 GIESEKING Gaspard de la Nuit, Scarbo Pt.1 Ravel
26. ! LX 813 CRX93-2 GIESEKING Gaspard de la Nuit, Scarbo Pt.2 Ravel
27. ! LX 814 CAX8514-1 KELL/WILLOUGHBY QUARTET Quintet G Major
Op.27 Pt.1 Holbrooke
June 2014 / 74
33. ! LX 817 CAX8439-1 FEUERMANN (Unaccompanied) Suite G Major
Op.131 No.1 Pt.1 Reger
37. ! LX 819 CLX2134-1 SZIGETI/PARIS CONSERVATORIE ORCHESTRA/
MUNCH Concerto for Violin and Orch. Pt.1 Bloch
BEECHAM Carmen (a) Prelude Act. 1 (b) Entracte Act. 4 Bizet
June 2014 / 75
BEECHAM Carmen (a) Les Dragons dAlcala (b) La Garde Montante
Bizet
BEECHAM Carmen (a) Intermezzo Act.3 (b) Prelude Act. 4 Bizet
BEECHAM Danse Boheme Bizet
49. ! LX 825 XCO22347-2 MILSTEIN/MITTMANN Sonata (Devils Trill)
Pt.1 Tartini arr. Kreisler
53. ! LX 827 CAX8480-2 LENER/KENTNER Sonata A Major Op.30/1 Pt.1
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
Beethoven
59. ! LX 830 CRX86-1 GIESEKING Estampes No.1 Pagodes Debussy
60. ! LX 830 CRX90-1 GIESEKING Estampes No.1 LIsle Joyeuse
Debussy
WEINGARTNER Concerto Grosso G Minor Pt.1 Handel
June 2014 / 76
WEINGARTNER Symphony No.1 C Minor Pt.1 Brahms
BEECHAM Peer Gynt Suite - Morning Grieg
BEECHAM Peer Gynt Suite - Death of Aspe Grieg
BEECHAM Peer Gynt Suite - Anitras Dance Grieg
BEECHAM Peer Gynt Suite - Hall of the Mountain King Grieg
79. ! LX 840 CPTX378-2 KILENYI Venezia e Napoli, Tarantelle Pt.1
Liszt
80. ! LX 840 CPTX379-3 KILENYI Venezia e Napoli, Tarantelle Pt.2
Liszt
81. ! LX 841 CAX8451-1 A. and D. BRAIN/LENER STRING QUARTET
Divertimento D Major K334 Pt.1 Mozart
June 2014 / 77
90. ! LX 845 CAX8460-1 LENER STRING QUARTET Divertimento D Major
K334 Pt.10 Mozart
91. ! LX 846 CAX7946-1 PETRI Recordanza (Etude No.9) Pt.1 Liszt
92. ! LX 846 CAX7947-1 PETRI Recordanza (Etude No.9) Pt.2 Liszt
93. ! LX 847 CRX95-2 GIESEKING/SAXON STATE ORCHESTRA/BOHM
Concerto No.4 G Major Pt.1 Beethoven
94. ! LX 847 CRX96-1A GIESEKING/SAXON STATE ORCHESTRA/BOHM
June 2014 / 78
BEECHAM Symphony No.35 D Major K385 Pt.1 Mozart
BEECHAM Symphony No.35 D Major K385 Pt.5 Mozart (LXS - Single
Sided record)
WEINGARTNER Eine Kleine Nachtmusik K525 Pt.1 Mozart
BEECHAM Symphony No.104 D Major Pt.1 Haydn
116. ! LX 859 CRX82-2 GIESEKING Barcarolle F sharp Minor Pt.1
Chopin
117. ! LX 859 CRX83-2 GIESEKING Barcarolle F sharp Minor Pt.2
Chopin
June 2014 / 79
118. ! LX 860 CLX2188-1 PARIS CONSERVATORIE ORCHESTRA/
WEINGARTNER Rienzi Overture Pt.1 Wagner
WEINGARTNER Les Troyens, Marche Berlioz
122. ! LX 862 CLX2120-1 SAUER/PARIS CONSERVATORIE ORCHESTRA/
WEINGARTNER Concerto No.2 A Major Pt.1 Liszt
BEECHAM Morning Noon and Night Overture Pt.1 von Suppe
BEECHAM Morning Noon and Night Overture Pt.2 von Suppe
WEINGARTNER Tristan and Isolde Prelude Act.3 Pt.1 Wagner
WEINGARTNER Tristan and Isolde Prelude Act.3 Pt.2 Wagner
BEECHAM Voices of Spring Waltz Pt.1 J. Strauss
BEECHAM Voices of Spring Waltz Pt.2 J. Strauss
WEINGARTNER Tannhauser - Introduction Act.3 Pt.1 Wagner
WEINGARTNER Tannhauser - Introduction Act.3 Pt.2 Wagner
June 2014 / 80
BEECHAM Symphony No.5 E Minor Pt.1 Tchaikovsky
WEINGARTNER Suite No.3 D Major - Overture Pt.1 Bach
WEINGARTNER Suite No.3 D Major - Overture Pt.2 Bach
WEINGARTNER Suite No.3 D Major - Air Bach
WEINGARTNER Suite No.3 D Major - Gavotte Bach
WEINGARTNER Suite No.3 D Major - (a) Bouree (b) Gigue Bach
WEINGARTNER Minuet Boccherini
WEINGARTNER Les Preludes Pt.1 Liszt
June 2014 / 81
BEECHAM Ruy Blas Overture Pt.1 Mendelssohn
BEECHAM Ruy Blas Overture Pt.2 Mendelssohn
BEECHAM Espana Rhapsody Pt.1 Chabrier
BEECHAM Espana Rhapsody Pt.2 Chabrier
WEINGARTNER Symphony No.39 E at K543 Pt.1 Mozart
BEECHAM Semiramide Overture Pt.1 Rossini
BEECHAM Zemire et Azor, Air De Ballet Gretry
WEINGARTNER Academic Festival Overture Pt.1 Brahms
WEINGARTNER Academic Festival Overture Pt.2 Brahms
June 2014 / 82
BEECHAM Francesca di Rimini Pt.1 Tchaikovsky
WEINGARTNER Invitation to the Waltz Pt.1 Weber arr.Weingartner-
Woodhouse
WEINGARTNER Invitation to the Waltz Pt.2 Weber arr.Weingartner-
Woodhouse
180. ! LX 891 XCO25826 PETRI/MINNEAPOLIS SYMPHONY ORCHESTRA/
MITROPOULOS Spanish Rhapsody (a) Intro (b) Folies dEspagne Pt.1
Liszt-Busoni
MITROPOULOS Spanish Rhapsody Folies dEspagne Pt.2 Liszt-Busoni
MITROPOULOS Spanish Rhapsody Jota Aragonesa - Finale Pt.1 Liszt-
Busoni
MITROPOULOS Spanish Rhapsody Jota Aragonesa - Finale Pt.2 Liszt-
Busoni
BEECHAM Don Giovanni Overture K527 Pt.1 Mozart
BEECHAM Don Giovanni Overture K527 Pt.2 Mozart
186. ! LX 894 CAX8703-3 KENTNER/LONDON PHILHARMONIC
ORCHESTRA/BEECHAM Concerto A Major K414 Pt.1 Mozart
June 2014 / 83
WEINGARTNER Mephisto Waltz Pt.1 Liszt
WEINGARTNER Ruins of Athens Overture Beethoven
WEINGARTNER Symphony No.2 D Major Pt.1 Brahms
June 2014 / 84
BEECHAM Symphony D Minor Pt.1 Cesar Franck
WEINGARTNER Wine, Women and Song Waltz Pt.1 J. Strauss
WEINGARTNER Wine, Women and Song Waltz Pt.2 J. Strauss
218. ! LX 910 WXCO26411A CHICAGO SYMPHONY ORCHESTRA/STOCK
Danse Macabre Op.40 Pt.1 Saint-Saens
Danse Macabre Op.40 Pt.2 Saint-Saens
June 2014 / 85
226. ! LX 914 XCO25820-1 MINNEAPOLIS SYMPHONY ORCHESTRA/
MITROPOULOS Coriolan Overture Op.62 Pt.1 Beethoven
MITROPOULOS Coriolan Overture Op.62 Pt.2 Beethoven
BEECHAM "The Faithful Shepherd" - Intro and Fugue Handel
BEECHAM "The Faithful Shepherd" - Adagio Pt.1 Handel
BEECHAM "The Faithful Shepherd" - (a) Adagio (conc) (b) Gavotte
Handel
BEECHAM "The Faithful Shepherd" - (a) Musette (b) Bourree Handel
BEECHAM "The Faithful Shepherd" - Pastorale Handel
BEECHAM "The Faithful Shepherd" - Finale (Allegro vivace) Handel
WEINGARTNER "Alcina" Dream Music Pt.1 Handel
WEINGARTNER "Alcina" Dream Music Pt.2 Handel
WEINGARTNER "Alcina" Ballet Music Pt.1 Handel arr.Whittaker
WEINGARTNER "Alcina" Ballet Music Pt.2 Handel arr.Whittaker
BEECHAM Symphony No.34 C Major K338 Pt.1 Mozart
June 2014 / 86
244. ! LX 923 XCO25830 MINNEAPOLIS SYMPHONY ORCHESTRA/
MITROPOULOS Classical Symphony D Major Pt.1 Prokoev
MITROPOULOS Octet in E at. -Scherzo Mendelssohn
WEINGARTNER Siegfrieds journey to the Rhine Pt.1
"Gotterdammerung" Wagner
WEINGARTNER Siegfrieds journey to the Rhine Pt.2
"Gotterdammerung" Wagner
Euryanthe Overture Pt.1 Weber
Euryanthe Overture Pt.2 Weber
BEECHAM Symphony No.39 E at K543 Pt.1 Mozart Recorded:
11/1941
11/1941
11/1941
11/1941
11/1941
June 2014 / 87
11/1941
MITROPOULOS "Thamos, King of Egypt" Two Entractes K345 Pt.1
Mozart Recorded: 12/1941
MITROPOULOS "Thamos, King of Egypt" Two Entractes K345 Pt.2
Mozart Recorded: 12/1941
260. ! LX 931 XCO30554-2 CHICAGO SYMPHONY ORCHESTRA/STOCK
Scapino, A Comedy Overture Pt.1 Walton Recorded: 01/1942
261. ! LX 931 XCO30555-2 CHICAGO SYMPHONY ORCHESTRA/STOCK
Scapino, A Comedy Overture Pt.2 Walton Recorded: 01/1942
262. ! LX 932 XCO30559-2 CLEVELAND SYMPHONY ORCHESTRA/
RODZINSKI "1812" Overture Pt.1 Tchaikovsky Recorded: 02/1942
266. ! LX 934 XCO25447-2 STUYVESANT QUARTET Quartet Pt.1 Bloch
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
June 2014 / 88
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
Recorded: 03/1942
278. ! LX 940 XCO33915 PONS Lakme, Bell Song Pt.1 Delibes Recorded:
05/1946
279. ! LX 940 XCO33916 PONS Tristan and Isolde Excerpts Wagner
Recorded: 04/1946
280. ! LX 941 XCO34806-1 PHILHARMONIC-SYMPHONY ORCHESTRA OF
NEW YORK/RODZINSKI Prelude Act. 1 Pt.1 Wagner
281. ! LX 941 XCO34807-1A PHILHARMONIC-SYMPHONY ORCHESTRA OF
NEW YORK/RODZINSKI Prelude Act. 1 Pt.2 Wagner
NEW YORK/RODZINSKI Prelude Act.1 Pt.3 Wagner
283. ! LX 942 XCO34812-1 TRAUBEL Isoldes Narrative Pt.1 Wagner
284. ! LX 943 XCO34813-1 TRAUBEL Isoldes Narrative Pt.2 Wagner
285. ! LX 943 XCO34814-1A TRAUBEL Isoldes Narrative Pt.3 Wagner
287. ! LX 944 XCO34809-2A PHILHARMONIC-SYMPHONY ORCHESTRA OF
288. ! LX 945 XCO34810-1A TRAUBEL Liebestod Pt.1 Wagner
289. ! LX 945 XCO34811-1A TRAUBEL Liebestod Pt.2 Wagner
290. ! LX 946 CAX9678-2 SZIGETI/PHILHARMONIA ORCHESTRA/
LAMBERT Reverie and Caprice Op.8 Pt.1 Berlioz Recorded: 11/1946
291. ! LX 946 CAX9679-1 SZIGETI/PHILHARMONIA ORCHESTRA/
LAMBERT Reverie and Caprice Op.8 Pt.2 Berlioz Recorded: 11/1946
292. ! LX 947 XCO34878-1 JANSSEN Wahn Monolog Act.3 Pt.1 "Die
Meistersinger" Wagner
293. ! LX 947 XCO34879-1 JANSSEN Wahn Monolog Act.3 Pt.1 "Die
June 2014 / 89
Meistersinger" Wagner
294. ! LX 948 XCO34875 JANSSEN O Star of Eve Act.3 "Tannhauser"
Wagner Recorded: 05/1946
295. ! LX 948 C13216 JANSSEN Wolframs Entry "Tannhauser" Wagner
Recorded: 05/1946
296. ! LX 949 XCO34697 NEW YORK PHILHARMONIC SYMPHONY
ORCHESTRA/WALTER Symphony No.4 G Major Pt.1 Mahler Recorded:
09/1946
09/1946
09/1946
09/1946
09/1946
09/1946
09/1946
09/1946
09/1946
ORCHESTRA/WALTER Symphony No.4 G Major Pt.10 Mahler
Recorded: 09/1946
Recorded: 09/1946
June 2014 / 90
Recorded: 09/1946
308. ! LX 955 XCO34729 PHILHARMONIC-SYMPHONY ORCHESTRA OF
NEW YORK/RODZINSKI Walkurenritt (with Vocal Ensemble) "Die
Walkure Act.3" Wagner Recorded: 10/1946
309. ! LX 955 XCO34730 TRAUBEL In Wald mit den Rossen "Die Walkure
Act.3" Wagner Recorded: 10/1946
310. ! LX 956 XCO34731 TRAUBEL Bethorte Schwester, was thatest due?
"Die Walkure Act.3" Wagner Recorded: 10/1946
311. ! LX 956 XCO34732 TRAUBEL/JANSSEN (a) Fort den eile (b) Wo ist
Brunnhild? "Die Walkure Act.3" Wagner Recorded: 10/1946
312. ! LX 957 XCO34733 JANSSEN/TRAUBEL So wisst den "Die Walkure
313. ! LX 957 XCO34734 JANSSEN/TRAUBEL Du verstossest mich? "Die
314. ! LX 958 XCO34735 JANSSEN Schreckt euch ohr Loos? (with Vocal
Ensemble) "Die Walkure Act.3" Wagner Recorded: 10/1946
315. ! LX 958 XCO34736 TRAUBEL/JANSSEN War es so schmahluch was
ich verbrach? "Die Walkure Act.3" Wagner Recorded: 10/1946
316. ! LX 959 XCO34747 TRAUBEL/JANSSEN Ich wusste den Zwiespalt
"Die Walkure Act.3" Wagner Recorded: 10/1946
317. ! LX 959 XCO34748 JANSSEN So thatest du, was so gern zu thun ich
begehrt "Die Walkure Act.3" Wagner Recorded: 10/1946
318. ! LX 960 XCO34749 TRAUBEL/JANSSEN Wohl taugte dir nicht die
thorge Maid "Die Walkure Act.3" Wagner Recorded: 10/1946
319. ! LX 960 XCO34750 TRAUBEL/JANSSEN Nicht streb o Maid "Die
320. ! LX 961 XCO34802 JANSSEN Wotans Abschied Pt.1 "Die Walkure
323. ! LX 962 XCO34805 JANSSEN Feuerzauber "Die Walkure Act.3"
Wagner Recorded: 10/1946
324. ! LX 963 XCO35604 PHILADELPHIA ORCHESTRA/WALTER
Symphony No.6 in F Major Pt.1 Beethoven Recorded: 11/1946
June 2014 / 91
334. ! LX 968 XCO35255 PONS Die Fledermaus Fantasy Pt.1 J. Strauss
11/46
335. ! LX 968 XCO35256 PONS Die Fledermaus Fantasy Pt.2 J. Strauss
11/46
336. ! LX 969 CAX9736-1 PHILHARMONIA ORCHESTRA/KLETZKI
Symphony No.5 in E Minor Pt.1 Tchaikovsky Recorded: 01/1947
June 2014 / 92
348. ! LX 975 CAX9750-2 MALCUZYNSKI Nocturne F sharp Major Op.15/2
Chopin
349. ! LX 975 CAX9751-2 MALCUZYNSKI Waltz C sharp Minor Op.64/2
Chopin
350. ! LX 976 CBX1589-2 STIGNANI Softly awakes my Heart Pt.1
"Samson and Delilah" Recorded: 02/1947
351. ! LX 976 CBX1590-1 STIGNANI Softly awakes my Heart Pt.2
"Samson and Delilah" Recorded: 02/1947
352. ! LX 977 XCO34790 PHILADELPHIA ORCHESTRA/WESTMINSTER
CHOIR/ORMANDY Song of Alexander Nevsky
CHOIR/ORMANDY Russia under the Mongolian Yoke
CHOIR/ORMANDY Crusaders in Pskov
CHOIR/ORMANDY Arise Ye Russian People
CHOIR/ORMANDY Battle on the Ice Pt.1
359. ! LX 980 XCO34797 TOUREL/PHILADELPHIA ORCHESTRA/
WESTMINSTER CHOIR/ORMANDY Field of the Dead Pt.1
WESTMINSTER CHOIR/ORMANDY Field of the Dead Pt.2
June 2014 / 93
WESTMINSTER CHOIR/ORMANDY Alexanders Entry into Pskov
362. ! LX 982 CAX9761-1 MALCUZYNSKI Polonaise A at Major Op.53 Pt.
1 Chopin Recorded: 03/1947
363. ! LX 982 CAX9762-1 MALCUZYNSKI Polonaise A at Major Op.53 Pt.
2 Chopin Recorded: 03/1947
364. ! LX 983 XCO32496-2C SZIGETI/PHILADELPHIA ORCHESTRA/
ORMANDY Concerto in D Major Pt.1 Brahms Recorded: 07/1947
365. ! LX 983 XCO32497-1F SZIGETI/PHILADELPHIA ORCHESTRA/
366. ! LX 984 XCO32498-1E SZIGETI/PHILADELPHIA ORCHESTRA/
368. ! LX 985 XCO34300-1E SZIGETI/PHILADELPHIA ORCHESTRA/
369. ! LX 985 XCO34301-1D SZIGETI/PHILADELPHIA ORCHESTRA/
371. ! LX 986 XCO34303-1D SZIGETI/PHILADELPHIA ORCHESTRA/
(LXS - Single Sided record)
373. ! LX 988 CHAX200-2 VIENNA PHILHARMONIC ORCHESTRA/
KARAJAN Symphony No.8 F Major Pt.1 Beethoven Recorded: 04/1947
June 2014 / 94
379. ! LX 991 XCO34751 TRAUBEL/BAUM/PHILHARMONIC-SYMPHONY
ORCHESTRA OF NEW YORK/RODZINSKI Lohengrin, Bridal Chamber
scene Lohengrin, Bridal Chamber scene Pt.1 Wagner Recorded:
05/1947
05/1947
05/1947
05/1947
383. ! LX 993 XCO32753 MILSTEIN Thais, Meditation Massenet
384. ! LX 993 XCO32811 MILSTEIN Romanza Andaluza Sarasate
385. ! LX 994 CAX9838-1 LIPATTI Sonata No.3 B Minor Pt.1 Chopin
391. ! LX 997 CHAX288-1 HOTTER/VON NORDBERG Die Beiden
Grenadiere Op.49/1 Schumann
392. ! LX 997 CHAX289-2 HOTTER/VON NORDBERG (a) Wer Machte Dich
so Krank? Op.35/11 (b) Alte Laute Op.35/12 Schumann
393. ! LX 998 XCO34501-1N PITTSBURG SYMPHONY ORCHESTRA/
REINER Symphony No.6 Op.53 Pt.1 Shostakovich Recorded: 06/1947
June 2014 / 95
396. ! LX 999 XCO34504-1O PITTSBURG SYMPHONY ORCHESTRA/REINER
Symphony No.6 Op.53 Pt.4 Shostakovich Recorded: 06/1947
397. ! LX 1000 XCO34505-1 PITTSBURG SYMPHONY ORCHESTRA/REINER
403. ! LX 1003 XCO36645 TOUREL Rondo Act.2, Signore perdona "La
Cenerentola" Pt.1
404. ! LX 1003 XCO36655 TOUREL Rondo Act.2, Signore perdona "La
Cenerentola" Pt.2
405. ! LX 1004 CHAX283-2 HOTTER/VON NORDBERG Der Wanderer Op.4
No.1 Schubert Recorded: 07/1947
406. ! LX 1004 CHAX284-4 HOTTER/VON NORDBERG Der Doppelganger
Schubert Recorded: 07/1947
407. ! LX 1005 XCO34016 PHILADELPHIA ORCHESTRA/ORMANDY
Schwanda the Bagpiper - Polka Weinberger Recorded: 08/1947
Schwanda the Bagpiper - Fugue Weinberger Recorded: 08/1947
KARAJAN Symphony No.33 B at K319 Pt.1 Mozart
KARAJAN Symphony No.33 B at K319 Pt.2
KARAJAN Symphony No.33 B at K319 Pt.4
June 2014 / 96
KARAJAN Symphony No.33 B at K319 Le Nozze di Figaro, Overture
KARAJAN Der Zigeunebaron Overture Pt.1 J. Strauss Recorded:
09/1947
KARAJAN Der Zigeunebaron Overture Pt.2 J. Strauss Recorded:
09/1947
417. ! LX 1010 CHAX261-1 SCHWARZKOPF (a) Allegro, Il Pensieroso Il
Moderato (b) No.12. First and chief on golden wing Handel
418. ! LX 1010 CHAX262-2 SCHWARZKOPF No.13 Sweet Bird that shunst
the noise of folly Handel
419. ! LX 1011 CHAX264-1 SEEFRIED The Creation. Recit: Und Gott sprach
Haydn Recorded: 10/1947
420. ! LX 1011 CHAX265-2 SEEFRIED The Creation. Aria: Nun beut die
Flur Haydn Recorded: 10/1947
KARAJAN Artists Life Op.316 Pt.1 J. Strauss
KARAJAN Artists Life Op.316 Pt.2 J. Strauss
423. ! LX 1013 CAX9753-2 MALCUZYNSKI/PHILHARMONIA/KLETZKI
Concerto No.2 F Minor Pt.1 Chopin
431. ! LX 1017 XCO36302 PONS (a) Recit: E strano "La Traviata" (b)
June 2014 / 97
Aria: Ah, fors e lui
432. ! LX 1017 XCO36303 PONS (a) Recit: Follie! Follie! (b) Aria: Sempre
libera
433. ! LX 1018 XCO36343 SZIGETI/HORZOWSKI Sonata D Major Op.12 Pt.
1 Beethoven
2 Beethoven
3 Beethoven
4 Beethoven
437. ! LX 1020 XCO34148 TOUREL/KAHN (a) The Soldiers Bride Op.8/4
(b) All Things Depart Op.29/15 Rachmaninov
438. ! LX 1020 XCO34149 TOUREL/KAHN (a) Before my Window Op.26/10
(b) Sorrow in Springtime Op.21/12 Rachmaninov
KARAJAN Kaiserwalzer Op.437 Pt.1 J. Strauss Recorded: 11/1947
KARAJAN Kaiserwalzer Op.437 Pt.2 J. Strauss Recorded: 11/1947
441. ! LX 1022 CAX9871-1 BUSCH QUARTET Quartet A Minor Op.51/2 Pt.
1 Brahms
2 Brahms
3 Brahms
4 Brahms
5 Brahms
6 Brahms
7 Brahms
8 Brahms
June 2014 / 98
449. ! LX 1026 XCO34815 TRAUBEL Lohengrin, Elsas Dream Pt.1
Wagner
450. ! LX 1026 XCO34816 TRAUBEL Lohengrin, Elsas Dream Pt.2
Wagner
Polovtsian Dances Act.2 Pt.1 "Prince Igor"
Polovtsian Dances Act.2 Pt.2 "Prince Igor"
453. ! LX 1028 CAX9763-2 MALCUZYNSKI Mazurka B at Minor Op.24/4
Chopin
454. ! LX 1028 CAX9752-2 MALCUZYNSKI Mazurka C sharp Minor Op.
50/3 Chopin
455. ! LX 1029 CAX10041-2 LIPATTI/PHILHARMONIA ORCHESTRA/
GALLIERA Concerto A Minor Pt.1 Grieg
462. ! LX 1032 CAX10027-2 LIPATTI Waltz A at Major Op.34/1 Chopin
KARAJAN Romeo and Juliet Fantasy Overture Pt.1 Tchaikovsky
Recorded: 12/1947
Recorded: 12/1947
Recorded: 12/1947
June 2014 / 99
Recorded: 12/1947
Recorded: 12/1947
Recorded: 12/1947
469. ! LX 1036 CAX10057-1 SCHWARZKOPF/SEEFRIED Hansel and Gretel,
Dance Duet Pt.1 Humperdinck
Dance Duet (a) Sandmans Song Act.2 (b) Evening Prayer Act.2
Humperdinck
473. ! LX 1038 XCO34152 TOUREL/KAHN (a) Floods of Spring Op.14/4
(b) Lilacs Op.21/5 Rachmaninov
474. ! LX 1038 XCO34153 TOUREL/KAHN (a) In the Silence of the Night
Op.4/3 (b) The Answer Op.21/4 Rachmaninov
475. ! LX 1039 CAX9800-1 ARRAU Sonata E at Major Op.31 No.3 Pt.1
Beethoven Recorded: 01/1948
NEW YORK/STRAVINSKY Symphony in 3 Movements Pt.1 Stravinsky
June 2014 / 100
Hungarian Rhapsody No.2 Pt.1 Liszt Recorded: 02/1948
Hungarian Rhapsody No.2 Pt.2 Liszt Recorded: 02/1948
489. ! LX 1046 XCO37171-1A KATIMS/BUDAPEST QUARTET Quintet D
Minor K593 Pt.1 Mozart
490. ! LX 1046 XCO37172-2 KATIMS/BUDAPEST QUARTET Quintet D
495. ! LX 1049 CBX1557-2 STIGNANI Voi lo sapete "Cavalleria Rusticana"
Recorded: 03/1948
496. ! LX 1049 CBX1558-1 STIGNANI Condotta ellera in ceppi "Il
Trovatore" Recorded: 03/1948
497. ! LX 1050 CAX10020-1 MALCUZYNSKI Theme and Variations B at
Minor Pt.1 Szymanowski
498. ! LX 1050 CAX10021-2 MALCUZYNSKI Theme and Variations B at
Minor Pt.2 Szymanowski
499. ! LX 1051 CHAX256-2 SCHWARZKOPF Cantata No.8, No.9 Schafe
konnen sicher weiden Pt.1 Bach
500. ! LX 1051 CHAX257-1 SCHWARZKOPF Cantata No.8, No.9 Schafe
konnen sicher weiden Pt.2 Bach
June 2014 / 101
501. ! LX 1052 XCO36997 PHILADELPHIA ORCHESTRA/ORMANDY Les
Preludes Pt.1 Liszt Recorded: 03/1948
505. ! LX 1054 XCO36656 TOUREL Crude sorte (Cavatina) Act.1
"LItaliana in Algieri"
506. ! LX 1054 XCO36657 TOUREL Bel Raggio Act.1 "Semiramide"
Requiem Op.45 Brahms Recorded: 04/1948
507. ! LX 1055 CHAX290-1 SINGVEREIN DER GESELLSCHAFT/VIENNA
PHILHARMONIC ORCHESTRA/KARAJAN Selig sind, die la Leid tragen
Pt.1
Pt.2
Pt.3
PHILHARMONIC ORCHESTRA/KARAJAN Denn alles Fleisch Pt.1
514. ! LX 1058 CHAX296-1 HOTTER/CHORUS Herr lehre doch mich Pt.1
515. ! LX 1059 CHAX297-4 HOTTER/SINGVEREIN DER GESELLSCHAFT/
VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Herr lehre doch mich
Pt.2
VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Herr lehre doch mich
Pt.3
PHILHARMONIC ORCHESTRA/KARAJAN Wie leiblich sind deine Pt.1
June 2014 / 102
PHILHARMONIC ORCHESTRA/KARAJAN Wie leiblich sind deine Pt.2
519. ! LX 1061 CHAX301-1 SCHWARZKOPF/SINGVEREIN DER
GESELLSCHAFT/VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Ihr
habt nun Traurigkeit Pt.1
520. ! LX 1061 CHAX303-1 SCHWARZKOPF/SINGVEREIN DER
GESELLSCHAFT/VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Ihr
habt nun Traurigkeit Pt.2
VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Denn wir haben hier
Pt.1
Pt.2
Pt.3
VIENNA PHILHARMONIC ORCHESTRA/KARAJAN Selig sind die Toten
Pt.1
PHILHARMONIC ORCHESTRA/KARAJAN Selig sind die Toten Pt.2
PHILHARMONIC ORCHESTRA/KARAJAN Selig sind die Toten Pt.3
527. ! LX 1065 CAX9820-2 NAVARRA/MOORE Stucke im Volkston Pt.1
Schumann
Schumann
Schumann
Schumann
531. ! LX 1067 XCO35596 PONS Je veux vivre dans ce reve Act.1 Romeo
et Juliette
532. ! LX 1067 XCO35597 PONS O legere hirondelle (Valse ariette)
Mireille
LApprenti Sorcerier Pt.1 Dukas
June 2014 / 103
LApprenti Sorcerier Pt.2 Dukas
535. ! LX 1069 CAX10101-1 PHILHARMONIA/KLETZKI Leonora No.3
Overture Pt.1 Beethoven Recorded: 05/1948
Concerto No.2 A Major Pt.1 Liszt
544. ! LX 1073 CAX9774-4 MALCUZYNSKI Etude C sharp Minor Op.25/7
Chopin
545. ! LX 1074 CHAX392-1 KONETZNI Endlich allein "The Bartered Bride"
546. ! LX 1074 CHAX393-1 KONETZNI Wie Fremd und Tod "The Bartered
Bride"
547. ! LX 1075 XCO36645 TOUREL Una voce poco fa Act.1 "The Barber of
Seville" Pt.1
548. ! LX 1075 XCO36655 TOUREL Una voce poco fa Act.1 "The Barber of
Seville" Pt.2
KARAJAN Adagio and Fugue C Minor K546 Pt.1 Mozart Recorded:
06/1948
KARAJAN Adagio and Fugue C Minor K546 Pt.2 Mozart Recorded:
06/1948
June 2014 / 104
NEW YORK/WALTER Symphony No.1 Op.9 Pt.1 Barber
555. ! LX 1079 CAX10219-1 SCHWARZKOPF La Traviata, Finale Act.1 Pt.
1 Verdi
556. ! LX 1079 CAX10220-1 SCHWARZKOPF La Traviata, Finale Act.1 Pt.
2 Verdi
557. ! LX 1080 CAX10225-1 INFANTINO Requiem Mass, Ingemisco Verdi
558. ! LX 1080 CAX10227-1 INFANTINO Agnus Dei Bizet
559. ! LX 1081 CAX10205-2 STABILE Falstaff, Monologue Act.1 Verdi
560. ! LX 1081 CAX10214-2 STABILE Ehi! Taverniere Act.3 Verdi
KARAJAN Metamorphosen for 23 solo str. Pt.1 R. Strauss Recorded:
07/1948
07/1948
07/1948
07/1948
07/1948
07/1948
07/1948 (LXS - Single Sided record)
568. ! LX 1086 CAX9748-3 MALCUZYNSKI Scherzo No.2 B at Minor Pt.1
June 2014 / 105
Chopin
569. ! LX 1086 CAX9749-3 MALCUZYNSKI Scherzo No.2 B at Minor Pt.2
Chopin
570. ! LX 1087 XCO39101 PONS Voices of Spring Op.410 Pt.1 J. Strauss
571. ! LX 1087 XCO39102 PONS Voices of Spring Op.410 Pt.2 J. Strauss
572. ! LX 1088 XCO37311 CASADESUS/PHILHARMONIC ORCHESTRA/
ORMANDY Concerto for the left hand Pt.1 Ravel Recorded: 08/1948
576. ! LX 1090 CAX10245-2 WELITSCH Recit: Wie nahte mir der
Schlummer "Der Freischutz"
577. ! LX 1090 CAX10246-1 WELITSCH Aria: Alles pegt schon langst der
Ruh
578. ! LX 1091 XCO37051-2D STERN/ZAKIN Sonata No.3 D Minor Pt.1
Brahms Recorded: 09/1948
579. ! LX 1091 XCO37052-4B STERN/ZAKIN Sonata No.3 D Minor Pt.2
580. ! LX 1092 XCO37053-2C STERN/ZAKIN Sonata No.3 D Minor Pt.3
584. ! LX 1094 CAX10252-1 STABILE/LAWRENCE Cheti, cheti,
immantinente Pt.1 "Don Pasquale"
585. ! LX 1094 CAX10253-1 STABILE/LAWRENCE Cheti, cheti,
immantinente Pt.2 "Don Pasquale"
586. ! LX 1095 XCO39805 PIATIGORSKY/PHILADELPHIA ORCHESTRA/
ORMANDY Kol Nidrei Op.47 Pt.1 Bruch
June 2014 / 106
587. ! LX 1095 XCO39806 PIATIGORSKY/PHILADELPHIA ORCHESTRA/
ORMANDY Kol Nidrei Op.47 Pt.2 Bruch
588. ! LX 1096 CHAX259-1 SCHWARZKOPF Lamero saro constant Pt.1
"Il Re Pastore"
589. ! LX 1096 CHAX260-2 SCHWARZKOPF Lamero saro constant Pt.2
"Il Re Pastore"
KARAJAN Symphony No.9 D Minor Pt.1 Beethoven Recorded:
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
10/1948
June 2014 / 107
10/1948
602. ! LX 1103 CHAX333-1 SCHWARZKOPF/HONGEN/PATZAK/HOTTER/
SINGVEREIN DER GESELLSHAFT/VIENNA PHILHARMONIC
ORCHESTRA/KARAJAN Symphony No.9 D Minor Pt.13 Beethoven
Recorded: 10/1948
Recorded: 10/1948
604. ! LX 1104 CHAX335-2 PATZAK/HOTTER/SINGVEREIN DER
GESELLSHAFT/VIENNA PHILHARMONIC ORCHESTRA/KARAJAN
Symphony No.9 D Minor Pt.15 Beethoven Recorded: 10/1948
605. ! LX 1104 CHAX336-1 PATZAK/HOTTER/SINGVEREIN DER
GESELLSHAFT/VIENNA PHILHARMONIC ORCHESTRA/KARAJAN
Symphony No.9 D Minor Pt.16 Beethoven Recorded: 10/1948
Recorded: 10/1948
Recorded: 10/1948
608. ! LX 1106 CBX1594-1 STIGNANI "La Favorita" Fia dunque vero Pt.1
Donizetti
609. ! LX 1106 CBX1595-1 STIGNANI "La Favorita" Fia dunque vero Pt.1
Donizetti
Hungarian Rhapsody No.1 Pt.1 Liszt
Hungarian Rhapsody No.1 Pt.2 Liszt
612. ! LX 1108 CAX10265-1 WELITSCH/PHILHARMONIA/SUSSKIND
Tatianas letter scene Pt.1 "Eugene Onegin"
June 2014 / 108
616. ! LX 1110 CAX10206-1 LIPATTI/PHILHARMONIA/KARAJAN
Concerto A Minor Op.54 Pt.1 Schumann Recorded: 11/1948
624. ! LX 1114 CHAX347-1 SEEFRIED/HONGEN MEYER-WELFING/
HOTTER/NORDBERG/WUHRER Liebeslieder Walzer Pt.1 Brahms
631. ! LX 1117 CHAX360-2 NORDBERG/WUHRER Waltzes, 2, 6, 15 Op.39
Brahms
KARAJAN Blue Danube Waltz Op.314 Pt.1 J. Strauss
KARAJAN Blue Danube Waltz Op.314 Pt.2 J. Strauss
June 2014 / 109
634. ! LX 1119 CAX10014-2 MALCUZYNSKI Sonata No.2 B at Minor Pt.1
Chopin
Chopin
Chopin
Chopin
Chopin
Chopin
640. ! LX 1122 XCO39604-1D PONS Salut a toi, soleil Act.2 "Le Coq Dor"
641. ! LX 1122 XCO39605-1B PONS Oiseaux dans la Charmille "Tales of
Hoffman"
642. ! LX 1123 CHAX376-1 KUNZ Non piu andrai Act.1 "Le Nozze di
Figaro"
643. ! LX 1123 CHAX354-1 KUNZ Ein Madchen oder Weibchen Act.2
"Zauberote"
644. ! LX 1124 SOFX2-3 SAUTEREAU/SCHARLEY/VESSIERES/MICHEL/
MARCHADOUR/PEYRON/TURBA-RABIER/ANGELICI/PRIGEN/LEHOUHY/
VERNEUIL/ORCHESTRA and CHOIR NATIONAL DE LA RADIODIFFUSION
FRANCAISE/ARGOSTINI LEnfant et les Sortileges Pt.1 Ravel
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
June 2014 / 110
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948
Recorded: 12/1948 (LXS - Single Sided record)
655. ! LX 1130 XCO35680 PHILADELPHIA ORCHESTRA/ORMANDY Hary
Janos Suite Pt.1 Kodaly
June 2014 / 111
661. ! LX 1133 CLX2619-1 ONRF/KLETZKI Bolero Pt.1 Ravel
665. ! LX 1135 CHAX391-2 KONETZNI Kann mich auch an ein Madel
erinnern Act.1 "Der Rosenkavalier"
666. ! LX 1135 CHAX394-2 KONETZNI Quinquin er soll jetzt gehn Act.1
"Der Rosenkavalier"
667. ! LX 1136 XCO34904 PIATIGORSKY/BERKOWITZ Sonata D Major Op.
102/2 Pt.1 Beethoven
KARAJAN Symphony No.9 C Major Pt.1 Schubert
June 2014 / 112
683. ! LX 1144 XCO39273 ILITSCH/TUCKER Gia nella notte densa Pt.1
"Otello"
684. ! LX 1144 XCO39274 ILITSCH/TUCKER Gia nella notte densa Pt.2
"Otello"
685. ! LX 1145 CHAX380-1 SEEFRIED (a) Recit: Giunse aln il momento
"Le Nozze di Figaro" (b) Aria: Deh! vieni, non tardar Act.4
686. ! LX 1145 CAX10061-1 SEEFRIED Ach ich fuhls Act.2 "Die
Zauberote"
687. ! LX 1146 CAX10355-1A GIESEKING La plus que lente Debussy
688. ! LX 1146 CAX10356-1A GIESEKING Danse, Tarantelle styrienne
Debussy
NEW YORK/RODZINSKI Symphony No.5 B at Pt.1 Prokoev
June 2014 / 113
699. ! LX 1152 XCO39687 PONS La Fauvette avec ses petites Pt.1
"Zemire et Azor"
700. ! LX 1152 XCO39688 PONS La Fauvette avec ses petites Pt.2
"Zemire et Azor"
Lohengrin - Prelude Act.1 Pt.1 Wagner
Lohengrin - Prelude Act.1 Pt.2 Wagner
703. ! LX 1154 CAX9824-1 CASSADO/MOORE Requiebros Cassado
704. ! LX 1154 CAX9825-1 CASSADO/MOORE Liebestraume No.3 Liszt-
Cassado
KARAJAN Masonic Funeral Music K477 Pt.1 Mozart
KARAJAN Masonic Funeral Music K477 Pt.2 Mozart
707. ! LX 1156 XCO36760-1A STERN Zigeunerweisen Op.20/1 Pt.1
Sarasate
708. ! LX 1156 XCO36761-2A STERN Zigeunerweisen Op.20/1 Pt.2
Sarasate
709. ! LX 1157 CAX10375-1 INFANTINO/SILVERI All idea di quell metallo
Pt.1 "Barber of Seville"
710. ! LX 1157 CAX10376-2 INFANTINO/SILVERI All idea di quell metallo
Pt.2 "Barber of Seville"
711. ! LX 1158 XCO39256 RIBLA/PHILADELPHIA ORCHESTRA/ORMANDY
"Wozzeck" Act.1 - Scenes 2 and 3 Pt.1 Berg
(a) "Wozzeck" Act.1 - Scenes 2 and 3 Pt.2 (b) "Wozzeck" Act.3 Scene 1
Pt.1 Berg
"Wozzeck" Act.3 Scenes 1 and 4 Berg
"Wozzeck" Act.3 Scenes 4 and 5 Berg
June 2014 / 114
Flying Dutchman Overture Pt.1 Wagner
Lohengrin - Prelude Act.3 Wagner
719. ! LX 1162 XCO35764 SERKIN/PITTSBURG SYMPHONY ORCHESTRA/
REINER Concerto No.1 D Minor Pt.1 Brahms
731. ! LX 1168 CHAX389-1 SCHNEIDERHAN QUARTET Italian Serenade G
Major Pt.1 Wolf
732. ! LX 1168 CHAX390-1 SCHNEIDERHAN QUARTET Italian Serenade G
Major Pt.2 Wolf
June 2014 / 115
733. ! LX 1169 XCO34884 PIATIGORSKY/BERKOWITZ Adagio F Minor
Schubert
734. ! LX 1169 XCO34885 PIATIGORSKY/BERKOWITZ Three minuets
Schubert
735. ! LX 1170 XCO39097 PONS Blue Danube Waltz Op.314 J.Strauss
736. ! LX 1170 XCO39100 PONS Les Filles de Cadiz Delibes
737. ! LX 1171 CLX2595-1 JOBIN La eur que tu mavais jetee Act.2
"Carmen"
738. ! LX 1171 CLX2596-1 JOBIN Jaurais sur ma poitrine Act.2
"Werther"
739. ! LX 1172 XCO37508 PHILADELPHIA ORCHESTRA/ORMANDY Dance
of the Seven Veils Salome Pt.1 R. Strauss
740. ! LX 1172 XCO37509 PHILADELPHIA ORCHESTRA/ORMANDY Dance
of the Seven Veils Salome Pt.2 R. Strauss
741. ! LX 1173 CAX10182-4 MALCUZYNSKI Scherzo No.3 C sharp Minor
Pt.1 Chopin
742. ! LX 1173 CAX10183-4 MALCUZYNSKI Scherzo No.3 C sharp Minor
Pt.2 Chopin
743. ! LX 1174 XCO36310 SZIGETI/STRAVINSKY Russian Maidens Song
Stravinsky
744. ! LX 1174 XCO35830 SZIGETI/MILLER/McGINNIS/GASSMAN/
SCHOENBACH/STRAVINSKY Pastorale for Violin and Wind Quartet
Stravinsky
745. ! LX 1175 XCO39245-1A PHILADELPHIA ORCHESTRA/ORMANDY
Symphony No.2 D Major Pt.1 Sibelius
749. ! LX 1177 XCO39250-1B PHILADELPHIA ORCHESTRA/ORMANDY
750. ! LX 1177 XCO39251-1C PHILADELPHIA ORCHESTRA/ORMANDY
June 2014 / 116
Tales from the Vienna Woods Pt.1 J. Strauss
Tales from the Vienna Woods Pt.1 J. Strauss
757. ! LX 1181 XCO39228-1C PHILADELPHIA ORCHESTRA/ORMANDY
Toccata and Fugue D Minor Pt.1 Bach
Toccata and Fugue D Minor Pt.2 Bach
759. ! LX 1182 XCO39409 PHILADELPHIA ORCHESTRA/ORMANDY Die
Fledermaus Overture Pt.1 J. Strauss
760. ! LX 1182 XCO39410 PHILADELPHIA ORCHESTRA/ORMANDY Die
Fledermaus Overture Pt.2 J. Strauss
Der Rosenkavalier Suite Pt.1 R. Strauss
Der Rosenkavalier Suite Pt.2 J. Strauss
Der Rosenkavalier Suite Pt.4 J. Strauss
767. ! LX 1186 CLX2610-1 ONRF/KLETZKI Pictures at an Exhibition Pt.1
Moussorgsky
Moussorgsky
June 2014 / 117
Moussorgsky
Moussorgsky
Moussorgsky
Moussorgsky
Moussorgsky
Moussorgsky
775. ! LX 1190 CHAX362-1 SCHNEIDERHAN/WUHRER Sonata C Minor Op.
30/2 Pt.1 Beethoven
30/2 Pt.2 Beethoven
30/2 Pt.3 Beethoven
30/2 Pt.4 Beethoven
30/2 Pt.5 Beethoven
30/2 Pt.6 Beethoven
30/2 Pt.7 Beethoven
782. ! LX 1193 CHAX382-1 WUHRER Sonata A Minor Op.105 Allegretto
Schumann
783. ! LX 1194 CAX10347-1 GIESEKING Wedding Day in Trolhaugen Op.
65/6 Grieg
784. LX 1194 CAX10348-1 GIESEKING (a) Solitary traveller Op.43/2 (b)
To the Spring Op.43/6 Grieg
785. LX 1195 XCO39391 PONS Villanelle DellAcqua
786. LX 1195 XCO39392 PONS Lo! Here the Gente Lark Bishop
787. LX 1196 CAX10264-3 SCHWARZKOPF Exsultate Jubilate K165 Pt.1
Mozart
June 2014 / 118
788. ! LX 1196 CAX10279-2 SCHWARZKOPF Exsultate Jubilate K165 Pt.2
Mozart
Mozart
Mozart
791. ! LX 1198 XCO39807-1B CASADESUS/PHILADELPHIA ORCHESTRA/
ORMANDY Concerto No.4 G Major Pt.1 Beethoven
792. ! LX 1198 XCO39808-1A CASADESUS/PHILADELPHIA ORCHESTRA/
797. ! LX 1201 XCO39813-2A CASADESUS/PHILADELPHIA ORCHESTRA/
798. ! LX 1201 XCO39814-1D CASADESUS/PHILADELPHIA ORCHESTRA/
June 2014 / 119
INDEX TO VOLUME 1
Number 1 - (August 2013)
Page 3-5 - Wilhelm Backhaus, HMV DB Discography
Page 6 - The RENA 78rpm Label
Page 7 - New 78rpms on our Website
Page 8 - Stroboscope Disc for 78rpm
Page 9-13 - Jim Davidson - Regal Zonophone Output on
78rpm
Page 10 - 78rpm Label Scans
Page 14 - 78rpm Puzzle Record Scans
Page 15-16 - Audacity Software Review
Page 18-19 - Bing Crosbys Brunswick 78rpms
Page 20 - Tips on Playing 78rpms
Page 21 - 78 rpm Stylus Sizes
Page 22-24 - Beethoven Symphonies on 78rpm
Page 25-27 - Warings Pennsylvanians 78rpm Discography
Page 27 - Cataloging your 78rpm Collection
Page 28-29 - Restoring 78rpms - Part 1
Page 29-32;35 - The Rex Label Discography - Part 1
Page 34 - The Eccentricities of Collecting 78s
Page 35-36 - Artur Rubinstein 78rpm Discography
Page 37 - 78rpm Album Cover Scans
Page 38 - Getting Better Transfers from your 78s
Page 40 - Edison Diamond Disc Recreations
Number 2 - (October 2013)
Page 4-7 - Medtners 78rpms
Page 8-11 - British Labels - Edison
Page 13-19 - Enrico Caruso DB and DA Page
Page 20-22 - Restoring 78rpms - Part 2
Page 23-31 Columbia ROX Society Issues
Page 32-45 - Dick Todd Discography
Page 46 - New 78rpms on our website
Page 47-68 - Jim Davidson Discography
Page 52-53 - Gramophone Magazine Covers
June 2014 / 120
Page 69 - V Disc Label Scans
Page 70-92 - Jack Hylton HMV Discography
Page 93-140 - Columbia LX - Discography - Part 1
Number 3 - (December 2013)
Page 3-4 - 78rpms are Big Business!
Page 5-6 - Letters to the Editor
Page 7-10 - UK Parlophone Catalogues
Page 11-12 - New 78rpms on our Website
Page 13 - Paul Whiteman & his Orchestra
Page 14 - 78rpm Label Scan Index Advert
Page 16-24 - The International Novelty Orchestra
Page 25-26 - Tommy Johnsons 78rpm Record
Page 27-47 - Webster Booth and Anne Ziegler
Page 48-55 - Pro Arte Quartet on 78rpm
Page 56 - Vogue Picture Discs
Page 57-102 - Columbia LX Discography - Part 2
Page 103 - Parlophone Labels
Page 104-109 - U.S. Columbia Masterworks
Page 110-117 - 78rpm Prexes
Page 118-133 - Leopold Stokowski - Victor 78 Sets
Page 134 - Steinweiss 78rpm Covers Scans
Page 135-157 - Rex Label Discography
Number 4 - (February 2014)
Page 4-5 - 78rpm Record Dealers Directory
Page 7-10 - Fonotipia Posters
Page 11-42 - The Virtuoso String Quartet
Discography
Page 14-15 - DECCA Advertisements
Page 44 - New Music on our website
Page 45-58 - The London Piano Accordion Band Discography
Page 59-62 - Gramophone Emporium Closure
Page 63-73 - First recordings of the St. Louis Symphony
Page 74-75 - New Videos on our Site
Page 76-82 - English 78rpms by Record Number
Page 84-104 - Nat Shilkret -Victor Orchestra Discography
June 2014 / 121
Number 5 - (April 2014)
Page 5 - Wartime Shellac Collection Advert
Page 6-11 - Collecting 78rpms - A Personal
Journey
Page 12-14 - New 78rpms on our Website
Page 15-17 - A Strange British Pathe
Page 19-25 - British Labels: The Gramophone Company (HMV) -
1898-1925
Page 26-48 - Louis Levy Discography
Page 49-82 - Columbia Masterworks X Series
Page 83-90 - Columbia Masterworks X Series Record Variations
Number 6 - (June 2014)
Page 5 - 78rpm Record Dealers Directory
Page 8-12 - Elsie Carlisles My Man o War
Page 13-14 - Reissuing 78 rpm Records?
Page 15-22 - 1930s 'Hot Rhythm' Series and
the Birth of 'Traditional' Jazz in Britain
Page 23-25 - The Restoration of early Vladimir
Horowitz Live Performances...
Page 26-29 - A Few Choice Elsie Carlisle 78s
Page 30-36 - 78rpm Community Website Roundup
Page 37-48 - Joseph Szigetis Columbia ML Recordings
Page 49-51 - Phonogalerie Photos
Page 52-56 - The Spirit of Chicago Jazz - Frank Teschemacher
Page 57-59 - WWII German Propaganda Label Scans
Page 60-61 - New Videos on our Site
Page 62-67 - The End of the Golden Age of Chicago-Style Jazz
Page 68 - Victor Talking Machine Advert
Page 69-72 - 50, Dance Band 78rpms to Enjoy
Page 73-119 - Columbia LX - Discography - Part 3
Page 120-122 - Volume 1 - Index
June 2014 / 122

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