Mainspring Press Books: Going, Going (and Soon to Be Gone)

Just a reminder that Mainspring Press has discontinued production of CDs and books as it begins the transition to online data delivery, in affiliation with the Discography of American Historical Recordings (DAHR) at the University of California–Santa Barbara.

We recommend ordering any titles of interest as soon as possible. Several popular books (including Recording the ‘Thirties and The Pathé-Perfect Discography, Vol. 1) have already sold out, and others are in short supply. All CDs have also sold out.

We won’t be reprinting any titles once the current inventory is sold — and buying these books on the used-and-collectible market (if you can even find copies) is often a very pricey proposition. Don’t miss out!

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UPDATE: Mainspring’s long-awaited American Zonophone 7″ and 9″ discographical database has now been incorporated into DAHR (there will be no print edition of this material). It’s the most highly detailed data ever published on these rare recordings, including little-known information on remakes, altered masters, relabelings, reissues, catalog listing dates, artist pseudonyms, and other fine details you just won’t find anywhere else — plus an illustrated history. And it’s free.

 

Free Personal-Use Download: Brian Rust’s Complete “Jazz and Ragtime Records, 1897-1942” (6th and Final Edition)

Response to the initial Personal Use Edition of the late Brian Rust’s JR-6 (1917-1934) has been so positive that we’re now making the complete work (1897-1942) available free of charge for the benefit of the collecting and research communities, in keeping with Brian’s wishes.

This edition is in Adobe Acrobat only. (A plain-text file is not being provided, but text files can be created from Acrobat by various methods. Please note that we are unable to provide any technical assistance in this regard; information can be found in your Acrobat or word-processor documentation, or online.)

Be sure to open the Bookmarks sidebar, on the left side of the screen, for easy navigation through the entries. Abbreviation lists  will be found at the end of the file. Indexes are not included, nor are they needed any longer, thanks to Acrobat’s superior search-engine capabilities.

 

CLICK HERE TO DOWNLOAD BRIAN RUST’S
JAZZ & RAGTIME RECORDS, 1897-1842

Free Complete 6th Edition, for Personal Use Only (~ 10mb)

 

LICENSE INFORMATION: By downloading this file, you signify your understanding of and agreement to the following terms:

All data in this work have been placed in the public domain (i.e., released from copyright) by Mainspring Press LLC, the sole copyright holder in this work by 2001 contractual assignment from Brian Rust.

You may copy, print out, distribute, alter, and/or incorporate this data in other works free of charge and without permission, for personal, non-commercial, non-profit use only, provided that you fully cite the source.

Mainspring Press retains the full and exclusive worldwide commercial publication rights (as distinguished from copyright) in this work. This work may not be published or otherwise distributed commercially, by any method (including but not limited to print, digital, and/or online media) without the prior written consent of Mainspring Press.

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Note: Please do not send additions and corrections to Mainspring Press; we are not producing any further editions of this work.

Some Corrections to Johnson & Shirley’s “American Dance Bands,” from Vic D’Ippolito’s Date Books

Horn-man Vic D’Ippolito’s 1920s date book is the sort of primary-source documentation (like Ed Kirkeby’s files) that causes discographers to salivate. The late Woody Backensto transcribed D’Ippolito’s original data in the late 1950s, a portion of which was published in a special (and now quite rare) October 1958 supplement to Record Research magazine. It’s since been largely overlooked — not least of all by Brian Rust and followers Johnson & Shirley, none of whose dance bands discographies include this information. So to set the records straight, here are a few nuggets we’ve uncovered in just our initial skim:

BLACK SWAN 2106
Brashear’s California Orchestra: Crinoline Days / Lady of the Evening

ADB UNDOCUMENTED IDENTITY AND DATE:
Nathan Glantz’s Orchestra (c. late 10/ 1922)

IDENTITY AND ACTUAL DATE IN D’IPPOLITO LOG:
“Sam Lascabza” [sic? Mike LoScalzo?]  (11/28/1922)

A bit of a mystery here. Backensto interpreted  D’Ippolito’s entry to read “Lascabza,” which could easily be a misreading on his part, or a misspelling on D’Ippolito’s part, for LoScalszo. We’ve not found a Lascabza or a Sam LoScalzo making records at this time, but Mike LoScalzo’s band was recording for Olympic (masters from which were frequently issued on Black Swan under pseudonyms); thus, he seems the most likely suspect. At any rate, there’s nothing in D’Ippolito’s entry to suggest Glantz.

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BLACK SWAN 2110
Laurel Dance Orchestra: Burning Sands / You Remind Me of My Mother

ADB UNDOCUMENTED IDENTITY AND DATE:
Listed as an actual orchestra (c. 12/ 1922)

IDENTITY AND ACTUAL DATE PER D’IPPOLITO LOG:
“Sam Lascabza” [sic? Mike Loscalzo?] (11/28/1922)

Same comments as above. The “Laurel Dance Orchestra” pseudonym also appears on other Black Swan issues confirmed as LoScalzo’s.

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CAMEO 289
Blue Bird Dance Orchestra: Whistling
CAMEO 290
Blue Bird Dance Orch: Teddy Bear Blues

ADB UNDOCUMENTED IDENTITY AND DATE:
Possibly Arthur Lange (c. late 10/1922)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Al Burt’s Orchestra (12/14/1922)

“Blue Bird Dance Orchestra” isn’t so much a pseudonym as an incomplete artist credit, probably used because Al Burt was an Edison artist at the time. Burt’s band was appearing at the Bluebird Dancing Palace, as confirmed by a check made out to Burt that was endorsed by the dance-hall, which survives at the Edison National Historic Site.

“Teddy Bear” is an under-appreciated little item (as one might expect of a record condemned to Arthur Lange Hell by the supposed experts), with D’Ippolito front-and-center:

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CAMEO 724
Mike Speciale’s Orchestra: Something’s Wrong

CAMEO 727
Mike Speciale’s Orchestra: Cross Words

ADB UNDOCUMENTED IDENTITY AND DATE:
Orchestra identity is correct, but Vic D’Ippolito not shown in the undocumented personnel listing  (c. 4/20/1925)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Vic D’Ippolito is present (4/21/1925)

 

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VOCALION 14475
Broadway Syncopators: Without You

ADB UNDOCUMENTED IDENTITY AND DATE:
Ben Selvin’s Orchestra (c. 12/6/1922)

ACTUAL IDENTITY AND DATE PER D’IPPOLITO LOG:
Emil Coleman’s Montmartre Orchestra (12/4/1922)

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ACTUAL RECORDING DATES FROM THE D’IPPOLITO BOOK (ADB BAND IDENTITIES ARE CORRECT):

Cameo 256: 9/13/1922 (Apparently for the remake session [takes D-F], based on the master-number gap between these sides and those on the other two sides [takes A-C] from this session) (ADB: c. 7/1922)
Cameo 265 (both sides): 9/13/1922 (ABD: c. 8/20/1922)
Cameo 273 (both sides): 10/13/1922 (ADB: c. 9/20/1922)
Cameo 274 (both sides): 9/25/1922 (ADB: c. 9/19/1922)
Cameo 713 (both sides): 4/7/1925 (ADB: c. 4/6/1925)
Cameo 727 (both sides): 4/21/1925 (ADB: c. 4/20/1924)
Federal 5244 (both sides): 1/5/1923 (ADB: c. 1/1923)
Federal 5245 (Starlight Bay): 1/5/1923 (ADB: c. 1/1923)
To be continued….

 

Association for Recorded Sound Collections’ 51st Annual Conference

The Association for Recorded Sound Collections’ 51st Annual Conference will be held next week in San Antonio, Texas, and promises to be one of the most interesting yet.

If you haven’t followed the group for a while, rest assured — it’s no longer Your Grandpa’s ARSC. The membership is becoming increasingly diverse, and this year’s conference includes  presentations on such wide-ranging topics as Houston hip hop, the historic Texas recording scene, border radio, Motown, women in the recording industry, digital restoration and management of sound recordings, metadata management for sound archives, crowd-sourced cataloging of sound recordings via social media, and copyright issues. (The traditionalists among us will also find plenty of interest, including a collectors’ round-table, a Robert Johnson walking tour, and presentations on Papa Charlie Jackson, Olga Samaroff, Victor Herbert, musical rarities on radio transcriptions and film, discographical issues, and more.)

Click here to download a PDF copy of the conference program. Registration information and further details are available on the ARSC website.

 

 

DAHR Update: American Zonophone 7″ and 10″ Data (1899 – 1905)

The final editing of Mainspring’s 7″ / 9″ American Zonophone data has been completed, and conversion to online format for the Discography of American Historical Recordings will begin later this month. Thanks to the editors at UC-Santa Barbara, some previously undocumented remakes and other details have been added from UCSB’s holdings of the original discs.
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The level of detail far exceeds anything published so far on American Zonophone, including listings of all known remakes (the company remade like there was no tomorrow in its early days!), alternate versions, relabelings and reissues, catalog listing dates, Oxford releases, breakdown by issued diameters, and other fine details you won’t find anywhere else. There will also be an illustrated, footnoted historical introduction that puts some old Zonophone myths to rest, and a guide to label types.

This is Mainspring’s first direct-to-online venture (i.e., there will be no printed edition). We’ll keep you updated on its progress.

 

An Important Online Classical Discography from Michael Gray

Classical collectors, be sure to check out A Classical Discography, another outstanding free online database. It’s compiled by Michael Gray (who was also a major contributor to CHARM) and focuses on major-label 78s and LPs from 1925 through 1950, domestic and foreign, using original company file data. As you’d expect with anything Michael does, the level of detail and quality of research and editing are first-rate.

The search engine offers numerous search fields and returns pinpoint results. The screen-shot below shows the first two of 165 entries returned for Feodor Chaliapin (in this case, sorted alphabetically by composer):

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Like CHARM and UC-Santa Barbara’s Discography of American Historical Recordings (DAHR), this is a completely free service, with no registration or log-in required.

An Edison Tone Test Artist’s Contract (1920)

The Edison Tone Tests were highly popular marketing events at which invited guests were challenged to distinguish live performances from the “Re-Created” versions as performed by the Diamond Disc phonograph.

The events were rigged by various means, despite Edison’s vigorous denials, including the surreptitious substitution of special records and reproducers (the latter confirmed in some surviving correspondence between the company and singer Vernon Dalhart). Artists were also carefully coached to match their tone and volume to that of the recordings to which they would be compared. You can find a detailed history of the Tone Tests in A Phonograph in Every Home, available from Mainspring Press and many major libraries.

Below is a copy of a typical 1920 artist’s Tone Test contract, for Cecil Arden, which we recently found among Ray Wile’s materials in the Bill Bryant papers. Many of Arden’s recordings were flagged “For Tone Test” in the Edison files, and several appear to have been made expressly for that purpose. In Arden’s case, payment probably was on the skimpy side, since she* earned  $36.25 to $40 per song for her studio work (per the studio cash books), without all the rigors of travel and rehearsal that the Tone Tests entailed.

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* Oops! We said “he” / “her” in the initial post. Many thanks to old friend George Sweeny for spotting the mistake, and sending along a photo to confirm. Obviously, we’ve never heard a Cecil Arden recording!
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Last Call for “Berliner Gramophone Records in America: A Discography” (Paul Charosh)

We just opened our last carton of Paul Charosh’s Berliner Gramophone Records in America: A Discography. We won’t be reprinting or producing an updated edition once these copies are gone.

Just to clarify: This is the second, most recent edition of Paul’s Berliner discography. (The obsolete first edition, originally published by Greenwood Press in 1995, is now being sold by a different company as a cheap-looking reprint — but cheap it isn’t, at $30 more than our updated edition!)

Quantities are very limited. Order soon from the Mainspring Press website to avoid missing out!

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Just a reminder — Mainspring is in the process of phasing out its discography line, and we’re already running low on many titles, none of which will be reprinted once current inventory is sold. If you’re interested in a particular title, best to buy soon!

Last Call for “Paramount’s Rise and Fall” (Alex van der Tuuk)

We’re down to our last carton of Alex van der Tuuk’s classic Paramount’s Rise and Fall (Revised & Expanded Edition) and won’t be printing any further copies or producing a third edition.

Once these are gone, the only place you’ll be able to obtain a copy is on the collectible-book market, no doubt at an astronomical price. (Don’t believe it? Check out used-copy pricing for this and the original edition on Amazon.com.)

New sealed copies can still be ordered from the Mainspring Press website, while supplies last — and unlike the good folks at  Amazon, we won’t charge you $109!
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Some additional Paramount ads, from the Mainspring Press reference collection. If you enjoy these, be sure to check out Race Records and the American Recording Industry: An Illustrated History, 1919-1945, also available from Mainspring Press.

The Playlist • Victor in the South — Hot Bands (1925 – 1928)

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FATTY MARTIN’S ORCHESTRA: End o’ Main

Houston: March 19, 1925
Victor mx. B 32111 – 2 (commercially unissued on 78)

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FATTY MARTIN’S ORCHESTRA: Jimtown Blues

Houston: March 19, 1925
Victor mx. B 32111 – 4 (commercially unissued on 78)

Above two titles from c. 1960s custom vinyl pressings of the original stampers. Takes 1 and 3, respectively, were issued on Victor 19700 (released 1925, deleted 1926).

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ROSS DE LUXE SYNCOPATORS (Margaret Miller, vocal): Skad-o-Lee

Savannah: August 22, 1927
Victor 20961 (mx. BVE 39823 – 2)
Released: December 16, 1927 – Deleted: 1929

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ROSS DE LUXE SYNCOPATORS (Frank Houston, vocal): Florida Rhythm

Savannah: August 22, 1927
Victor 20961 (mx. BVE 39827 – 2)
Released: December 16, 1927 – Deleted: 1929

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MEMPHIS RAMBLERS: Hold It Still

Memphis (Auditorium): February 4, 1928
Victor 21270 (mx. BVE 41841 – 2)
Released: April 20, 1928 – Deleted: 1931

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WILLIAMSON’S BEALE STREET FROLIC ORCHESTRA: Scandinavian Stomp

Memphis (McCall Building): February 27, 1927
Victor mx. BVE 37959 – 1 (commercially issued on Victor 21410)
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WILLIAMSON’S BEALE STREET FROLIC ORCHESTRA: Midnight Frolic Drag

Memphis (McCall Building): February 27, 1927
Victor mx. BVE 37960 – 2 (commercially issued on Victor 21410)

Above two titles from c. 1960s custom vinyl pressings of the original stampers. Victor 21410 was released July 20, 1928, deleted in 1930, and sold 4,819 copies according to the production-history card.

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Discographic data from the original Victor files, courtesy of John Bolig and the Discography of American Historical Recordings. Sales figures were entered on the Victor production-history cards at an unknown time by an unknown person, and are of questionable accuracy.

The Playlist • Harlem Jazz on Dime-Store Labels (1928 – 1929)

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CHARLIE JOHNSON’S PARADISE ORCHESTRA (as Jackson & his Southern Stompers): Take Your Tomorrow (Give Me Today)

New York: c. September 1928
Marathon 227 (7″ Consolidated mx. 31340 – 2)

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JAZZOPATORS (Probable Porter Grainger group): Don’t Know and Don’t Care

New York: Late November 1929
Grey Gull 1803 (mx. 3741 – A)

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FLETCHER HENDERSON & HIS ORCHESTRA (as Henderson’s Roseland Orchestra): Freeze and Melt

New York: April 1929
Cameo 9174 (Cameo mx. 3798 – B)

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LUIS RUSSELL & HIS ORCHESTRA (as Dixie Jazz Band): The Way He Loves Is Just Too Bad

New York: September 13, 1929
Oriole 1726 (ARC mx. 9007 – 1, assigned control 2533)

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DUKE ELLINGTON & HIS ORCHESTRA (as The Washingtonians): Move Over

New York: October 1928
Cameo 9025 (Pathe mx. 108448 – 1, assigned Cameo mx. 3529 –  )

The Playlist • Cathedral Organ Classics — Commette, Dupre, Schweitzer (1929 – 1935)

MSP_HMV-D1898b

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A while back, we were lucky enough to acquire the late James Bratton’s collection of historic pipe-organ 78s at an estate sale in Denver. Bratton was a prominent organist, instructor, and journal editor who moved to Colorado from Baltimore (where he’d studied at the Peabody Conservatory) in the early 1970s. We’ll be posting some of the most interesting recordings from his collection on the blog from time to time. (The crackle heard on the third selection is an unfortunate characteristic of many British HMV pressings of the period, even on pristine copies like this one.)

 

EDOUARD COMMETTE (Organ of St. Jean Cathedral, Lyons, France):
Symphony No. 2 (Widor): Finale

Columbia 50285-D (mx. [W] LX 1004 – 1)
Lyons, France: April 18, 1929

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EDOUARD COMMETTE (Organ of St. Jean Cathedral, Lyons, France):
Symphony No. 4 (Widor): Toccata

Columbia 50285-D (mx. [W] LX 1005 – 1)
Lyons, France: April 18, 1929

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MARCEL DUPRE (Organ of Alexandra Palace, London):
Variations from Fifth Symphony (Widor) — Conclusion

His Master’s Voice D.1898 (mx. CR 2750 – 2)
London (relay to van): March 17, 1930

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ALBERT SCHWEITZER (Organ of All Hallows Church, London): Toccata and Fugue in D Minor (Bach)

London: December 1935
Columbia 11022-D (English Columbia mxs. AX7716 – 1 / AX7714 – 1)
Master numbers are correct as shown; the two parts were recorded out-of-sequence, and intervening mx. AX7715 was assigned to an unrelated title..

MSP_col_11022-D_schweitzer

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The Playlist • Frank Stokes and the Beale Street Sheiks (1927 – 1928)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Beale Town Bound

Chicago (Marsh Laboratories): c. August 1927
Paramount 12576 (mx. 4775 – 2)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Mr. Crump Don’t Like It

Chicago (Marsh Laboratories): c. September 1927
Paramount 12552 (mx. 20045 – 2)

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BEALE STREET SHEIKS (Frank Stokes & Dan Sane): Blues in “D”

Chicago (Marsh Laboratories): c. September 1927
Paramount 12552 (mx. 20048 – 2)

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FRANK STOKES: Downtown Blues

Memphis (Auditorium): February 1, 1928
Victor 21272 (mx. BVE 41822 – 1)
(Released: April 20, 1928; Deleted: 1931)

With uncredited second guitar. Take 2, also issued on 21272, is at a different tempo, uses some alternate lyrics, and does not include the reference to 1928.  Total sales, according to the Victor production files, were 13,449 copies — so not a particularly rare issue, as regional race records go, although there’s no way of telling for certain how scarce one take may be in relation to the other.

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Blues Fans — Be sure to check out these Mainspring Press titles, if you haven’t already. (We’re nearly sold out of “Paramount’s Rise and Fall,” and won’t be reprinting once the remaining copies are gone — order soon to avoid missing out!)

The Playlist • Broadway Headliners (1911 – 1913)


Photos from the Victor monthly supplements, courtesy of
John Bolig
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GEORGE M. COHAN: You Won’t Do Any Business If You Haven’t Got a Band (“A Little of Everything”)

Camden, NJ: May 4, 1911
Victor 60043 (mx. B 10268 – 1)
With studio orchestra (conductor not credited in the Victor files)

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NORA BAYES & JACK NORWORTH: Turn Off Your Light, Mr. Moon Man (“Little Miss Fix-It”)

Camden, NJ: April 24, 1911
Victor 70038 (mx. 9830 – 5)
With studio orchestra (conductor not credited in the Victor files)

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AL JOLSON: That Haunting Melody (“Vera Violetta”)

Camden, NJ: December 22, 1911
Victor 17037 (mx. B 11409 – 2)
With studio orchestra conducted by Walter B. Rogers. Although Rogers is not credited in the Victor files, Jolson addresses him by name in “Asleep in the Deep (Parody),” recorded at the same session.

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ELSIE JANIS: Fascinating Baseball Slide

Camden, NJ: October 22, 1912
Victor 60090 (mx. B 12527 – 1)
With studio orchestra (conductor not credited in the Victor files)

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DAVE MONTGOMERY & FRED STONE: Travel, Travel, Little Star (“The Old Town”)

Camden, NJ: January 24, 1911
Victor 70033 (mx. C 9845 – 1)
With studio orchestra (conductor not credited in the Victor files)

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DAVE MONTGOMERY & FRED STONE: Gay Paree

Camden, NJ: May 19, 1911
Victor 70042 (mx. C 9906 – 2)
With studio orchestra (conductor not credited in the Victor files)

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NAT W. WILLS: New York, What’s the Matter with You? (Ziegfeld’s “Follies of 1913”)

Camden, NJ: September 22, 1913
Victor 17461 (mx. B 13838 – 1)
Frank N. Darling, conductor, per Victor files (Darling was the conductor of the “Follies” orchestra).

 

Discography of American Historical Recordings – Update: Part 1 of the American Zonophone Discography Is Now Online

If you’ve been following the Mainspring Press blog lately, you know that we are no longer publishing any new printed discographies, but instead licensing our discographical data to the University of California–Santa Barbara’s online Discography of American Historical Recordings. As much as I love books, I’ve long felt that digital databases offer a clear advantage for archiving and disseminating this sort of material (not to mention eliminating the ever-increasing costs of production, printing, shipping, and labor).

DAHR is staffed by, and associated with, some of the most knowledgeable people in the field. In recent years it has emerged as the largest and most authoritative source of discographical data relating to the 78-rpm era. A tremendous amount of Victor, Columbia, Brunswick-Vocalion, and Decca data from the original company files have already been digitized and made freely available as searchable databases, and much more is to come.

Now we can add American Zonophone to the list, with thanks to Sam Brylawski, David Seubert, and the DAHR staff for helping to make that possible. The first Zonophone installment (covering the 10″ and 12″ standard-catalog releases of 1904–1912) is now online and includes the latest revisions and updates to the printed volume that was published by Mainspring in 2012.
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msp_zono-cats-1

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The next Zonophone installment, covering the 7″ and 9″  releases of 1900–1906, is undergoing final editing and fact-checking here, for submission to DAHR within the next month or two (there are no plans for a printed edition). Much of this material is previously unpublished and includes the first systematic cataloging of remakes, reissues, relabelings, altered stampers, etc.

For book enthusiasts, the Zonophone 10” / 12” volume can still be purchased on the Mainspring Press website, although supplies are running low — We’d advise ordering soon if interested, since  Mainspring will not be reprinting any of its discographies once current the current inventory has sold out.

— Allan Sutton