From the Bill Bryant papers at Mainspring Press. Note the issue by Rector’s New York Dance Orchestra (Leopold Kohls, director), which is missing from American Dance Bands on Records and Film. A bit of trivia for the organ fans out there, from a page not pictured: Pathé’s “exclusive” studio organ was a Mason & Hamlin (a popular line of reed organs), model not mentioned.
ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: Who’s That Knockin’ at My Door?
New York: September 1927
Perfect 12372 (mx. 107766 – ) Various works cite an undocumented recording date of September 8.
ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: I’ve Got “It” (But It Don’t Do Me No Good)
New York: May 5, 1930
Velvet Tone 2155-V (mx. W 150388 – 3)
ANNETTE HANSHAW (as Dot Dare): Is There Anything Wrong in That?
New York: November 22, 1928
Diva 2792-V (mx. W 147483 – 3)
ANNETTE HANSHAW (as Patsy Young): I Want To Be Bad
New York: March 14, 1929
Velvet Tone 1878-V (mx. W 148077 – 2)
ANNETTE HANSHAW: I Think You’ll Like It
New York: October 28, 1929
Mx. W 149196 – 2 From a c. 1960s custom vinyl pressing of the original stamper.
No accompanying personnel are listed in the company files for any of these sessions, although experienced collectors will readily recognize Joe Venuti, Eddie Lang, Frank Signorelli, Benny Goodman, and others on various sides. Speculative personnel, based on aural evidence, can be found in our free download of Brian Rust’s Jazz & Ragtime Records (Personal-Use Edition, 1917–1934).
The location is probably Vienna, reputedly the site of Slezak’s 1913 Pathé session. The photo was reproduced in the September 1914 Talking Machine World, just as the New York–based Pathé Frères Phonograph Company (the French company’s U.S. licensee) was preparing to unveil Pathé discs to the American public. The company had only recently begun to make its own recordings and thus had to rely heavily on imported discs, like Slezak’s, to fill the initial catalog.
The oversized cylinder master, from which the disc masters would be transcribed pantographically, can be seen at the far right. This photo (along with others taken in the American studio and in various foreign locations) contradicts the popular anecdotal tale that Pathé’s recording equipment was a jealously guarded secret, hidden behind locked doors and never to be glimpsed by performers or the public.