Grey Gull Discovery: GG Masters in the Columbia Vaults (1953)

MSP_GG-logoWhere did the Grey Gull masters go? It’s been a tantalizing question for decades, and some pretty far-fetched theories have been put forth. But as it turns out, an obscure unpublished Columbia vault listing, recently discovered among the Bill Bryant papers, has held the answer all this time.

The listing was compiled in 1953, after Columbia employee Harry Flynn discovered a large cache of masters in the Bridgeport vault that had come from the Scranton Record (née Button) Company — a major independent pressing plant, which had gobbled up many failed record companies in the 1920s and early 1930s. For nearly two decades Scranton was the manufacturing arm of the Plaza / American Record Corporation group, the latter having been officially acquired by CBS on January 1, 1939.

Flynn allowed another CBS employee to make a partial listing of the non-Columbia masters, apparently without the knowledge or blessings of Columbia archivist Helene Chmura. In October 1955, the now-former Columbia employee (whom we won’t name, as he may still be alive) forwarded the list to researcher Walter C. Allen, with a request that it not be made public, “for it was ‘lifted’ while I was an employee!” Allen honored the request, and as a result, the final disposition of Grey Gull’s masters has remained a guessing-game, until now.

The list includes masters from Arto, Emerson, Federal, and Plaza — all of whose assets were acquired by Scranton — as well as the early “LL-” prefixed National Music Lovers masters and even some early-1920s Paramount masters with Bridgeport Die & Machine (Puritan) markings. (Scranton also held 50 late Paramount masters by some outstanding blues artists for a time, but that’s another story, which you’ll find in Paramount’s Rise and Fall.)

How masters from all of these companies came to reside with Scranton is easily explainable, given the in-depth knowledge we now have of the 1920s recording industry. But there was one totally unexpected surprise — A large number of electrically recorded Grey Gull masters, beginning with # 2728 and ending at # 3643. (The list was a random sampling, so the actual range could have been wider.) There had been a Grey Gull – Emerson – Scranton link until early 1926, when GG opened its own studio and pressing plant — But the masters in the Columbia vault dated from late 1927 through approximately September 1929, long after that link had been severed; and none of those listed had been leased to Emerson, which remained a Scranton customer but occasionally issued Grey Gull recordings in the later 1920s. Material on the list ranges from pop vocals and the usual studio bands to country and jazz. Complete sets of takes (some running as high as -D and -E) were preserved.

From this, it appears certain that Scranton ended up with a least a goodly portion of the electrical Grey Gull masters, if not all of them. Have any of these masters survived in the Columbia archives (now owned by Sony)? Pretty doubtful, given the material’s lack of commercial value, and CBS’s merciless master-scrappings at Bridgeport in the early 1960s; but hope springs eternal. We’re currently in contact with Sony staff to see if anything, including any original file documentation that might have come along with the masters, has survived. Stay tuned….

 

Correct Personnel for the California Ramblers’ 1929–1930 Grey Gull Sessions, from Ed Kirkeby’s Files

Sorry to report that the personnel listings for the California Ramblers’ 1929–1930 Grey Gull sessions in American Dance Bands on Record and Film (the $600 successor to Brian Rust’s American Dance Band Discography) are seriously in error.

The compilers don’t say where their information came from, but it certainly wasn’t from the one unimpeachable source in this case: Ramblers manager Ed Kirkeby himself, who maintained meticulous logbooks detailing all recording sessions with which he was involved. So, to set the record straight, here are the actual correct personnel — which in some cases bear only a slight resemblance to those undocumented listings in ADB — directly from Mr. Kirkeby’s files:

 

July 30, 1929 — Grey Gull mxs. 3559–3561

ADB misattributes this session to a “Grey Gull studio orchestra,” “with a sound not unlike the California Ramblers.” All recordings were issued pseudonymously. The titles, as confirmed in Ed Kirkeby’s files, are:

Maybe! Who Knows? (mx. 3559 — Grey Gull 1746, et al.)
Sweetness (mx. 3560 — Grey Gull 1752, et al.)
Little Pal (mx. 3561 — Grey Gull 1756, et al.)

Personnel for this session, from Kirkeby’s files, are:

Chelsea Quealey, Fred Van Eps, Jr. (trumpets); Carl Loeffler (trombone); “Pete” [presumably Pumiglio], Harold Marcus (saxophones); Chauncey Gray (piano); Al Duffy (violin); Tommy Felline (banjo/guitar); Ward Lay (bass); Stan King (percussion); Smith Ballew (vocal, with unnamed others). Kirkeby paid Dick Morgan $20 for this session, for reasons unstated.

 

December 27, 1929 — Grey Gull mxs. 3804– 3807

ADB personnel listing is “collective” (i.e., all likely names were tossed into the pot, in the hope that at least some might apply), with no source cited. The exact session personnel, from Kirkeby’s files, are:

Fred Van Eps, Jr. (first trumpet); Frank Cush (second trumpet); Carl Loeffler (trombone); Paul Mason (tenor saxophone) “Pete” [presumably Pumiglio] (first alto saxophone); “Carl” [presumably Orech] (second alto saxophone); Sid Harris (violin); “Gross” [Gray?] (piano); Tommy Felline (banjo, guitar); Ward Lay (string bass); Stan King (percussion); Smith Ballew (vocal with two unnamed others, presumably band members)

 

January 24, 1930 — Grey Gull mxs. 3855– 3857

ADB personnel list is “collective,” with no source cited. The exact session personnel, from Kirkeby’s files, are:

Fred Van Eps, Jr., Tony Gianelli (trumpets); Carl Loeffler (trombone); Carl Orech] (saxophone); Paul Mason (tenor saxophone); Harold Marcus (alto saxophone); Sid Harris (violin); illegible, possibly [Chauncey] Gray (piano); Tommy Felline (banjo, guitar); Ward Lay (string bass); [?] Dale (percussion); Smith Ballew (vocal). The accordionist is not listed in Kirkeby’s log, suggesting that he was supplied by the studio.

 

February 24, 1930 — Grey Gull mxs. 3913–3915

ADB personnel list (source not cited) is largely incorrect. The correct session personnel, from Kirkeby’s files, are:

Angie Rattiner (first trumpet); Tony Giannelli (second trumpet); Pete Pumiglio, Paul Mason, Tommy Bohn (“first,” “second,” and “third” saxophones, in that order); Lloyd Turner (trombone); Irving Brodsky (piano); Joe La Faro (violin); Tommy Felline (banjo/guitar); Tex Hurst (bass); Herb Weil (percussion). The vocalist is not listed in Kirkeby’s log, suggesting that he was supplied by the studio.

 

May 12, 1930 — Grey Gull mxs. 4059, 4060

ADB personnel list (source not cited) is largely incorrect. The correct session personnel, from Ed Kirkeby’s files, are:

Jack Purvis (trumpet); Carl Loeffler (trombone); Pete Pumiglio, Paul Mason, Tommy Bohn (saxophones); Irving Brodsky (piano); Scoop Thompson (Tomson in file) (guitar); Tex Hurst (bass); Jack Powers (percussion); “Moore” (no further details); Scrappy Lambert (vocal)

 

June 12, 1930 — Grey Gull mxs. 4095– 4098

ADB personnel list (source not cited) is almost entirely incorrect. The correct session personnel, from Ed Kirkeby’s files, are:

Fred Van Eps, Jr., Tony Giannelli (trumpets); Carl Loeffler (trombone); Ed Blanchard, Joe Gillespie, Nye Mayhew (saxophones); Lew Cobey (piano); Ed Sexton, guitar; Ward Lay (string bass); Joe Powers (percussion); Elmer Feldkamp (vocal, with unnamed others, presumably band members)

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