William R. Bryant and Record Research Associates Archives Donated to the University of California

William R. Bryant and Record Research Associates Archives Donated to the University of California

 

Len Kunstadt and William R. Bryant

 

I am pleased to announce that the William R. Bryant and Record Research Associates archives have been donated to the Davidson Library at the University of California–Santa Barbara. The library’s Discography of American Historical Recordings project has been at the forefront of discographical research for nearly two decades, beginning with its posting of the Victor file data, and expanding rapidly from there.

Having worked with David Seubert, Sam Brylawski, and the Davidson Library staff on several projects in the past, I have no doubt that UCSB is the best choice as a permanent new home for this important collection, which was acquired by Mainspring Press in 2011 — and from which so many Mainspring discographies have sprung. Rights to several unfinished Mainspring Press discographies based on this material, including Plaza-ARC and Grey Gull, have also been assigned to UCSB.

The initial lot, dispatched to UCSB earlier this week, comprises all of the discographical data compiled over a span of five decades, from first-hand aural and visual inspection of countless thousands of 78s, by the Record Research group (Walter C. Allen, Len Kunstadt, Perry Armagnac, Carl Kendziora, George Blacker, et al.) and Bill Bryant. Bill acquired and continued to work on the RR archive, as well as his own projects, before his untimely death in 1995.

As with any collection of this sort, it will take considerable time to process and organize the materials, and to set parameters for access; so please do not contact UCSB concerning access or requesting data for now — it’s simply far too early. Updates will be posted here as they become available.

—Allan Sutton / Mainspring Press

The Pathe – Perfect Discography (1922 – 1930), Second Edition • Free Online Version

THE PATHE – PERFECT DISCOGRAPHY (1922 – 1930)
Second Edition (Digital Version 1.0)

By Allan Sutton

Data Compiled by William R. Bryant,
The Record Research Associates, et al.

 

Free to Download for Personal Use *

 

The newest addition to the free Mainspring Press Online Reference Library covers all concurrent Pathé–Perfect domestic-catalog issues, from the introduction of Perfect in 1922 to the discontinuation of the American Pathé label in early 1930. Totaling more than 750 pages, this newly revised and expanded edition includes highly detailed discographical data for all U.S. releases on Pathé, Perfect, and their many affiliated labels.

The work also includes an illustrated, well-documented history of the American Pathé operation, label illustrations, and guidance on two particularly vexing problems that have tripped-up some discographers in the past — the difference between dubbing numbers and true take designations on acoustic recordings; and the assignment of false master numbers and take designations during the Pathé-Cameo and American Record Corporation merger periods (there was a method to that seeming madness, as determined by first-hand aural and visual comparison of many thousands of original pressingsd).  

 

DOWNLOAD THE PATHE-PERFECT DISCOGRAPHY
(~4.6 mb / Abode Acrobat or Reader Required)

  • As with all titles in the Mainspring Press Reference Library, you are welcome to download this file for your personal use only. Mainspring Press holds the copyright and exclusive publication rights to this work. Commercial use, or any unauthorized reposting, publication, or distribution in any form, whether or not for monetary gain, is prohibited. 

Please report violations to: publisher@mainspringpress.com.

 

The Playlist: Five Harmaniacs, 1926–1927 (Streaming MP3)

THE PLAYLIST: FIVE HARMANIACS (1926 – 1927)

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Original recordings from the Mainspring Press Collection
Commercial use of these sound files is prohibited. Please report violations to: publisher@mainspringpress.com

 

Headed by Texas entertainer Claude Shugart, the Five Harmaniacs defy easy categorization. Originally the Four Harmaniacs, they started out singing cowboy ballads in a vaudeville act titled “Round-Up Tunes.”  But in 1926 they headed off in a new direction that caught the attention of the record companies.

Now calling billing themselves as  “A Genuine Musical Novelty,” they began featuring  jazz- and blues-inflected tunes in a style inspired by southern  jug and skiffle bands (Brunswick even released two of their titles in its race-record series). But they continued to wear their cowboy outfits on national tours, and reverted to their old “Round-Up Tunes” act while playing in some regions.

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HARMANIAC FIVE: Harmaniac Blues
Chicago (Marsh Laboratories): c. June 1926

Broadway 1034  (mx. 1079 / ctl. 371)

 

FIVE HARMANIACS: Coney Island Washboard
New York: September 17, 1926
Victor 20293  (mx. BVE 36327 – 2)

 

FIVE HARMANIACS (Walter Howard, speaking):What Makes My Baby Cry?
New York: February 8, 1927
RCA archive test pressing  (mx. BVE 37750 – 1, unissued on 78)

 

FIVE HARMANIACS (Walter Howard, speaking): What Makes My Baby Cry?  
New York: February 8, 1927
Victor 20507  (mx. BVE 37750 – 2)

 

FIVE HARMANIACS: It Takes a Good Woman (To Keep a Good Man at Home)
New York: February 8, 1927
RCA archive test pressing  (mx. BVE 37750 – 1, unissued on 78)

 

FIVE HARMANIACS: It Takes a Good Woman (To Keep a Good Man at Home)
New York: February 8, 1927
Victor 20507  (mx. BVE 37750 – 2)

 

FIVE HARMANIACS (uncredited vocalist): Sleepy Blues
New York: February 24, 1927
Brunswick 7002  (mx. E-4587 [E-22013])
The Brunswick recording sheet is headed “Test Masters — Special Race Recordings.” Rust’s Jazz Records shows the recording date as February 4, in error; February 24 is confirmed on the recording sheet.

American Recording Pioneers: Abe Schwartz (Streaming MP3)

American Recording Pioneers: Abe Schwartz
(Streaming MP3)

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Abe Schwartz accompanied by his twelve-year-old daughter, Sylvia (November 1920)

 

Original recordings from the Mainspring Press Collection.
Commercial use of these sound files is prohibited.
Please report violations to: publisher@mainspringpress.com.

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ABE SCHWARTZ’S ORCHESTRA
Sher — Part 2
New York: c. October 1920
Columbia E4905 (mx. 86692 – 1)

 

ABE SCHWARTZ’S ORCHESTRA (as Yiddisher Orchester)
Biem Reben’s Sideh

New York: c. November 1917
Columbia E3671 (mx. 58785 – 1)

 

ABE SCHWARTZ’S ORCHESTRA (as Jewish-Russian Orchestra)
Tantzt, Tantzt, Yiddelach

New York: c. ­November 1917
Columbia E4133 (mx. 58784 – 2)

 

ABE SCHWARTZ’S ORCHESTRA (as Yiddisher Orchester)
Sadegurer Chasd’l

New York: c. November 1917
Columbia E3671 (mx. 58782 – 1)

 

ABE SCHWARTZ’S ORCHESTRA (as Yiddisher Orchester)
Noch der Havdoleh
New York: c. February 1918
Columbia E3839 (mx. 84011 – 1)

 

AARON LEBEDEFF (acc. by ABE SCHWARTZ’S ORCHESTRA)
Ich Bin a Border Bei Mein Weib
New York: c. January 1923
Vocalion 14502 (mx. 10588)

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The original recording files for most of the Columbia “E” series and early Vocalion masters have been lost. Estimated recording dates are from from Dick Spottswood’s Ethnic Music on Records (University of Illinois Press).