1929 Ben Pollack | Nat Shilkret

 Victor22106A

“Where The Sweet Forget Me Nots Remember”
Ben Pollack And His Park Central Orchestra;  Burt Lorin, vocal
1929 (Victor 22016-A)
When The Sweet Forget Me Nots Remember – Ben Pollack And His Park Central Orchestra

“You Made Me Love You Why Did You”
Nat Shilkret And The Victor Orchestra;  Don Howard, vocal
1929 (Victor 22106-B)
You Made Me Love You Why Did You – Nat Shilkret And The Victor Orchestra

One of the things I learned long ago when it comes to sorting through 1920s records is to not judge a record by a song’s title.  “Where The Sweet Forget Me Nots Remember” is a good example:  the title sounds a bit trite but tune is very charming as is the Pollack band’s arrangement.  I featured some additional recordings by the Ben Pollack Orchestra in my April 26, 2012 update.

“You Made Me Love You Why Did You” was composed by Carmen Lombardo and recorded by the Guy Lombardo Orchestra for Columbia.   You can hear a copy of the Lombardo version by doing a search on YouTube.  Personally, of the two, I think this version by Nat Shilkret is better.

Posted in 1920s, 1920s Popular Music, American Recordings, Electrical Recordings | 2 Comments

Alexander Tsfasman – Soviet Jazz Artist

USSR15375

“Dance”
Alexander Tsfasman
1947 (USSR/Aprelevka Plant 15375)
Dance – A Tsfasman

“Rhumba”
Alexander Tsfasman
1947 (USSR/Aprelevka Plant 15376)
Rhumba – A Tsfasman

Here are two 1947 sides by pianist Alexander Tsfasman who was one of the pioneers of jazz in the Soviet Union.

If you look on the label image,  the two words just below the stylized USSR letters translate to “Aprelevka Plant.”  Aprelevka is a small town southwest of Moscow and was the location of the largest record pressing plant in the Soviet Union.   The factory dated back to 1910 when it was established by German investors.  During the early years it issued records under the Metropol label.   After the Russian Revolution the plant was confiscated by the government and, on the orders of Lenin, production was shifted to records of propaganda speeches by various members of the new government.   The factory was forced to shut down for a period during the 1920s due to a shortage of shellac, the material used to press 78 rpm records.   But by the late 1920s the facility was back in production. In the early 1950s the plant began to manufacture LPs.

Based on my understanding of poor translations of Russian websites,  prior to 1964 Soviet records were not identified by brand names as was the case in the rest of the world but rather by the name of the pressing facility.   In 1964 the Soviet Union began issuing records from the various facilities across the country under the Melodiya label.  The Aprelevka plant was Melodiya’s largest pressing plant.

After the collapse of the Soviet Union the Melodiya organization was broken up and the Aprelevka plant became an independent joint stock venture.  During this period, because of falling demand, production of vinyl LPs was discontinued though the factory continued to produce cassette tapes and expanded production into other areas such as bottled sunflower oil and packaged cereals.   All production ceased after the firm entered bankruptcy in 2002.   In recent years, a portion of the facility has been converted into a museum.

The production of 78 rpm records was always a challenge in the Soviet Union because the country had no domestic source for shellac.  Therefore,  the only way the government could obtain it was to either pay for it with scarce hard currency or by recycling old and broken records.   Thus a rather odd distribution system for records emerged.   For each record there was a small production run made for exclusive shops that were open only to foreigners and members of the Communist Party elite.   The records destined for stores that served the rest of the population had a notice on the label that stated they could only be sold on exchange for an old or a broken record.

The English translation on the particular pressing featured in this update indicates that it was intended for foreign distribution.  My assumption is that it was meant for USA consumption but it is also possible that it could have been intended for the UK or Australia.   I do know that there were a few political organizations in the USA with Soviet sympathies that imported and distributed Soviet recordings.

I have a few more Soviet records in my collection and will feature some in future updates.

Posted in 1940s, 1940s Popular Music, Electrical Recordings, Other Foreign Recordings | 2 Comments

1927 Electric Edison Diamond Disc – Harry Reser’s Rounders

Edison52184L

“Our Bungalow Of Dreams”
Harry Reser’s Rounders; Tom Stacks, vocal
1927 (Edison 52184-L mx 18094)
Our Bungalow Of Dreams – Harry Reser’s Rounders

“Highways Are Happy Ways”
Harry Reser’s Rounders; Tom Stacks and chorus, vocal
1927 (Edison 52184-R mx 18093)
Highways Are Happy Ways – Harry Reser’s Rounders

 

Thomas Edison, who invented the phonograph in 1877, did not make the transition from acoustical to electrical recording until 1927, a full two years after his primary competitors Victor and Columbia.  By then, sales of Edison Diamond Discs were already in a long, irreversible decline.  As a result, electrically recorded Diamond Discs are hard to find today and are prized by collectors.

During this period, Harry Reser was at the height of his popularity thanks to exposure on NBC’s Clicquot Club Eskimos, one of the early coast-to-coast network radio programs. Clicquot Club was a brand of soda water and carbonated beverages and Reser’s band was a perfect fit for the sponsor due to his “bubbly” style of banjo playing which you can hear on both of these selections.   While the band recorded as The Cliquot Club Eskimos on Columbia, it also cut records for most of the other record labels of the period, sometimes under Reser’s name and sometimes under one of several pseudonyms.

Posted in 1920s, 1920s Popular Music, American Recordings, Electrical Recordings | 2 Comments

Marconi Velvet Tone Record – 1907

MarconiVT 048

MarconiVTreverse

“Strauss Autograph Waltz”
Columbia Band
1902 (Marconi Velvet Tone 048)
Autograph Waltz – Columbia Band

Here is a recording on the rare Marconi Velvet Tone label, a product of the American Graphophone Company which also manufactured Columbia records.

Unlike the heavy shellac discs of the era, Marconi Velvet Tones were light-weight and made with a paper core and a laminated celluloid surface.  The records required special gold-plated needles which were good for up to twelve plays –  playing them with standard single-use but inexpensive steel needles would destroy the soft surface of the discs.   The Marconi records were not commercially successful and production was discontinued only a few months after the first ones hit the market in late 1907.   The only known contribution that Guglielmo Marconi made to the product beyond authorizing the use of his name was a 1906 tour of Columbia’s Bridgeport Connecticut pressing plant.

The content on Marconi Velvet Tone consisted of recordings that had already been issued on Columbia discs.   The records cost 75 cents  – which, in today’s currency, would be in excess of $17   For that, one got exactly what you hear – a single-sided record with just under three minutes of music.

This particular recording was recorded in early 1902 and originally issued on Columbia 561.   It was reissued again in 1908 paired with “At A Georgia Camp Meeting” on Columbia A-86 when Columbia came out with its new double-sided discs.

“Strauss Autograph Waltz” was written by British born composer Alfred E. Warren who moved to Boston in 1861.   The song was published in 1872, the same year that Johann Strauss II made an American concert tour with performances in Boston and New York.  For many years, the song was widely but incorrectly mistaken as an actual Strauss composition as a result of its publication in England being credited to Strauss.   Given the number of references to it in period publications, the song was apparently fairly well-known in the USA during the years immediately after its publication.

Posted in 1900s, Acoustic Recordings, American Recordings, Salon Music | 8 Comments

Ray Kinney – Dusky Polynesian | Pua Aloha

Decca1331

“Dusky Polynesian”
Ray Kinney with Dick McIntire and His Harmony Hawaiians
1937 (Decca 1331 A mx DLA 625)
Dusky Polynesian – Ray Kinney With Dick McIntire And His Harmony Hawaiians

“Pua Aloha” (Flower Song)
Ray Kinney with Dick McIntire And His Harmony Hawaiians
1937 (Decca 1331 B mx DLA 653)
Pua Aloha – Ray Kinney with Dick McIntire And His Harmony Hawaiians

Here are a couple of sides by Hawaiian vocalist Ray Kinney.

“Dusky Polynesian” is a rather odd song – and one that would, no doubt, be considered a bit Politically Incorrect if it were recorded today.

To me, the star performer of “Pua Aloah” is not Kinney but the very haunting steel guitar of Dick McIntire.  Observe the similarities between this recording and the sound of many Western swing records from the ’30s and ’40s.  Dick McIntire’s brother Lani was also a well-known Hawaiian bandleader and steel guitar player.

Posted in 1930s, 1930s Popular Music, American Recordings, Electrical Recordings, Ethnic Recordings | 5 Comments

Orquesta Tipica Francisco Canaro

OdeonOT173

“Callecita De Mi Novia”
Orquesta Tipica Francisco Canaro
1938 (Odeon OT 173 mx 9717)
Callecita De Mi Novia – Orquesta Tipica Francisco Canaro

“Olvidame”
Orquesta Tipica Francisco Canaro
1938 (Odeon OT 173 mx 9718)
Olividame – Orquesta Tipica Francisco Canaro

These tango selections, recorded in Buenos Aires, come courtesy of the collection of Christian From Dallas who has been kind enough to loan me a few boxes of records for me to digitize.  These boxes contain some really impressive vintage records from a variety of genres and I will be including them in future updates – while, of course, continuing to feature records from my own collection.

Francisco Canaro was an internationally famous Uruguayan violinist and bandleader whose career spanned many decades.   He was also highly prolific in the recording studio:  an online discography of his work includes over 3,700 works.

Posted in 1930s, 1930s Popular Music, Electrical Recordings, Ethnic Recordings, Other Foreign Recordings, Tango | 3 Comments

California Ramblers – Copenhagen

Columbia 236 D

“Copenhagen”
California Ramblers
1924 (Columbia 236 D mx 140115)
Copenhagen – California Ramblers

Here’s a jazzy acoustical recording by the California Ramblers.   Had the session taken place a year later this would have been electrically recorded.

“Copenhagen” was composed by the early jazz bandleader Charlie Davis and, according to legend, was named not after the city but rather the brand of chewing tobacco favored by one of his musicians.   Starting at 1:32 into the recording you will be able to hear the bass sax of Adrian Rollini.

 

Posted in 1920s, 1920s Popular Music, Acoustic Recordings, American Recordings | Leave a comment

Fletcher Henderson & His Orchestra – Sugar Foot Stomp | Clarinet Marmalade

Columbia2513D

“Sugar Foot Stomp”
Fletcher Henderson & His Orchestra
1931 (Columbia 2513 D mx 151442)
Sugar Foot Stomp – Fletcher Henderson & His Orchestra

“Clarinet Marmalade”
Fletcher Henderson & His Orchestra
1931 (Columbia 2513 D mx 151441)
Clarinet Marmalade – Fletcher Henderson & His Orchestra

 

Fletcher Henderson had already recorded both of these selections prior to this March 19, 1931 Columbia recording session.   Henderson made a recording of “Sugar Foot Stomp” for Columbia in 1925. and a recording of Clarinet Marmalade” for Brunswick and Vocalion in 1926.

Posted in 1930s, 1930s Popular Music, American Recordings, Electrical Recordings | Leave a comment

Leo Fall

HMVB3896

“Dollar Princess” – Waltz
Marek Weber And His Orchestra
1931 (HMV B 3896 mx BLR 5827

“Child You Can Dance Like My Wife”
Marek Weber And His Orchestra
1931(HMV B 3896 mx BLR 5830)

 

Here are some Viennese operetta tunes by composer Leo Fall.

“Dollar Princess” is a medley of songs from the 1907 operetta Die Dollarprinzessin which is Fall’s most famous work.

“Child You Can Dance Like My Wife” comes from Die Geschiedene Frau (The Divorcee)  which opened in 1908.

Posted in 1930s, Electrical Recordings, German Recordings, Operetta, Salon Music | Leave a comment

We Now Return To Our Program In Progress

Well, it has been a very long pause between updates – and one that was not exactly planned in advance.   Let’s just say that I had a number of important things going on with periods when I simply did not have time to post and others when I was just not in any mood to.  I consider Radio Dismuke to be my primary vintage music project –  so when push comes to shove, this blog will always take a back seat to the radio station.   But in recent months I have started to miss posting here.   So I am back for now.  I make no promises as to how frequently I will post – but you should see things updated on a semi-regular basis for at least awhile.   If you wish to receive updates whenever new postings are put up you can subscribe to the blog’s Twitter updates or to its RSS feed (which you can find listed at the top of many browser windows, but if not, the feed address is http://dismuke.org/blog/?feed=rss2 )

Posted in Blog News | 1 Comment