The Okeh Vertical-Cut Discography (1918 – 1919) • Free Download

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THE OKEH VERTICAL-CUT DISCOGRAPHY
(1918 – 1919)

 

Compiled by George Blacker with the
Record Research Associates

 

One of the late George Blacker’s many projects that never saw publication, The Okeh Vertical-Cut Discography was compiled from firsthand inspection of the original discs, with the assistance of members of the Record Research group. We are pleased to finally be able to offer it, especially since it adds substantially to the rather sketchy material in Laird & Rust’s Greenwood Press discography.

This discography is being offered free of charge for personal use only. Reproduction or other use exceeding customary fair-use standards is prohibited without the prior written consent of Mainspring Press. Please e-mail us with any questions concerning fair use, or with corrections and additions.

Some of these recording were also issued under the Rishell label in the U.S., and the Phonola label in Canada. These issues, for which we are still gathering and fact-checking data, will be added in a later update to the discography.

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1918

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1919

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In addition to distributing Okeh records, Rishell briefly marketed some Okeh pressings under their own label.

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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….

 

Mainspring Press News • May – June 2017

Mainspring Press to Donate Reference Collection to the University of California–Santa Barbara

Mainspring Press has begun making arrangements to donate its extensive reference collection to the University of California at Santa Barbara, one of the major centers for discographical research in the U.S.

Highlights of the collection include the Bill Bryant and Record Research-group papers. The latter  include approximately 70,000 index cards (compiled and maintained by Len Kunstadt, Walter C. Allen, George Blacker, and other highly respected researchers from 1952 through the late 1980s) containing complete discographical details of pre-1935 American records for which no original files exist. There is also an extensive collection of “SAC” (synchronized aural comparison) ledgers, in which the RR members painstakingly sorted out different takes, false master numbers, and control numbers on troublesome labels like Bell, Paramount, and the Plaza group, as well as a wealth of other rare and unpublished material.

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Len Kunstadt (left) with one of his notorious ten-foot-high stacks of 78s. Len and the Record Research group eventually filled three warehouses with their holdings, many of which were acquired purely for research purposes. Bill Bryant (right) inherited the RR research papers and unpublished manuscripts, along with the exclusive publication rights, from George Blacker in the 1990s.

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Bill Bryant’s papers includes numerous large binders of equally reliable discographical data (his own, as well as substantial contributions from the likes of Ed Kirkeby, Dick Spottswood, Ray Wile, Quentin Riggs, and Jim Walsh, among others); complete photocopied and/or microfilmed sets of the Gennett master ledgers, Edison studio cash books, and Decca 78-rpm ledgers; and other essential primary-source material.

Transfer of selected materials to UCSB probably will begin in late 2017.


Second Edition of Dick Spottswood’s Ethnic Music on American Records, 1893 – 1942 Coming This Summer as a Free Download

The revised and expanded edition of Dick Spottswood’s legendary ethnic-record discography will be posted as a free download later this summer, exclusively on the Mainspring Press blog.

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Dick Spottswood (right) with Skip James (Bryant collection)

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The first edition of this pioneering work (published in 1990, and now long out-of-print) topped out at more than 3,700 pages. In the three decades since its release, Dick has made substantial additions and revisions that will appear here for the first time. The second edition is being made available completely free of charge for personal use, courtesy of the author.


American Zonophone 7″ and 9″ Discography In Final Preparation for Posting on DAHR

The second volume of Bill Bryant’s American Zonophone Discography is undergoing final file preparation and will appear on UC-Santa Barbara’s online Discography of American Historical Recordings within the next few weeks. This volume includes all 7″ and 9″ general-catalog releases (1899 – 1905), as well as Zonophone’s first, short-lived 10″ series of 1902. An illustrated history and label guide are included.

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Unidentified Zonophone storefront, c. 1899 (Bryant collection)

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This is Mainspring’s first direct-to-online venture (with many more planned); a printed edition will not be produced.