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Topic: Okeh Records

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  OKEH RECORDS: The Origins of Okeh (1910-1920)
Domestic's first records were 7-inch fine-groove vertical cut discs produced by the Domino Record Company, a short-lived venture unrelated to the 1920s label of the same name.
Okeh might have gone the way of so many other uninspired start-ups but for an accidental hit that cast it in a new and unexpected role.
Foregoing the stodginess that then characterized the American recording establishment at the time, Okeh soon began to scour the nation for performers and material that was often far removed from the mainstream.
www.mainspringpress.com /okeh.html   (2554 words)

  Okeh Records - Wikipedia, the free encyclopedia
Okeh Records began as an independent record label based in the United States of America in 1918; from the late 1920s on was a subsidiary of Columbia Records.
Okeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies.
Okeh then opened a recording studio in Chicago, Illinois, the center of jazz in the 1920s, where Richard M. Jones served as "Race" recordings director.
en.wikipedia.org /wiki/Okeh_Records   (544 words)

 okeh   (Site not responding. Last check: )
Okeh Records began as an independent record label based in the United States of America in the 1910s; from the late 1920s on was a subsidiary of Columbia Records.
In 1920 recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh.
Columbia again revived the label in 1940 after they lost the rights to the Vocalion name (by dropping the Brunswick label) and pressed it until 1946; it was revived in the 1950's and used sporadically, and in the 1990s.
www.yourencyclopedia.net /OKeh.html   (576 words)

 PBS - JAZZ A Film By Ken Burns: Jazz Exchange - Race Records
Record companies were eager to increase their markets, and even developed some non-musical recordings, including recorded sermons, gospel music, spirituals and comedy routines.
By the time the recording industry got on its feet again in the mid-30s with the advent of crooners such as Bing Crosby and bandleader Benny Goodman, what had been known as "race" music was firmly ensconced in the center of the popular culture.
Gradually, the majors began recording their own versions of the whatever hits the independents were lucky enough to have, and by the 50s, race recording labels became superfluous.
www.pbs.org /jazz/exchange/exchange_race_records.htm   (1308 words)

 Lonnie Johnson   (Site not responding. Last check: )
The same year Lonnie recorded with Creath's band, 1925, a blues contest was sponsored by talent scouts from Okeh Records at the Booker T. Washington Theater in St. Louis.
His first record was cut a few days after the Creath session, his appeal to fl audiences proving so strong that for a couple of years Okeh issued a new Lonnie Johnson record every six weeks.
He records the first of ten excellent sides with the guitarist Eddie Lang in 1928, but in 1932 Okeh Records crash out of business as the Depression begins and Lonnie attends his last recording session for the next five years.
nublues.port5.com /Historyoftheblues/lonniejohnson.htm   (1069 words)

She was a transitional figure during the second half of the decade of the nineteen forties that was a link between the sound of the big bands and the rising tide of rhythm and blues.
Brooks actually preferred ballads to the uptempo tunes even though it was the boogie woogie that gave her the first sign of fame with the 1945 recording of "Swingin' The Boogie" for Modern Music (as the label was called in the early years).
The result was that she changed labels and went to London Records in what was an ill fated attempt by the England based label to enter the American R and B market.
home.earthlink.net /~jaymar41/Hadda.html   (1263 words)

 The Compo Company
Okeh material bore its U.S. number in a 4000 series; the Gennett sides appeared on a 9000 series which had originally paralleled its U.S. equivalent but later served as a Canadian series for material issued in the U.S. on the Gennett series starting at about 4500.
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.
www.capsnews.org /barrcom.htm   (2939 words)

 Mississippi John Hurt - Wikipedia, the free encyclopedia
When Narmour got a chance to record for OKeh Records in reward for winning first place in a 1928 fiddle contest, Narmour recommended John Hurt to OKeh Records producer Tommy Rockwell.
After the commercial failure of the resulting disc and OKeh records going out of business during the depression, Hurt returned to Avalon and obscurity working as a sharecropper and playing local parties and dances.
A soft-spoken man, his nature was reflected in the work, which remained a mellow mix of country, blues and old time music to the end.
en.wikipedia.org /wiki/Mississippi_John_Hurt   (667 words)

 Old Hat Releases - CD1002 Liner Notes   (Site not responding. Last check: )
When Lonnie Johnson exclaimed, "Violin, sing the blues for me!" during a recording session for Okeh Records in 1928, he was in top form, performing with passion and artistry on the instrument that was his first love- the fiddle.
Record company executives, ever mindful of profit margins, were impressed with the sweeping popularity of blues music among fl audiences, and felt reluctant to take a chance on the older forms of African-American music.
Their recordings for Gennett over a two year period include pop and dance hall material as well as blues, and they show a preference for ensemble work with a variety of sidemen and vocalists.
www.oldhatrecords.com /1002Notes.html   (4890 words)

 Outhouse Records Track Listings   (Site not responding. Last check: )
Okeh Records released one record from the October, 1929 Richmond Session and two records from the April, 1929 New York session.
Okeh dubbed them “Bela Lam and the Greene County Singers.” Although Lam would not become a household name like Carter or Stoneman, the Greene County Singers were popular in their area of the state.
Recorded Oct. 18, 1929, released as Okeh 45455.
outhouserecords.com /PAGES/TRACKS.html   (2315 words)

OKeh was one of the most important and influential record labels in the fl music market for over five decades.
OKeh began its music history in 1918 in New York producing all kinds of music.
The famous OKeh sound was determined by sentimental songs with pretty melodies, lush strings and smooth, slick vocals that avoid harsh or rough edges.
www.geocities.com /SunsetStrip/Club/4041   (476 words)

 Vanguard Records | Mississippi John Hurt   (Site not responding. Last check: )
There was Charlie Patton, whose records were just as rare, and his rival, Robert Johnson, who was known to be dead, but who had left a legacy of impeccably-played blues behind him and a legend of selling his soul to the Devil.
Hurt had recorded it in late December, 1928, in New York City, and, a poor tenant farmer who'd had to borrow the guitar he played on the session, he was clearly homesick.
Since this music wasn't played on any radio station (in fact, recorded music on the radio was virtually unheard of at the time), people would have to buy the records to hear the music.
www.vanguardrecords.com /Hurt/home-m.html   (2745 words)

 Country Music and Technology
At the time, record companies were looking to diversify their offerings to compete with radio stations, which played the same popular music that the companies were selling for free.
As songs were recorded and copyrighted, executives began to encourage their acts to write new "old-sounding" songs so that they would not have to pay to use copyrighted material; these ballads could also be recorded by popular artists and the companies could collect those royalties too.
Ralph Peer had quit Okeh Records and in 1925 went to work for Victor RCA for $1 a year on the condition that he could retain the copyright to all the works he recorded.
xroads.virginia.edu /~1930s/RADIO/c_w/essay1.html   (1160 words)

 Mamie Smith
The record was a wild success, selling over a million copies in less than a year, and finally ending up selling over two million copies.
After this it dawned on record companies that there was a lot of money to be made selling what was then called "race records" to various minority groups in big cities.
They sold well enough and her manager Perry Bradford convinced Okeh Records that there was a market for earthier Blues records aimed at the large number of African-Americans who had migrated to the big cities of the north.
www.thedevilsmusic.net /bios/mamie_smith.html   (468 words)

 Untitled Document   (Site not responding. Last check: )
In September, Columbia Records in an effort to increase its showing in the rhythm and blues field signs Arnett Cobb and his combo to a recording contract.
Columbia Records reactivates its Okeh label to concentrate on the sound of rhythm and blues and moves Cobb to that label.
Okeh also releases a former Cobb side for the parent Columbia label of "Smooth Sailing" and "Your Wonderful Love" on #6830.
home.earthlink.net /~v1tiger/arnettcobb.html   (1706 words)

 Mamie Smith
Mamie Smith was the first to record blues songs in 1920 with her versions of Perry Bradford's "Crazy Blues", and "It' s Right Here for You" on Okeh Records.
After this it dawned on record companies that there was a lot of money to be made selling what was then called "race records" to various minority groups in big cities.
They sold well enough and her manager Perry Bradford convinced Okeh Records that there was a market for earthier Blues records aimed at the large number of African-Americans who had migrated to the big cities of the north.
www.redhotjazz.com /mamie.html   (552 words)

 NothinButDaBlues Reading Room   (Site not responding. Last check: )
The first blues instrumental recorded by a man was probably "The Rocks," an ornate piano composition featuring a walking bass line and elements of ragtime, stride, boogie-woogie, and 12-bar blues.
The recording of solo blues guitarists commenced in New York City on November 2, 1923, when Sylvester Weaver of Louisville, Kentucky, recorded "Guitar Blues," a simple instrumental with sparse chords and slide melodies played with a knife.
OKeh Records called him "The Man with the Talking Guitar" and claimed "he certainly plays 'em strong on his big mean, blue guitar." By January 1924, Bessie Smith and Clara Smith were recording with studio guitarists.
nothinbutdablues.bizland.com /ReadingRoomApril01.chtml   (875 words)

 VH1.com : Major Lance : Biography
Blessed with a warm, sweet voice, Major Lance was one of the leading figures of Chicago soul during the '60s and the top-selling artist for OKeh Records during the decade.
The DJ helped Lance secure a one-shot single for Mercury Records in 1959, and the singer recorded "I Got a Girl," which was written and produced by Mayfield.
In 1962, Lance was signed to the revived OKeh Records, based on his connections with Otis Leavill and, especially, Curtis Mayfield, who signed with the Impressions to ABC Records and having hits with his own group.
www.vh1.com /artists/az/lance_major/bio.jhtml   (890 words)

 Okeh Records   (Site not responding. Last check: )
Epic Records proudly announces the rebirth of OKeh Records and the inception of a new series of contemporary blues-based recordings.
In 1945, as a Columbia Records subsidiary, OKeh became a thriving r&b, blues and jazz imprint.
OKeh's impressive post-war output (including landmark sides by Screamin' Jay Hawkins, Big Maybelle, and The Ravens) was the subject of the acclaimed three-CD set The OKeh Rhythm & Blues Story, 1949-1957 (1993, Epic/Legacy).
users.ids.net /~kiselka/g-love/html/text/15r.html   (267 words)

 FYI - July 3, 2002   (Site not responding. Last check: )
Okeh found and interviewed Hurt, had him play a few songs, and decided to record him, provided he was willing to travel to Memphis and New York.
Hurt recorded two songs in February of 1928 while in Memphis, "Frankie" and "Nobody's Dirty Business," and these were released by Okeh.
As mentioned, he recorded in the '20s and again in the '60s, and both periods are well worth hearing.
www.dowop.org /7-3.html   (1062 words)

 [No title]   (Site not responding. Last check: )
According to Peer, OKeh’s records were manufactured by a button company.
In 1926 he approached Victor Records, which was eager to expand its hillbilly business, with a novel plan.
The first stop on a Peer recording trip for Victor in midsummer 1927 was Bristol, Tennessee, a small Southern Appalachian city.
www.countrymusichalloffame.com /inductees/ralph_peer.html   (480 words)

 Pic of the Month
While record companies included in their catalogs African American-inspired music by white performers, only a few Black musical entertainers, like W.C. Handy and Bert Williams, had managed to record.
Okeh immediately recorded Smith again, singing "Crazy Blues" accompanied by her band, Mamie Smith's Jazz Hounds.
Okeh's success even presented a serious challenge to established recording industry giants like Victor and Columbia, compelling them to become more active in the African-American and popular markets.
www.hfmgv.org /exhibits/pic/2000/00.feb.html   (266 words)

 "Okeh Records - The Great Race Record Labels" CD Review
The third volume in the Catfish series of 'The Great Race Record Labels' is devoted to Okeh Records, the label responsible for starting the 'Race' chase with Mamie Smith's "Crazy Blues" from 1920.
After the success found with Black record buyers in many Southern states, the labels organized 'field trips' where a producer would travel to locations like Atlanta, Dallas, and other cities, after advertising in newspapers that they were looking for talent, and set forth recording the artists that descended on them.
Their strong performances are no less important to the rich fabric of recorded Blues from the earlier years in the 20th century, and the folks at Catfish have succeeded with all three discs in this set.
www.mnblues.com /cdreview/2001/okeh-race-cr.html   (638 words)

Some great jazz and blues appeared on Okeh and the content is usually obvious from the details printed on the labels, but often unusual names and pseudonyms were used for bands so there are many surprises to be found.
The values quoted below are typical prices paid at a British record fair stall where the stall-holder knows the demand for music and records, and they are for records in 'very good' VG to E- condition as excellent condition Okeh records are difficult to find.
There will be some records by the same artistes worth more or less, depends on the quality of the music and on how many copies of the records were sold.
www.jabw.demon.co.uk /rpmokeh.htm   (226 words)

 [No title]   (Site not responding. Last check: )
KE: Like the Edison and French Pathe' records, OKeh originally started out pressing vertical "hill & dale" records, but unlike Tom, they saw the writing on the wall and switched to the more popular, (and easier to manufacture) lateral technique.
The basic "OKeh" script logo remained, even after the company was aquired by Columbia in the early 1930s.
When asked by the OKeh folks what the title was, Bix said that he felt in a fog, and couldn't think of anything.
users.ids.net /~kiselka/g-love/html/text/OKeh.txt   (294 words)

 CMT.com : The Opals : Biography
Their fame never extended outside the Windy City boundaries despite recording material by Curtis Mayfield, Billy Butler, and sax player Clifford Davis, the brother of producer Carl Davis.
When Carl Davis assumed the A&R duties at Okeh Records the Opals were brought along, along with Davis' assistant Leavil; a young Curtis Mayfield, making a name for himself with the Impressions, contributed independent productions.
Okeh issued their debut single late in 1963, two Clifford Davis songs "Losers Weepers" b/w "Take It Right," the latter co-written with Phil Upchurch, and they were off and running.
www.cmt.com /artists/az/opals/bio.jhtml   (384 words)

Love Nest, The, Frankie Trumbauer's Orchestra, With Vocal refrain, Parlophone R 2645, recorded 10/05/28 H.E. Of all the Trumbauer/Bix Okeh recordings that were not released in the USA this is the rarest.
Why OKeh decided to export these masters and not issue them in the USA remains a mystery.(They did it earlier in the 1920's with some very exciting territory jazz).This particular issue is extremely rare; "Japanese Sandman" is slightly more common but "Love Nest" is virtually impossible to find.
Joe speculates that the record was issued first with the errors on the label, and a second release was done with the errors corrected.
bixography.com /images/78labels.htm   (6114 words)

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