Valse Bleu. Pidgin English Hula. Pua I Mohala. Liliu E. The South Sea Islanders. Kane's Hawaiians. Down in Waikiki. Eddy's Hawaiian Serenaders.
In the Heart of Hawaii. Blue Sparks. Lady Be Good. Mai Kai No Kauai. Goodby Blues. Hawaiian Silver Quartet. Jimmy Yates' Boll Weevils. Kaui Kahio. Biltmore Orchestra. Sliding On the Frets. Parari'i Pararara'i. Tamari Tahiti. Hula Love Medley March. Hilo Hawaiian Orchestra. National Library of Australia. Search the catalogue for collection items held by the National Library of Australia. Enjoy a CovidSafe visit to the National Library. Read more Starr, Hattie. Brockman Character Song.
Moore-Gardner Character Song. Accompanied by Piano.. Realistic Camp Breaking Scene. Vocal Quartet. Peerless Quartet! Clarke- Monaco Vocal Quartet. Mohr 1 Tenor and Baritone Duet. Von Tilzer Baritone Solo. Jessel Characteristic Band Selection. Kaufman Fox Trot.
O'Riordan Instrumental Descriptive Novelty. Hippodrome Trap Drummer. Descriptive Novelty. Sousa March. Arthur Pryor Descriptive. Piccolo 1 Solo wit'h Band. Or- chestra Accompaniment.. Macdonald-Carroll Character Duet.
Cormack Baritone Solo. Acc John W. Lange Tenor Solo. Gregory Banjo. Clarke-Cox-Mon- aco Baritone Solo. Hirsch Baritone Solo. I y Piano and Ukaleles Kailimai Baritone Solo. Gilbert-Friedland- Morgan Fox Tret. Liliuokalanl Hawaiian Love Song 1.
Von Tilzer Character Song. Hanley Baritone Solo. Sterli ng-Lange Character Song. Creamer- Layton Comic Song. Orch Acc. Von Tilzer-Klein Character Song. Humorous Dialogue. Fred Fisher Comic Duet. Fred Fisher Comic Duet, Orch. FART 1. FART 2. Comic Sketch. Roblnson- Harris Tenor and Baritone Duet. Humorous Character Monologue. Humorous Monologues. Accompanied by Orchestra Ada Jones! Eddie Leonard-Munson Character Song. Jentes Tenor Solo. Bayha-Kendis Character Sung.
Tierney Character Song. Knight Descriptive Comic Sketch. Ada Jones, Byron G. Harlan, Harlan Knight and Steve Porter. Donovan Hu- morous. Mohr Tenor and Baritone Duet. Skidmore Baritone Solo. Whiting Baritone Solo. Piano Acc. Carry on the outstanding work! Your email address will not be published. This site uses Akismet to reduce spam. Learn how your comment data is processed.
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All download options Small px. Standard px. Large px. Larger px. High Res TIF format. Order Art Print. The records are priced at eighty five cents each. The folder is duplicated before and after this page. The tunes listed in the catalog were recorded within a few weeks of Lieut. Europe returning to the U. The numbers are from three of Europe 1 s Pathe" recording sessions.
Several of these tunes remain in the repertoire of dixieland bands: "Darktown Strutters' Ball," "Ja Da," and three by W. Louis Blues. Handy recorded it the following year. Bands continue to record it. Herb Flemming was only 19 at the time and his career continued until his death in Russell Smith became an outstanding lead trumpet player during the big band era two decades later.
Noble Sissle, who later with partner Eubie Blake achieved world fame, had worked with Europe's Society Orchestra before the war. When the U.
One number listed in the Pathe catalog, "On Patrol In No Man's Land, " written by Europe and Sissle during their tenure in the battle zones, had been a favorite of American soldiers overseas.
After the Armistice, Pathe" capitalized on the song's popularity as the "doughboys" returned to the U. The song was recorded in March of Due to the song's success, Jim Europe ' s band was booked on an elaborate tour of the country. Europe died on May 9, in Boston after an upset and unstable drummer, Herbert Wright, entered the band leader's dressing room and, in the presence of the Four Harmony Kings and Noble Sissle, stabbed Europe with a penknife.
Tragically, James Reese Europe died within two months of recording the numbers that Pathe" advertised in its folder. Badger's book will be reviewed in a coming issue of V78J. The elusive item that provoked my search is still mired in a mountain of material that I will properly file- - one of these days! Rust notes, "It was made in [Victor 1 s] fifth- floor studios. Building Featuring the Eight Popular Victor Artists, it was issued later than some other electrics.
The official release date was May 29, Moran also sent an announcement from for a Los Angeles concert starring this Victor team. Since the program was issued and concert performed around the time that "A Miniature Concert" was recorded, the same artists are on the program and disc, which I stress since personnel of the Eight Popular Victor Artists changed over the years.
Moran 1 s program, aside from a back page listing records, is duplicated on the next pages of V78J. In , September 21 fell on a Sun- day. The program had been printed a few months earlier in June. As Robert Baumbach notes in Look For The Dog, the performance was one of several test recordings made both acoustically and electrically for comparison. Victor executives judged the electrical version good enough for regular matrix numbers to be assigned CVE and CVE 4.
Rust does not list the disc. For years I have enjoyed this record. I can cite the opening chorus because of many listenings: How d f ya do?
We beg of you To listen once again. We're here because We're here to entertain you. You'll find our bill of fare Is flavored with some jazz. Perhaps these lyrics penned for the recording experiment, or this could be what the group sang at concerts. The several solo performances that last a mere minute were clearly tailored for the recording, which is a mini concert.
Who can blame Banta for being excited? A new kind of recording was finally capturing the nuances of his performances. The acoustic process did not do full justice to the piano. After other numbers, Billy Murray zips through "Casey Jones" in 26 seconds and then ends side A by announcing , " We ' 1 1 see you on the other side. Meyer, not to be confused with J.
Myers, sings in the Sterling Trio and Peerless Quartet- -he does not get a solo turn. Billy Murray might have sounded less excited if he had foreseen his own popularity decline as studios switched to electric recording.
A few developments could account for the decline. The microphone captured qualities that the acoustic process hid, and this was not to Murray's benefit. The early electric process itself had flaws, and though bugs were fixed, some career damage had been done. The microphone opened the door for a new crooning style, which made Murray's singing seem dated, partly since composers wrote new kinds of songs. Perhaps the voice was not the instrument it once was.
Victor urged Murray to adjust to changing fashions, and to an extent Murray did. The disc dismayed Murray fans. In the June issue of Hobbies, Jim Walsh summarizes the effect of the new recording: "Many tenor voices, such as Billy's, suffered severely from the pioneer electric recording. It gave them a husky, raspy edge of a spurious baritonal quality By the crooner vogue had so taken the field that Billy, after 25 years of singing for Victor, was washed up with that company, aside from singing an occasional refrain or taking part in a minstrel sketch.
Before Murray was "washed up" as Walsh puts it , Victor executives pigeonholed Murray as a partner for Aileen Stanley, then in her twenties. The two voices blended well in comic duets about sweethearts, and the records sold well. These electric duets find Murray singing in a more intimate way, evidence that he did adapt. But this was an odd pairing. Billy Murray, born in , was old enough to be Stanley's father, yet in C song after song Murray plays a love- sick teen.
Incidentally, on one disc Billy Murray truly holds back in a way he never could in the acoustic era: he literally whispers sweet- nothings for the opening of "Bridget O'Flynn" BVE The original negatives are said to exist and await restoration by the current copyright holder, Turner Broadcasting.
Walsh alluded to this disc. That a minstrel show was recorded at this date is remarkable since everything here was out of fashion by --tunes like "Down Where The Watermelon Grows" and the minstrel delivery "Gentlemen, be seated". Even the singers were out of fashion with the exception of the crooning Cavaliers and Frank Crumit, who sing in a '20s style the Cavaliers blow a line in "Under the Bamboo Tree" but the session continues. Within the pages of the Official Gazette of the United States Patent Office are fascinating glimpses of both winners and losers in the American record in- dustry.
We are concerned here with the latter. In compiling a list of phonograph-related trade- marks recently, I was struck by the number of regis- tered disc record brands that apparently never saw the light of day.
The law allows a trademark to be regis- tered if a bona fide intention to use the trademark ex- ists, 1 but the mere filing of a trademark application does not ensure that a given brand was ever actually produced for general distribution or sale. In the course of my research, I uncovered dozens of claims filed for record labels that, to the best of my knowledge, were not issued commercially.
For want of a better term, I've dubbed them "phantom labels. Meanwhile, here are several of the most interesting examples. Victor and Columbia had waged legal battles against those companies for several years and by mid- were gaining the upper hand.
It was not an auspicious time to enter the disc- record market, but John O. Prescott boldly registered his Champion Record trademark on February 24, John O. Champion's 'Two- forone" slogan implies a double-sided disc, possibly intended for licensure under under Ademor Petit's patent , on a process for double-sided press- ing. It probably was not coincidental that half-interest in that patent was owned by brother Frederick.
Given the climate created by further Victor and Co- lumbia court victories in and , it seems un- likely. Pathe and the French-American Phonograph Distributors saw a gradual increase in disc record trade- marks. Victor and Columbia continued to defend their markets, but new disc manufacturers found a way in.
Beginning in , two small companies marketed vertically cut discs, thus skirting the Berliner and Jones patents on lateral recording. The discs were played with a sapphire ball a la Pathe and were in- compatible with standard lateral phonographs. Company makers of Princess 2 were already fatali- ties when Rathe opened its American branch and be- gan marketing vertically cut discs in 1 On January 12, , the company registered a label design for the Sapphire label.
The label did not carry a manufactur- er's credit, although it did bear the telltale Pathe in- scription, "For United States Consumption Only. However, since first mentioning the label in an Appendix to Directory of American Disc Record Brands and Man- ufacturers, Fve received verification of this rare la- bel's existence from two collectors. At some point in early-to-mid 1 , Pathe created or otherwise became involved with the French- Amer- ican Phonograph Distributors, Inc.
Like Pathe, French- American was incorporated in Wilmington, Delaware, but so far I have been unable to establish the exact nature of the company's connection to Pathe.
However, the connection is unmistakable. The trademark applications all claim use beginning August 25, , but no copies have surfaced. French- American registered two additional labels on September 8, , again claiming use beginning August The first, Bell, is clearly unrelated to the familiar W. Grant dime-store brand of the s. But the second. Crescent, poses something of a prob- lem.
There was indeed a Crescent label produced dur- ing this period, and at one point it drew on Pathe masters. I will there- fore continue to classify the French- American version of the label as a phantom. The French-American Phonograph Distributors seemed to vanish as suddenly as they had appeared. Pathe's next phantom, Hillandale Record, was regis- tered in Pathe's own name, and French- American vanishes from the pages of the Gazette at this point. The Hillandale label — registered on April 12, with use claimed since March 30 of that year — is an elaborately designed affair depicting an alpine land- scape, but like its predecessors, it has yet to surface.
Pathe, of course, went on to become a major sup- plier of custom labels in the s. Why the company would put such effort into designing and registering these seven labels, only to withhold them from pro- duction, remains an intriguing mystery.
Resona vs. The company dutifully registered its trademark on Febru- ary 4, 1 9 1 9, claiming use on phonographs and records since January 1 of that year. Stanley E. Roth, compa- ny secretary, had high hopes for his new line and ac- tively solicited inquiries from wholesalers. What Milwaukee Talking Machine apparently did not know was that the Charles Williams Stores were already marketing Resona products, although Will- iams had not formally registered the trademark.
Within six weeks, Milwaukee's Resona phono- graphs had vanished from the scene.OCLC Number: Notes: Columbia: A (mx , mx ). Performer(s): Columbia Ladies' Quartette. Description: 1 audio disc: 78 rpm ; 10 in.