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Topic: Gennett Records


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In the News (Tue 21 May 19)

  
  Gennett Records - Wikipedia, the free encyclopedia
Gennett (pronounced with a soft G) was a United States based record label which flourished in the 1920s.
Gennett records was founded in Richmond, Indiana by the Starr Piano Company, and released its first records in October of 1917.
Gennett label is best remembered to day for the wealth of early jazz talent recorded on the label, including sessions by Jelly Roll Morton, Bix Beiderbecke, The New Orleans Rhythm Kings, "King" Joe Oliver's band with young Louis Armstrong, Hoagy Carmichael, The Original New Orleans Jazz Band, and many others.
en.wikipedia.org /wiki/Gennett_Records   (438 words)

  
 Challenge Records - Wikipedia, the free encyclopedia
Challenge Records was a record label put out by the Sears-Roebuck Company.
Banner, Gennett and Paramount Records were drawn from; there were surely others.
There was a second Challenge Records that was founded in the late 50's by cowboy singer Gene Autry and former Columbia A and R represenitive Joe Johnson.
en.wikipedia.org /wiki/Challenge_Records   (204 words)

  
 Gennett's Page Two   (Site not responding. Last check: 2007-11-07)
The Gennett recording engineer was roused from his bed, and by 5 AM the first take of "Star Dust" was accomplished.
Gennett was a pioneer in recording early "Rural" (or 'hillbilly' as it was then often called) artists, going into the hills of KY and TN to find local singers and musicians to record.
The long list of famous artists who recorded at Gennett early in their careers is astonishing, as is the entire history of this little company.
www.jazzadvocate.com /gennett/gennett_page2.htm   (1084 words)

  
 Stardust (song) - Wikipedia, the free encyclopedia
"Stardust" was composed and first recorded for Gennett Records by Hoagy Carmichael's band in 1927 as a peppy jazz number.
Carmichael wanted to make a new recording of the tune for Gennett, but the Gennett executives vetoed the idea since they already had Carmichael's earlier recording of the tune in their catalogue.
It is one of the most recorded songs of the 20th century.
en.wikipedia.org /wiki/Stardust_(song)   (253 words)

  
 Starr Piano Company - Gennett Records   (Site not responding. Last check: 2007-11-07)
Gennett predictive a remarkable increases in the number of payer pianos in demand, but was not one of those who maintained that the player would entirely supersede the piano.
At first the records carried the Starr label, but the brand name was changed to Gennett in 1918 because some of the company’s piano competitors would not sell records with the Starr name.
Gennett together received 70 percent of the piano company stock, plus the Pacific Division which included real estate, a retail piano store in downtown Los Angeles, along with the first branch of Refrigeration Supplies Distributor.
www.rsd-tc.com /aboutus/piano.cfm   (1013 words)

  
 [No title]
Henry Gennett (soft G, second syllable accented), of the Starr Piano Company, first recorded and pressed records with the "Gennett" label in the mid teens to complement a line of phonographs also manufactured and sold by Starr.
Many of these recordings were of old-time music, intentionally made without appreciable treble or base for playing on old, cheap, spring-wound phonographs (my dad, a chemistry student on summer vacation, engineered a number of these).
The studio in Richmond recorded the first of Charlie Patton and the last of Blind Lemon Jefferson for the Paramount label; Yazoo estimates that one-fifth of its classic reissues are of Gennett artists.
www.columbiagypsy.net /BIX.htm   (778 words)

  
 The Cradle of Recorded Jazz - Gennett and The Starr Piano Company
Over the years, the Starr Piano, Phonograph and Gennett Records were joined by Starr Refrigerators and freezers, synchronizer units designed for use with talking picture projection machines, wooden propellers and a valve for barrage balloons during World War I, wooden cabinets for radios and even wooden billy clubs to quiet a local factory strike.
Recordings Often Stopped as Trains Pass By Of the many exploits of Gennett, none was so noteworthy or important as the music recorded at the Gennett recording department.
A list of famous names who recorded for Gennett, in Richmond and at their studio in New York, is a long one.
www.waynet.org /nonprofit/gennett.htm   (1569 words)

  
 Defunct Record Labels - audiotools.com.
Many of their records featured an in-house orchestra known as Dave Zupkovich Balkan Records Orchestra (that also toured under this name) and the label was incredibly prolific in and around 1950 when literally hundreds of 78's were cut, but seems to have disappeared in the mid fifties, but apparently Mr.
Functioned as a small to mid sized record label from the 50's mostly putting out classical and jazz records but some popular music as well, these were noted at the time for their recording quality.
Recordings were made with a pair of DPA omni's, custom mic amps and straight onto tape without mixing in a typical minimalist audiophile label fashion, and most of their disks were available either as straight aluminium or with a gold coating.
audiotools.com /labels_old.html   (872 words)

  
 Dumont Maps and Books --Catalogue #75 Pamphlets
Gennett Records was founded in 1917 and is best known to collectors for the wealth of early jazz talent recorded on the label, including sessions by Jelly Roll Morton, Bix Beiderbecke, The New Orleans Rhythm Kings, "King" Joe Oliver's band with young Louis Armstrong, Hoagy Carmichael, and many others.
Walter Fewkes to record the Hopi discs at the El Tovar Hotel at the Grand Canyon, where elders of the tribe were invited to come and record their traditional songs.
Five separate records are described (I’m assuming that 5758A and 5758B, for example, refer to the two sides of one disc), listing the performer and a few lines on the meaning of the songs.
www.dumontbooks.com /catalogue/0075/pamphlets   (1557 words)

  
 The Ginn & Company Music Appreciation 78-rpm records
Ginn's records were sold in sturdily boxed sets, neatly packaged in individual sleeves that outlined lesson plans and provided historical and musical background for each piece.
Teachers were instructed to play Ethel Barnes' "Swing Song" and watch their students' reaction: "If during the playing of the record the class, or the greater part of the class, show by their expression that they enjoy it, this indicates that they take pleasure in the charm of the music as a whole...
The Gennett series was recorded acoustically, under the direction of Henry Hadley, and members of his New York Philharmonic Orchestra appeared anonymously on many issues.
www.mainspringpress.com /ginn.html   (784 words)

  
 The Compo Company
Pathé did not use electrical recording until 1927, and many of the 1926 sides were in fact recorded in Compo's New York studios and issued simultaneously on Pathé and the Compo labels, since Compo had been using electrical recording since 1925.
The Brunswick records, duplicating American issues in all respects except label details, appeared in February 1932, replacing the Apex label, which was not to appear again until 1943 (although the Apex trademark was prominent on letterheads during the time!).
It is worth noting that the listings of records of this firm are quite similar to Compo/Decca catalogues of the period, and it is quite possible that Compo was connected with the operation, which would explain how the use of the Melotone label was retained.
capsnews.org /barrcom.htm   (2939 words)

  
 The New Orleans Rhythm Kings -- a band history   (Site not responding. Last check: 2007-11-07)
The Gennett record company executives considered the variation to be original enough that "Farewell Blues" was copywrited as a new compostion.
Possibly the earliest "racially mixed" jazz recording session was the 1918 debut of the "Original New Orleans Jazz Band"; other sessions predating the Rhythm Kings include 1921 sides where Black New Orleans pianist/vocalist/composer Clarence Williams recorded with a band of White New York jazz musicians.
One of the brand new electric recording devices was brought to town-- all the band's previous records were made by the old pre-microphone acoustic recording process.
www.geocities.com /BourbonStreet/5135/norkhist.html   (1267 words)

  
 Starr Piano Factory   (Site not responding. Last check: 2007-11-07)
The Gennett Records Division of Starr Piano recorded artists of early jazz, blues, and country.
Because these were new music forms in the 1920s the large record companies did not record them at all, so the records produced during this time constitute the earliest recorded examples of these forms.
Today the Starr Gennett Foundation is seeking to preserve the history of the company and is working with the Richmond Parks Department to develop the Whitewater Gorge.
www.mrl.lib.in.us /history/lostrichmond/starrpiano.htm   (268 words)

  
 Home   (Site not responding. Last check: 2007-11-07)
Record executives, who had originally insisted in the early 1920s that radio could never become a substitute for recorded music, were increasingly whoring after the thriving medium.
One of the advantages of collaboration with Gennett, which charged $80 per wax master, was that its recording director Fred Wiggins had no designs on Paramount talent: "They weren't in the 'race' field to any extent," Laibly said of Gennett.
Both the recording studio and the pressing plant were soon dismantled and stripped of their ten by ten lengths of timber, which were sold locally.
78quarterly.com /fparamount.htm   (5308 words)

  
 guy lombardo and his first recording on gennett   (Site not responding. Last check: 2007-11-07)
Gennett Records, located in Richmond, Indiana was one of the most intriguing labels in American history.
While it was never a major recording force, it did debut some of the most influential musicians of the 20th century on to record.
Although the band had a second chance on the Brunswick label two years later, they did not begin recording regularly until 1927 when they were signed by Columbia Records.
www.dotydocs.com /Archives/lombardo/gennet.htm   (431 words)

  
 Untitled Document   (Site not responding. Last check: 2007-11-07)
By the fall of 1956, Chess Records was making money and so the company moved to South Michigan Avenue where the space would allow them to build a real studio with bona fide recording equipment and enough room for offices, a reception area, and a packing room.
In 1968 Leonard and Phil sold Chess Records to GRT (General Recorded Tapes) and this was the beginning of the end for Chess.
In the 1920s smaller record labels brought out "race records" that promoted jazz music, blues, and country music that was being neglected by the major record companies.
members.aol.com /bookviewzine/issue141.html   (2589 words)

  
 Homer Rodeheaver, Pioneer of Sacred Records   (Site not responding. Last check: 2007-11-07)
Rodeheaver's first records were made for Victor in 1913, and he recorded for the company for almost 20 years, with 67 issued numbers.
His most recorded song was "Brighten The Corner Where You Are." It was Sunday and Rodeheaver's theme song, and Rodeheaver recorded it for at least 17 different labels.
He recorded even less for Brunswick--ten songs issued on five records, beginning with "When The World Forgets" backed by "An Evening Prayer" (2899) and ending with "Throw Out The Lifeline" backed by "Yield Not To Temptation" (3260), which appears to be a scarce record (it was never in Brunswick's catalog).
www.garlic.com /~tgracyk/rodeheaver.htm   (4144 words)

  
 Starr Gennett Foundation, Inc.,
The Starr-Gennett Foundation is dedicated to preserving and promoting the legacy of Gennett Records and its parent organization, the Starr Piano Company.
Once headquartered in Richmond, Indiana, the Starr Piano Company launched a recording division in 1915 that recorded, manufactured, and distributed 78 rpm phonograph records, the majority of which featured the company’s Gennett record label.
Gennett also recorded ethnic music, Tin Pan Alley-style popular songs, classical music, sound effects, and even famous speeches.
www.starrgennett.org   (221 words)

  
 Joe Davis and Gennett Records
Joe bought the records from Gennett for $0.20 plus $0.02 excise tax, while other record labels had to pay tax on the price at which the records were sold to wholesalers, which was around $0.35.
Joe may have continued to press records at the Gennett factory, but he soon chose to lease his masters to the MGM label, which did not frequently use the Varsity masters.
Joe made important recordings by modern jazz pianist Elmo Hope, but his main business was releasing “party” records that were inescapably displayed in the windows of stores in Times Square.
www.starrgennett.org /stories/articles/joe_davis_gennett.htm   (808 words)

  
 Gennett's Home Page   (Site not responding. Last check: 2007-11-07)
Many of the recordings to be transferred were originally made without electricity, and the transfer process necessitates special audio equipment designed for archival sound transfer.
Richmond, Indiana’s historic Starr Piano Company recorded, pressed, and distributed some of the best early jazz, blues, old-time country, and gospel records in the 1920s and 30s on Gennett and other labels.
The first phase of this process is now complete, and the collaboration has produced a floorplan delineating space for a replication of the original recording area, historical exhibits, a meeting area, as well as room for small-scale storage.
www.jazzadvocate.com /gennett   (688 words)

  
 King Oliver’s Creole Jazz Band Featuring Louis Armstrong   (Site not responding. Last check: 2007-11-07)
The first ones we’ll explore are probably the most famous and treasured recordings made on the Gennett label, the recordings made by King Oliver and his Creole Jazz Band on April 5th and 6th of 1923.
With the early success of Gennett’s recordings with the New Orleans Rhythm Kings, a pipeline was opened up that brought Chicago artists down to Richmond, Indiana to record and soon the Oliver band was on it’s way to record what still stands up today as some of the greatest jazz recordings of all times.
However, in these recordings we can hear his power and clear tone that most likely he was positioned somewhere near the rear of the studio, but so might have been Oliver.
www.allaboutjazz.com /php/article.php?id=643   (900 words)

  
 JELLY ROLL MORTON - CHICAGO AND NEW YORK   (Site not responding. Last check: 2007-11-07)
Upon his return to Chicago he attracted the attention of the record manufacturers and negotiations were started for his services and contracts with the Gennett and Okeh companies were signed in a short time.
The fact that this is about the best record to have come across for Charleston dancing, owing to the hot rhythm behind it, certainly does excuse the fact that it is crude in organization and poor amusement to listen to.
With it is recorded “Cannonball Blues,” by the same organization, and it is as blue as a Monday washtub.
www.doctorjazz.freeserve.co.uk /page10b.html   (10217 words)

  
 Bailey's Lucky Seven   (Site not responding. Last check: 2007-11-07)
But if you were to add up all the recordings made by these artists and multiplied that figure by two you still wouldn’t come close to matching Gennett’s most prolific recording artist, Bailey’s Lucky Seven and it’s various alter-ego’s and pseudonyms.
They also in another incarnation that recorded under the name of Ladd’s Black Aces to assist in their appeal and promotion in the race music market; again the name is misleading, as no one named Ladd was in the all-white ensemble.
He first recorded the Bailey’s in March of 1923 and appeared on “Wet Yo’ Thumb,” “Everything is KO in KY” and “Carolina Mammy.” He became the mainstay trombonist on almost very side recorded from December 1923 until Bailey’s final Gennett session in February 1926.
www.allaboutjazz.com /php/article.php?id=1028   (1438 words)

  
 JELLY ROLL MORTON - DISC RECORDINGS   (Site not responding. Last check: 2007-11-07)
Robert Morritt, who specialises in the history of recording companies, says that it was common during this period for record companies to hire hotel rooms and ballrooms, or other similar locations to carry out field recordings, until they established their own permanent studios.
The Victor Recording Sheet for the 4th June 1927 session, courtesy of Roger Richard, shows that the recordings took place at the Victor Talking Mach.
Once while we were recording, Crawley was playing his clarinet his false teeth fell out to the floor and made so much noise the man in the control room stopped the record.
www.doctorjazz.freeserve.co.uk /page15.html   (3594 words)

  
 JAZZ INFORMATION   (Site not responding. Last check: 2007-11-07)
With the new reissues, all of the records Bix made with the Wolverines some fifteen years ago are again available, with the exception of two sides.
Simultaneously her first record in many years was issued by Vocalion.
Coleman Hawkins' second record has been released, and again we are compelled to report that his improvisations on the slow turns are sterile and meaningless, and his tone on the fast side forced and unpleasant.
home.att.net /~joeshepherd/jazz/jazz25.html   (6187 words)

  
 Paramount (Wisconsin) Album Discography
Paramount was responsible for recording a lot of pre-World War II blues, including the seminal Charlie Patton and Blind Lemon Jefferson.
The first recordings by Patton were actually made in the Richmond, Indiana studio of Gennett Records, because the recording studio Paramount was constructing in Grafton, Wisconsin in 1929 was not finished.
Patton's recordings were released on Paramount, and are now some of the rarest and most expensive 78rpm recordings in the collector's market.
www.bsnpubs.com /dot/paramountwis.html   (640 words)

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