One Frank Robinson is shown as a member of the Seven Gallon Jug Band in
1929/1930.

It was assumed that the name was an error for Banjo Ikey Robinson.

However, I came across a Frank Robinson, "Musician, Vaudeville" in Chicago at
the time of the 1920 Census.

Maybe Frank Robinson of the Jug Band is the same person.  Of course, we don't
know what instrument(s) the vaudeville musician played.

Bob

[Non-text portions of this message have been removed]

I recall an overdub recording with piano player Dink Johnson on American Music
playing several instruments, but I think this recording is from 1945.
BTW, there are some nice recordings from 1927 that use the natural reverberation
from a church with Fats Waller and Thomas Morris (Thomas Waller with Morris' Hot
Babies). Are these the first recordings with an echo?

Patrice Champarou <patrice.champarou@...> wrote:

> In my childhood in the 50's I remember going to a language teacher
> and listening and recording to a wire recorder. The sound was of
> very low fidelity and definitely unsuitable for music.

I assume that wire recorders had made impressive progress by the early 40's
(can anyone confirm that Charley Christian's live sessions at Minton's were
recorded on that?) and that tape recorders were already available. Maybe
some specialist could provide better information, but I think tape was
already used for re-recording technique in 1941, for Sidney Bechet's "one
man band" and Sleepy John Estes backed by Robert Lee McCoy on both guitar
and harmonica - great sound!

Patrice



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--- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@y...>
wrote:
> BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris (Thomas
Waller with Morris' Hot Babies).

Yes, I love those sides--the effect is also in evidence on the solo organ tunes
like "Lenox Avenue Blues" (1926; recorded using two microphones), and the
Louisiana Sugar Babes session (1928; which may have used two studios
simulataneously).  A grand combination, the Camden "church studio" ambience
and Fats' manipulation of the Estey Pipe Organ...

> Are these the first recordings with an echo?

I guess it's a matter of degree.  William ("Buster") Bailey's version of
"Squeeze
Me" (May, 1925) has an enormous amount of echo, at least the version
reissued on (Classics label) CD does...

John

on 27/9/05 1:47, Prof_Hi_Jinx at prof_hi_jinx@... wrote:

> One Frank Robinson is shown as a member of the Seven Gallon Jug Band in
> 1929/1930.
>
> It was assumed that the name was an error for Banjo Ikey Robinson.

Really, Bob? By whom? It is certainly not assumed by either B&GR or Rust's
Jazz Records, both of which list him as a separate musician.

In fact it was Ikey who suggested (Storyville 21) that the bass sax might be
Frank Robinson, responding to the suggestion by Clarence Williams himself
that Ikey might be playing banjo on the records. This is easy to disprove
because there is no banjo present, so the original suggestion was a pure
invention. Clarence was presumably recalling the date unheard after 20
years.

IF this is all the evidence for Frank Robinson on bass sax and harmonica -
he can not be playing both the tin-whistle and the bass sax as Rust suggests
- and I suspect that it is, it is pretty tenuous.
>
> However, I came across a Frank Robinson, "Musician, Vaudeville" in Chicago at
> the time of the 1920 Census.
>
> Maybe Frank Robinson of the Jug Band is the same person.  Of course, we don't
> know what instrument(s) the vaudeville musician played.

This guy seems quite a good suggestion for the Frank Robinson Ikey
undoubtedly remembered.


Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098

on 27/9/05 9:58, spacelights at spacelights@... wrote:

> I guess it's a matter of degree.  William ("Buster") Bailey's version of
> "Squeeze
> Me" (May, 1925) has an enormous amount of echo, at least the version
> reissued on (Classics label) CD does...

Surely the absence of this reverb from the other side proves that Squeeze Me
was dubbed from the Historical LP whereas 'Papa De Da Da', never previously
reissued as far as I know, came from a tape from someone who has a rather
less good copy of the 78 but at least didn't add any additional distortion.

Anyone got a better explanation?

Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098

I think record collectors talk about a record entitled 'Freshie" which has a
lot of natural reverberation from the large hall/studio where the record was
made.   I think it was by Waring's Pennsylvanians, but I am not sure.
Googling the title may get you more info.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 12:44 AM
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] Re: Tape Recordings


I<SNIP>
BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris (Thomas
Waller with Morris' Hot Babies). Are these the first recordings with an
echo?

--- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@y...>
wrote:
> I recall an overdub recording with piano player Dink Johnson on
American Music playing several instruments, but I think this
recording is from 1945.
> BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris
(Thomas Waller with Morris' Hot Babies). Are these the first
recordings with an echo?
>
> Patrice Champarou <patrice.champarou@f...> wrote:
>
> > In my childhood in the 50's I remember going to a language teacher
> > and listening and recording to a wire recorder. The sound was of
> > very low fidelity and definitely unsuitable for music.
>
> I assume that wire recorders had made impressive progress by the
early 40's
> (can anyone confirm that Charley Christian's live sessions at
Minton's were
> recorded on that?) and that tape recorders were already available.
Maybe
> some specialist could provide better information, but I think tape
was
> already used for re-recording technique in 1941, for Sidney
Bechet's "one
> man band" and Sleepy John Estes backed by Robert Lee McCoy on both
guitar
> and harmonica - great sound!
>
> Patrice
>
>
> Hello,

Wire recordings had been usual till the early 50´s, but almost for
privat recordings. The inovation of tape recording date´s back to
1935 by the German Telefunken/AEG, but these tape records were also
Low fidelity with a frequence range to about 8000 Hz.
The first High fidelity tape records had been made, also by the
German Telefunken about 1941/42 with the need of a High frequence
progress to the tape before recording. But Telefunken made a secret
of it! In 1943 in Berlin happens the first Stereo tape recording in
almost High fidelity (c. up to 15 000 Hz) of the Berliner
Philharmonic Orchestra, and very much Radio recordings had been made
on Tapes for the German "Propaganda - Ministerium".
But out of Germany, nobody knews of this new technology.
By the end of the war, this technology was "avaiable" for all and
late 1946, early 1947 High fidelity Tape recorders stood in the Radio
an Recording studios in the USA.
The 1941 Bechet recordings:
The old tape or wire recorders weren´t able to record the frequent
range of an whole orchestra, but for an single (instrument)voice,
quite good. This was the Trick!: Record on voice/instrument after the
other, and mix them together into the Discrecorder. A High pass
filter was needed. This progess had the standard sound of 1930´s
Disc
recordings.
By the way, the first record tapes had been made out of paper. This
was the idea of an tobacco fabrikant in the late 20´s who was also a
recording amateur. He put magnetic/ferrit "Dust" between two cigaret
papers, which he had from near endless rolls on his work.
The German AEG bought the patent in 1931.
Greets
Uli

Hi Uli

Maybe this is becoming too technical, still I wonder...

> This was the Trick!: Record on voice/instrument after the
> other, and mix them together into the Discrecorder. A High pass
> filter was needed.

OK, but if stereo was not yet available and they used a single track,
how did they manage for playback while recording a second instrument?
A second head, according to the low speeds they used, couldn't have
been suitable for synchronisation...

Patrice

No need to Google - just go to the Red Hot Jazz Archives and look under Waring's
Pennsylvanians (Trivia question: What is the origin of the brand name for Waring
blenders? Answer: Waring's Pennsylvanians, which did commercials for this
brand).
Of all their recordings, only two were made in LA in 1925, and they both have a
nice spacious reverberating sound. The other recording, done on 9/2/25, is
called Hay Foot, Straw Foot and happened five days earlier than Freshie, so
perhaps it gets the distinction of being the first echo recording. It is a nicer
tune as well.
Ron L'Herault <lherault@...> wrote:
I think record collectors talk about a record entitled 'Freshie" which has a
lot of natural reverberation from the large hall/studio where the record was
made.   I think it was by Waring's Pennsylvanians, but I am not sure.
Googling the title may get you more info.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 12:44 AM
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] Re: Tape Recordings


I<SNIP>
BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris (Thomas
Waller with Morris' Hot Babies). Are these the first recordings with an
echo?




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[Non-text portions of this message have been removed]

And Fred Waring was one of the inventors of the Waring Blender.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 11:20 AM
To: RedHotJazz@yahoogroups.com
Subject: RE: [RedHotJazz] Re: Tape Recordings


No need to Google - just go to the Red Hot Jazz Archives and look under
Waring's Pennsylvanians (Trivia question: What is the origin of the brand
name for Waring blenders? Answer: Waring's Pennsylvanians, which did
commercials for this brand).
Of all their recordings, only two were made in LA in 1925, and they both
have a nice spacious reverberating sound. The other recording, done on
9/2/25, is called Hay Foot, Straw Foot and happened five days earlier than
Freshie, so perhaps it gets the distinction of being the first echo
recording. It is a nicer tune as well.
Ron L'Herault <lherault@...> wrote:
I think record collectors talk about a record entitled 'Freshie" which has a
lot of natural reverberation from the large hall/studio where the record was
made.   I think it was by Waring's Pennsylvanians, but I am not sure.
Googling the title may get you more info.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 12:44 AM
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] Re: Tape Recordings


I<SNIP>
BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris (Thomas
Waller with Morris' Hot Babies). Are these the first recordings with an
echo?




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[Non-text portions of this message have been removed]





Yahoo! Groups Links

Here we need Google - check out History of the Waring Blender and you will see
how jazz brought us milk shakes etc. Make mine a strawberry-vanilla......
Can't think of any other jazz musician that continued playing and at the same
time was an entrepeneur. Wait a second, didn't Jelly Roll Morton play to attract
people, and then bring them to the pool table?

Patrice: Please don't censur this - I am just trying to bring some fun into the
serious business of alternate takes, dusty dates, US census irregularities,
mysterious spellings of names and Jamaican geography.
Ron L'Herault <lherault@...> wrote:
And Fred Waring was one of the inventors of the Waring Blender.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 11:20 AM
To: RedHotJazz@yahoogroups.com
Subject: RE: [RedHotJazz] Re: Tape Recordings


No need to Google - just go to the Red Hot Jazz Archives and look under
Waring's Pennsylvanians (Trivia question: What is the origin of the brand
name for Waring blenders? Answer: Waring's Pennsylvanians, which did
commercials for this brand).
Of all their recordings, only two were made in LA in 1925, and they both
have a nice spacious reverberating sound. The other recording, done on
9/2/25, is called Hay Foot, Straw Foot and happened five days earlier than
Freshie, so perhaps it gets the distinction of being the first echo
recording. It is a nicer tune as well.
Ron L'Herault <lherault@...> wrote:
I think record collectors talk about a record entitled 'Freshie" which has a
lot of natural reverberation from the large hall/studio where the record was
made.   I think it was by Waring's Pennsylvanians, but I am not sure.
Googling the title may get you more info.

Ron L

-----Original Message-----
From: RedHotJazz@yahoogroups.com [mailto:RedHotJazz@yahoogroups.com]On
Behalf Of Mordechai Litzman
Sent: Tuesday, September 27, 2005 12:44 AM
To: RedHotJazz@yahoogroups.com
Subject: Re: [RedHotJazz] Re: Tape Recordings


I<SNIP>
BTW, there are some nice recordings from 1927 that use the natural
reverberation from a church with Fats Waller and Thomas Morris (Thomas
Waller with Morris' Hot Babies). Are these the first recordings with an
echo?




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Yahoo! Groups Links










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----- Original Message -----
From: "Mordechai Litzman" <folke613@...>

> Can't think of any other jazz musician that continued playing and at the
> same time was an entrepeneur.

Isn't there an American word for "entrepreneur"? ;) - sorry, I just *had*
to...

One thing I liked in Handy's autobiography is, in his minstrel show days,
the way they persuaded the audience to get inside by acting the "striking
musicians" who left the band in turn... I also noticed that he was later
attracted by the Delta area *not* because of its alleged musical tradition,
but because there was plenty of money to make there. It's great to be paid
for good music, but the important thing to remain a musician is to be paid
anyway - think of the medicine show artists like Peg Leg Sam, who greeted
the audience with a tune whenever they managed to sell a bottle!

> Patrice: Please don't censur this

Hey, there's absolutely no censorship in this group! Just good manners and
kind reminders...  ;)

Patrice

Patrice asked:
<<
Isn't there an American word for "entrepreneur"? ;) - sorry, I just *had*
to...
>>
An entrepreneur is one who undertakes, so the American word is "undertaker".
(:])
Or if you're not quite happy with that, then you can choose from:
'a risk-taking manager or owner of a business enterprise'
or
'a commercial intermediary'
or, simply
'a middleman'

You pays your money, and ...

Cheers

Bob Smith





[Non-text portions of this message have been removed]

OK - back to the serious business of identifying obscure musicians and
recordings and the like:
In my youth I bought a 4 LP set on Parlophone with most of the Hot Five And Hot
Seven recordings with Louis Armstrong. I listened so much to them that I
couldn't listen to them again for years. At the 100Th anniversary of the birth
of Louis (at least one of them) I again bought a 4 CD set remastered by JRT
Davis. When playing Big Fat Ma and Skinny Pa I heard some high-pitched noises at
the beginning of the recording that I first thought were an artifact. After
extensive listening and comparing to my old copies I determined that somebody
whistled thrice at the beginning of the recording, (or perhaps somebody tried
out a slide-whistle).  Apparently this important part of the recording was
edited out on the other re-issues. Now, who is responsible for these sound
effects? Was this whistling a way to alert the dancers?
As always, I know that I can rely on the knowledgeable members of the group to
come up with (tongue in cheek) answers. Lurkers welcome!

Robert Smith <robert.smith@...> wrote:
Patrice asked:
<<
Isn't there an American word for "entrepreneur"? ;) - sorry, I just *had*
to...
>>
An entrepreneur is one who undertakes, so the American word is "undertaker".
(:])
Or if you're not quite happy with that, then you can choose from:
'a risk-taking manager or owner of a business enterprise'
or
'a commercial intermediary'
or, simply
'a middleman'

You pays your money, and ...

Cheers

Bob Smith





[Non-text portions of this message have been removed]



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"Freshie" by Waring's Pennsylvanians is famous for its reverb, but
another great example of acoustic reverb on early 78s is Paul
Whiteman's record of "Lonely Eyes" / "Wistful and Blue." It was
recorded in Chicago in December 1926 and has wonderful "presence." I
hate it when reissue engineers add reverb to older recordings, but I
kind of like it when it's included in the original disc (I guess I'm a
purist!).

Incidentally, I recently came across a 78 of Sam Lanin's Orchestra form
1930: "99 Out of a Hundred Want To Be Loved" on Canadian Royal
391080-B. It has a horrendous reverb on it. I have another issue of the
same matrix on Canadian Apex, but that one doesn't have any reverb!
It's obviously the same recording, but apparently the master was dubbed
for the Royal issue and the reverb was added--in an early reverb
chamber I presume? So the practice of adding reverb to old recordings
goes back to when they were new!

Bryan W.

Hi all,
born in Stockholm, Sweden. Almost retreated.Joined a (church) boys choir at age
of eight, 1949 and had to play the violin and learn notes and harmony. Mom
played some instruments, dad only the grammophone. We had an awful piece looking
like an old freezer. Dad bought all sorts of records, but I was especially fond
of the Ellington-Lunceford "jungle"-style and the Goodman 4 and 6. Went to High
School and got friends listening to and even playing older music - Morton and
Armstong 5 and 7. And that was my music too - and is still.
We had a lot of "dixieland" school bands at that time and even I tried to play
the clarinet for some years. But I was more interested in sports and girls and
was not in any progress. Anyhow I went to jazzclubs, bought records and was a
"dixie" throughout the fifties. I´m no collector, to-day I´ve only got CDs.
Mostly classic (1700-1800) and old Jazz (1920-30). And I go to the Operahouses. 
I do still live in the city of Stockholm.
I have now for some years been reading and listening to the RHJA with great
pleasure. And this Yahoo-group was emerging when I was looking at something at
the Google some weeks ago. It seemed interesting to me, I´m no expert but I can
read and listen.
My very first message, when I had joined the group, was a request about Thelma
Terry, and by a mere chance I had been looking for her at Google just an hour
before, so I thought I had to answer something.
Listening to her and her Playboys I think it´s the band that accompanies her and
not v.v. Not bad but somewhat strange.
The reason why this presentation is a little late is that I´ve spent some time
reading all the earlier  (1500) messages.
Well, I have a correction to make and some questions about the RHJA, but I´ll
have to do that in another mail; this seems to be too much.....
I don´t want to be excluded at once.
regards


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I was always told that the word meant a business owner or business manager. 
Guess I am the wrong generation.   My dictionary agrees with this, however.  Art
LaHote

Mordechai Litzman <folke613@...> wrote:OK - back to the serious business
of identifying obscure musicians and recordings and the like:
In my youth I bought a 4 LP set on Parlophone with most of the Hot Five And Hot
Seven recordings with Louis Armstrong. I listened so much to them that I
couldn't listen to them again for years. At the 100Th anniversary of the birth
of Louis (at least one of them) I again bought a 4 CD set remastered by JRT
Davis. When playing Big Fat Ma and Skinny Pa I heard some high-pitched noises at
the beginning of the recording that I first thought were an artifact. After
extensive listening and comparing to my old copies I determined that somebody
whistled thrice at the beginning of the recording, (or perhaps somebody tried
out a slide-whistle).  Apparently this important part of the recording was
edited out on the other re-issues. Now, who is responsible for these sound
effects? Was this whistling a way to alert the dancers?
As always, I know that I can rely on the knowledgeable members of the group to
come up with (tongue in cheek) answers. Lurkers welcome!

Robert Smith <robert.smith@...> wrote:
Patrice asked:
<<
Isn't there an American word for "entrepreneur"? ;) - sorry, I just *had*
to...
>>
An entrepreneur is one who undertakes, so the American word is "undertaker".
(:])
Or if you're not quite happy with that, then you can choose from:
'a risk-taking manager or owner of a business enterprise'
or
'a commercial intermediary'
or, simply
'a middleman'

You pays your money, and ...

Cheers

Bob Smith





[Non-text portions of this message have been removed]



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Good ole' Thomas Edison used to have an intro on his recordings of the artists,
etc.

Annett Henshaw, had "that's all" at the end of hers.   Some of the early stage
stars of the teens used sound effects that would have been heard in the
theathers of the time.  I have some of these on the old Columbia and Victor - 
the twenties were great thank god we have so many of the recordings left, and
that sound was imporved in l926.   Also Bluebird had records with and intro on
some in the 30's for charity thanking you for the purchase.  My favorite is a
Victor of "Doing the Grisley Bear"   from about l910   wonderful like right off
the stage.   I also have most of  WW1 - Jazz just creeping in at the end of
these.

Just adding my 2 cents worth.   I am not that wise, but I do know quite a bit
about what I have from the twenties - thanks to my grandparents.       Art

Bryan Wright <bryan@...> wrote:
"Freshie" by Waring's Pennsylvanians is famous for its reverb, but
another great example of acoustic reverb on early 78s is Paul
Whiteman's record of "Lonely Eyes" / "Wistful and Blue." It was
recorded in Chicago in December 1926 and has wonderful "presence." I
hate it when reissue engineers add reverb to older recordings, but I
kind of like it when it's included in the original disc (I guess I'm a
purist!).

Incidentally, I recently came across a 78 of Sam Lanin's Orchestra form
1930: "99 Out of a Hundred Want To Be Loved" on Canadian Royal
391080-B. It has a horrendous reverb on it. I have another issue of the
same matrix on Canadian Apex, but that one doesn't have any reverb!
It's obviously the same recording, but apparently the master was dubbed
for the Royal issue and the reverb was added--in an early reverb
chamber I presume? So the practice of adding reverb to old recordings
goes back to when they were new!

Bryan W.



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[Non-text portions of this message have been removed]

That's the trouble with bordering on ancient - my edition of Rust's "Jazz
Records 1897-1931" is the 2nd edition, issued 1962, in which the personnel
includes "? Ikey Robinson", while I've seen Frank listed elsewhere.

Presumably that edition came out after Williams was interviewed but before
Ikey's comment.

The partial personnel suggested for the Seven Gallon Jug Band consists of
New York-based musicians, so "our" Frank Robinson would presumably have had
to move from Chicago to New York in order to be involved in the session.
That's not impossible, but equally it can't be assumed.

Bob

----- Original Message -----
From: "Howard Rye" <howard@...>
To: <RedHotJazz@yahoogroups.com>
Sent: Tuesday, September 27, 2005 6:01 PM
Subject: Re: [RedHotJazz] Frank Robinson


> on 27/9/05 1:47, Prof_Hi_Jinx at prof_hi_jinx@... wrote:
>
>> One Frank Robinson is shown as a member of the Seven Gallon Jug Band in
>> 1929/1930.
>>
>> It was assumed that the name was an error for Banjo Ikey Robinson.
>
> Really, Bob? By whom? It is certainly not assumed by either B&GR or Rust's
> Jazz Records, both of which list him as a separate musician.
>
> In fact it was Ikey who suggested (Storyville 21) that the bass sax might
> be
> Frank Robinson, responding to the suggestion by Clarence Williams himself
> that Ikey might be playing banjo on the records. This is easy to disprove
> because there is no banjo present, so the original suggestion was a pure
> invention. Clarence was presumably recalling the date unheard after 20
> years.
>
> IF this is all the evidence for Frank Robinson on bass sax and harmonica -
> he can not be playing both the tin-whistle and the bass sax as Rust
> suggests
> - and I suspect that it is, it is pretty tenuous.
>>
>> However, I came across a Frank Robinson, "Musician, Vaudeville" in
>> Chicago at
>> the time of the 1920 Census.
>>
>> Maybe Frank Robinson of the Jug Band is the same person.  Of course, we
>> don't
>> know what instrument(s) the vaudeville musician played.
>
> This guy seems quite a good suggestion for the Frank Robinson Ikey
> undoubtedly remembered.
>
>
> Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
> howard@...
> Tel/FAX: +44 20 8521 1098
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>


Send instant messages to your online friends http://au.messenger.yahoo.com

And I thought I was the only one who had read all the posts. Anyhow, must have
something to do with being born in Falun, Sweden.

"Leif R. Blom" <yarel41@...> wrote:Hi all,
born in Stockholm, Sweden. Almost retreated.Joined a (church) boys choir at age
of eight, 1949 and had to play the violin and learn notes and harmony. Mom
played some instruments, dad only the grammophone. We had an awful piece looking
like an old freezer. Dad bought all sorts of records, but I was especially fond
of the Ellington-Lunceford "jungle"-style and the Goodman 4 and 6. Went to High
School and got friends listening to and even playing older music - Morton and
Armstong 5 and 7. And that was my music too - and is still.
We had a lot of "dixieland" school bands at that time and even I tried to play
the clarinet for some years. But I was more interested in sports and girls and
was not in any progress. Anyhow I went to jazzclubs, bought records and was a
"dixie" throughout the fifties. I´m no collector, to-day I´ve only got CDs.
Mostly classic (1700-1800) and old Jazz (1920-30). And I go to the Operahouses. 
I do still live in the city of Stockholm.
I have now for some years been reading and listening to the RHJA with great
pleasure. And this Yahoo-group was emerging when I was looking at something at
the Google some weeks ago. It seemed interesting to me, I´m no expert but I can
read and listen.
My very first message, when I had joined the group, was a request about Thelma
Terry, and by a mere chance I had been looking for her at Google just an hour
before, so I thought I had to answer something.
Listening to her and her Playboys I think it´s the band that accompanies her and
not v.v. Not bad but somewhat strange.
The reason why this presentation is a little late is that I´ve spent some time
reading all the earlier  (1500) messages.
Well, I have a correction to make and some questions about the RHJA, but I´ll
have to do that in another mail; this seems to be too much.....
I don´t want to be excluded at once.
regards


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Robert Smith <robert.smith@...> wrote:
Actually they were called 'Hep Cats Creole Jazz Band'. This was a Swedish group
with personnel as follows:
Jack Lindström (cor); Erik Fernbald (tbn); Stig Eriksson (clt); Gösta Stenström
(p);Eddie Andersson (bs); Sture Kallin (d).
                                                                          
Stockholm, January 26, 1949
     1450  Muskrat Ramble         Cupol 4180
     1451  Eh, La-Bas                          -------

Cupol is a Swedish label,and I'm afraid I don't know if any tracks by this band
have ever been re-issued.

I hope this is of some help.

Cheers

Bob Smith

Well I was a bit concerned about this Hep Cats Creole Jazz Band. I had never
heard about it.

Trumpeter and singer Jack Lidström (!) was and is still so close connected with
the Hep Cats.

I had to see the Swedish Jazz Discografi.

Hep Cats CJB was a band with almost the same personnel as Hep Cats, but not Jack
Lidström.

Recorded in Helsinki sept-48: Ballin´ the Jack on Sävel S 9002.  Nils Nääs was
on cornet.

Two of the Hep Cats numbers : Weary Blues (april -49) and Riverboat Shuffle
(sept -54) are now on CD-boxes in the series of The Swedish Jazz History, vol.
6&7.

Jack Lidström began playing at school-dances already 1946 (born -31) as an
orchesterleader and is still going strong 59 years later.

Hep Cats are going to play in the Cathedral of Lund in november but I don´t
think Jack is going to sing Eh La-bas that time.







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Would anyone happen to know where I could find a recording of Ben
Selvin's version of "Afghanistan" either on tape or as an Mp3?  He
recorded the song for Okeh 4087 and Paramonut 20007.
Please Respond off list

Thanks,
Matt

"Freshie" has a dramatic echo because it was recorded in a large room
that contained the resonance. The Ross Deluxe Syncopators were
recorded in a a non-standard room, like a hotel ballroom or even the
lobby, so that's the reason it sounds like it does. I think it sounds
great in their case - it's a small group, so they don't get lost in
the 'verb. It's a very modern sounding recording, appropriate as this
is a quirky and offbeat group.

As to the Canadian Royal of Sam Lanin, I would defer to David Lennick
as it's Canadian and if anyone would know precisely about it, it would
be he. But were I to guess, I would think that the verb may have been
accidentally introduced when the earlier Apex record was dubbed for
re-issue on the Royal. If they were playing it back from a distance in
a large room, then something might have happened like that, and as you
state, the results are not always beneficial to the performance.

The earliest instance known to me of artificial reverberation being
added to a recording is that Raymond Scott is said to have used in on
some recordings made at Master in the late 1930s. I have yet to find
one of these, but this is where Duke Ellington got the idea, and it is
used very prominently in the "Night Train" section of "Happy Go Lucky
Local," recorded for Musicraft in 1946. This involved placing a mike
and speaker in the bathroom, feeding the recording through it as it
was made, and piping back into the control room. It was crude, but it
worked. Tape echo didn't come along until the late 1940s, and circuit
boxes that would provide echo came along a little later than that.

The overdubbed "one man band sessions" by Sidney Bechet and Dink
Johnson were done well before tape was widely available in America.
These were made through the painstaking process of playing back a
track on disc, and then playing along live and recording again. Dink
wanted to do his simply because Bechet had, but Bechet had had the
Victor engineering staff at his disposal. Dink did his solo recordings
in Los Angeles with William Russell, who was using a home disc cutter.
Russell's detailed diaries about this 1947 session are included in the
Jazzology book "William Russell and American Music," and make for a
fascinating read. Making this recording was a major pain in the ass
for Russell, but the resulting piece, "Rag Bag Rag" is GREAT -- a
real, pioneering kind of "outsider" type recording.

BTW I notice that poor Dink does not have an individual page on
redhotjazz.com I would gladly nominate him, even though all of his
solo recordings are postwar items. At least they dont postdate 1949,
and he first recorded with Spikes' Seven Pods of Pepper!

Uncle Dave Lewis

--- In RedHotJazz@yahoogroups.com, Bryan Wright <bryan@c...> wrote:
> "Freshie" by Waring's Pennsylvanians is famous for its reverb, but
> another great example of acoustic reverb on early 78s is Paul
> Whiteman's record of "Lonely Eyes" / "Wistful and Blue." It was
> recorded in Chicago in December 1926 and has wonderful "presence." I
> hate it when reissue engineers add reverb to older recordings, but I
> kind of like it when it's included in the original disc (I guess I'm a
> purist!).
>
> Incidentally, I recently came across a 78 of Sam Lanin's Orchestra form
> 1930: "99 Out of a Hundred Want To Be Loved" on Canadian Royal
> 391080-B. It has a horrendous reverb on it. I have another issue of the
> same matrix on Canadian Apex, but that one doesn't have any reverb!
> It's obviously the same recording, but apparently the master was dubbed
> for the Royal issue and the reverb was added--in an early reverb
> chamber I presume? So the practice of adding reverb to old recordings
> goes back to when they were new!
>
> Bryan W.

Hi, Matt, know little about tape but get a lot of my good music through Living
Era usually by the year - for instance "Hits of '22", etc.   You can reach them
at Sanctuary Classics, P.O. Box 32698, London W14 OWY   or
www.sanctuaryclassics.com   and request a catalogue.
Hope this helps.   I have several by him on C/D but not the one your after, this
is a good sorce though.           Lots of luck in your search,   Art LaHote

mattppoh <mattppoh@...> wrote:
Would anyone happen to know where I could find a recording of Ben
Selvin's version of "Afghanistan" either on tape or as an Mp3?  He
recorded the song for Okeh 4087 and Paramonut 20007.
Please Respond off list

Thanks,
Matt





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Dear Arthur,

Thanks for the response.  I enjoy the Living Era
series as well. I have the Hits of '20, '21, '22, and
'23. Archeophone is also excellent.  In all, I have 3
CDs all covering 1920.  Unfortunately, I don't think
"Afghanistan" would be considered a big enough hit to
be included as a major "hit".  But I'll keep trying.
Thanks again for your response.

Best Wishes,
Matt

--- Arthur LA hOTE <alahote@...> wrote:

> Hi, Matt, know little about tape but get a lot of my
> good music through Living Era usually by the year -
> for instance "Hits of '22", etc.   You can reach
> them at Sanctuary Classics, P.O. Box 32698, London
> W14 OWY   or www.sanctuaryclassics.com   and request
> a catalogue.
> Hope this helps.   I have several by him on C/D but
> not the one your after, this is a good sorce though.
>           Lots of luck in your search,   Art LaHote
>
> mattppoh <mattppoh@...> wrote:
> Would anyone happen to know where I could find a
> recording of Ben
> Selvin's version of "Afghanistan" either on tape or
> as an Mp3?  He
> recorded the song for Okeh 4087 and Paramonut 20007.
> Please Respond off list
>
> Thanks,
> Matt
>
>
>
>
>
> SPONSORED LINKS
> Jazz music Genres of music Music genres
>
> ---------------------------------
> YAHOO! GROUPS LINKS
>
>
>     Visit your group "RedHotJazz" on the web.
>
>     To unsubscribe from this group, send an email
> to:
>  RedHotJazz-unsubscribe@yahoogroups.com
>
>     Your use of Yahoo! Groups is subject to the
> Yahoo! Terms of Service.
>
>
> ---------------------------------
>
>
>
>
> ---------------------------------
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>  Click here to donate to the Hurricane Katrina
> relief effort.
>
> [Non-text portions of this message have been
> removed]
>
>




__________________________________
Yahoo! Mail - PC Magazine Editors' Choice 2005
http://mail.yahoo.com

The first place to look for old music on CD is Worlds Records, a very
reliable CD dealer that specializes, in part, in reissue labels. Their
database is excellant and you can look up individual tunes. They have hard
copy catalogs, and separate listings of new releases.

http://worldsrecords.com

I have no financial connection to them, just a satisfied customer.

--Sheik

At 06:23 PM 09/28/05 -0700, you wrote:
>Hi, Matt, know little about tape but get a lot of my good music through
>Living Era usually by the year - for instance "Hits of '22", etc.   You can
>reach them at Sanctuary Classics, P.O. Box 32698, London W14 OWY   or
>www.sanctuaryclassics.com   and request a catalogue.
>Hope this helps.   I have several by him on C/D but not the one your after,
>this is a good sorce though.           Lots of luck in your search,   Art
>LaHote
>
>mattppoh <mattppoh@...> wrote:
>Would anyone happen to know where I could find a recording of Ben
>Selvin's version of "Afghanistan" either on tape or as an Mp3?  He
>recorded the song for Okeh 4087 and Paramonut 20007.
>Please Respond off list
>
>Thanks,
>Matt

You may listen to them here:
http://www.redhotjazz.com/marylanders.html

Thanks to Wim van der Brugghen!
Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com

My name is Tim and i enjoy all early jazz.I had a jazz radio program
from 1980 to 1985 on KCSN - the college radio station of a local
college.My collection is 78's,lp's and cd's.I also was an early
subscriber to Storyville magazine from England and bought many of their
limited edition lp's on the Audubon and Ristic labels.
My interest in jazz was recently renewed by the Rounder Records box set
of the Jelly Roll Morton Library of Congress recordings.I had these on
Riverside, Classic Jazz Masters and Swaggie lp sets but this new box
set includes recordings made in December, 1938 which had never been
released on the 1st Circle 78 album issues or subsequent lp's.

Welcome, Tim and I am sure your will be a great asset to the group.   Fat's  did
a lot for the introduction of many arrangements and popular songs he also helped
make the "black" artists acceptable to the masses.   I am glad to hear that
there is a younger generation that likes "real" music.  I get mine all day on
www.radiodismuck.com  - enjoy yourself.   Art   P.S.  I assume you know he got
his start on the organ playing for "silents" - which never really were.

jazzguy1927 <jazzguy1927@...> wrote:My name is Tim and i enjoy all early
jazz.I had a jazz radio program
from 1980 to 1985 on KCSN - the college radio station of a local
college.My collection is 78's,lp's and cd's.I also was an early
subscriber to Storyville magazine from England and bought many of their
limited edition lp's on the Audubon and Ristic labels.
My interest in jazz was recently renewed by the Rounder Records box set
of the Jelly Roll Morton Library of Congress recordings.I had these on
Riverside, Classic Jazz Masters and Swaggie lp sets but this new box
set includes recordings made in December, 1938 which had never been
released on the 1st Circle 78 album issues or subsequent lp's.




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Shall I say "welcome back, Linda" ? :-/

Patrice

----- Original Message -----
From: "jazzguy1927" <jazzguy1927@...>
To: <RedHotJazz@yahoogroups.com>
Sent: Friday, September 30, 2005 10:24 PM
Subject: [RedHotJazz] My introduction


> My name is Tim and i enjoy all early jazz.I had a jazz radio program
> from 1980 to 1985 on KCSN - the college radio station of a local
> college.My collection is 78's,lp's and cd's.I also was an early
> subscriber to Storyville magazine from England and bought many of their
> limited edition lp's on the Audubon and Ristic labels.
> My interest in jazz was recently renewed by the Rounder Records box set
> of the Jelly Roll Morton Library of Congress recordings.I had these on
> Riverside, Classic Jazz Masters and Swaggie lp sets but this new box
> set includes recordings made in December, 1938 which had never been
> released on the 1st Circle 78 album issues or subsequent lp's.