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Okeh Records Albums
Okeh Records () is an American record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. The name was spelled "OkeH" from the initials of Otto K. E. Heinemann but later changed to "OKeh". Since 1926, Okeh has been a subsidiary of Columbia Records, a subsidiary of Sony Music. Okeh is a jazz imprint, distributed by Sony Masterworks, a specialty label of Columbia. Early history Okeh was founded by Otto (Jehuda) Karl Erich Heinemann (Lüneburg, Germany, 20 December 1876 - New York, USA, 13 September 1965) a German-American manager for the U.S. branch of Odeon Records, which was owned by Carl Lindstrom. In 1916, Heinemann incorporated the Otto Heinemann Phonograph Corporation, set up a recording studio and pressing plant in New York City, and started the label in 1918. The first discs were vertical cut, but later the more common lateral-cut method was used. The label's parent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sony Music
Sony Music Entertainment (SME), also known as simply Sony Music, is an American multinational music company. Being owned by the parent conglomerate Sony Group Corporation, it is part of the Sony Music Group, which is owned by Sony Entertainment and managed by the American umbrella division of Sony. It was originally founded in 1929 as American Record Corporation and renamed as Columbia Recording Corporation in 1938, following its acquisition by the Columbia Broadcasting System. In 1966, the company was reorganized to become CBS Records, and Sony Corporation bought the company in 1988, renaming it under its current name in 1991. In 2004, Sony and Bertelsmann established a 50-50 joint venture known as Sony BMG, which transferred the businesses of Sony Music and Bertelsmann Music Group into one entity. However, in 2008, Sony acquired Bertelsmann's stake, and the company reverted to the Sony Music name shortly after; the buyout allowed Sony to acquire all of BMG's labels, which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Race Records
Race records were 78 rpm, 78-rpm phonograph records marketed to African Americans between the 1920s and 1940s.Oliver, Paul. "Race record." Grove Music Online. Oxford Music Online. 13 Feb. 2015. They primarily contained race music, comprising various African-American musical genres, blues, jazz, and gospel music, Rhythm and blues and also comedy. These records were, at the time, the majority of commercial recordings of African American artists in the U.S., and few African American artists were marketed to white audiences. Race records were marketed by Okeh Records, Emerson Records, Vocalion Records, Victor Talking Machine Company, Paramount Records, and several other companies. History Before the rise of the record industry in America, the cost of phonographs prevented most African Americans from listening to recorded music. At the turn of the twentieth century, the cost of listening to music went down, providing a majority of Americans with the ability to afford records. The pri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parlophone
Parlophone Records Limited (also known as Parlophone Records and Parlophone) is a German–British record label founded in Germany in 1896 by the Carl Lindström Company as Parlophon. The British branch of the label was founded on 8 August 1923 as the Parlophone Company Limited (the Parlophone Co. Ltd.), which developed a reputation in the 1920s as a jazz record label. On 5 October 1926, the Columbia Graphophone Company acquired Parlophone's business, name, logo, and release library, and merged with the Gramophone Company on 31 March 1931 to become Electric & Musical Industries Limited (EMI). George Martin joined Parlophone in 1950 as assistant to Oscar Preuss (who had set up the London branch of the company in 1923), the label manager, taking over as manager in 1955. Martin produced and released a mix of recordings, including by comedian Peter Sellers, pianist Mrs Mills, and teen idol Adam Faith. In 1962, Martin signed the Beatles, a beat group from Liverpool who earlier ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
West End Blues
"West End Blues" is a multi-strain twelve-bar blues composition by Joe "King" Oliver. It is most commonly performed as an instrumental, although it has lyrics added by Clarence Williams. King Oliver and his Dixie Syncopators made the first recording for Brunswick Records on June 11, 1928.Laird, Ross. ''Brunswick Records: A Discography of Recordings, 1916-1931'', Greenwood Press (2001), p. 592. Clarence Williams later added lyrics to the instrumental tune. He recorded the song several times in 1928, first with vocalist Ethel Waters, then with Irene Mims, aka Hazel Smith (with King Oliver playing trumpet), then again with Katherine Henderson. The " West End" of the title refers to the westernmost point of Lake Pontchartrain within Orleans Parish, Louisiana; it was the last stop on the trolley line in New Orleans to the lake. In its heyday, it was a thriving summer resort with live music, dance pavilions, seafood restaurants, and lake bathing. Louis Armstrong's recording By far ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heebie Jeebies (composition)
"Heebie Jeebies" is a composition written by Boyd Atkins which achieved fame when it was recorded by Louis Armstrong in 1926. Armstrong also performed "Heebie Jeebies" as a number at the Vendome Theatre. The recording on Okeh Records by Louis Armstrong and his Hot Five includes a famous example of scat singing by Armstrong. After the success of the recording, an accompanying dance was choreographed and advertised by Okeh. A popular legend (apparently originating from a 1930s claim by Richard M. Jones) says that Louis Armstrong dropped his lyric sheet while recording the song and for lack of words to sing, began to improvise his vocals and thereby created the technique of scat singing. This story, though popular, may be apocryphal. Although Armstrong did not invent scat singing, because it was already practiced by many musicians in New Orleans during the early twentieth century, Armstrong, Kid Ory, and Johnny St. Cyr confirm in their accounts that he did drop the sheet music duri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Armstrong Hot Five And Hot Seven Sessions
The Louis Armstrong Hot Five and Hot Seven Sessions were recorded between 1925 and 1928 by Louis Armstrong with his Hot Five and Hot Seven groups. According to the National Recording Registry, "Louis Armstrong was jazz's first great soloist and is among American music's most important and influential figures. These sessions, his solos in particular, set a standard musicians still strive to equal in their beauty and innovation." These recordings were added to the National Recording Registry in 2002, the first year of the institution's existence. Ron Wynn and Bruce Boyd Raeburn, writing for the ''All Music Guide to Jazz'', note that "these recordings radically altered jazz's focus; instead of collective playing, Armstrong's spectacular instrumental (and vocal) improvisations redefined the music." Armstrong helped popularize scat singing in " Heebie Jeebies," and his solo on "Potato Head Blues" helped establish the stop-time technique in jazz. Recordings 1925–1926 Hot Five re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eddie Lang
Eddie Lang (born Salvatore Massaro, October 25, 1902 – March 26, 1933) was an American musician who is credited as the father of jazz guitar. During the 1920s, he gave the guitar a prominence it previously lacked as a solo instrument, as part of a band or orchestra, and as accompaniment for vocalists. He recorded duets with guitarists Lonnie Johnson and Carl Kress and jazz violinist Joe Venuti, and played rhythm guitar in the Paul Whiteman Orchestra and was the favoured accompanist of Bing Crosby. Biography The son of an Italian-American instrument maker, Lang was born in Philadelphia, Pennsylvania, and grew up with violinist Joe Venuti. His first instrument was violin when he was seven. He performed on violin in 1917 and became a member of a trio. In 1920, he dropped the violin for banjo and worked with Charlie Kerr, then Bert Estlow, Vic D'Ippolito, and Billy Lustig's Scranton Siren Orchestra. A few years later, he dropped the banjo for guitar when he became a member ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frankie Trumbauer
Orie Frank Trumbauer (May 30, 1901 – June 11, 1956) was an American jazz saxophonist of the 1920s and 1930s. His main instrument was the C-melody saxophone, a now-uncommon instrument between an alto and tenor saxophone in size and pitch. He also played alto saxophone, bassoon, clarinet and several other instruments. He was a composer of sophisticated sax melodies, one of the major small group jazz bandleaders of the 1920s and 1930s. His landmark recording of "Singin' the Blues" with Bix Beiderbecke and Eddie Lang in 1927, was inducted into the Grammy Hall of Fame in 1977. His major recordings included "Krazy Kat", "Red Hot", "Plantation Moods", "Trumbology", "Tailspin", "Singin' the Blues", "Wringin' an' Twistin'", and "For No Reason at All in C" with Bix Beiderbecke and Eddie Lang, and the first hit recording of "Georgia On My Mind" in 1931. "Tram" was described as one of the most influential and important jazz saxophonists of the 1920s and 1930s, particularly influencin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bennie Moten
Benjamin Moten (November 13, 1893 – April 2, 1935) was an American jazz pianist and band leader born and raised in Kansas City, Missouri, United States. He led his Kansas City Orchestra, the most important of the regional, blues-based orchestras active in the Midwest in the 1920s, and helped to develop the riffing style that would come to define many of the 1930s big bands. The jazz standard "Moten Swing" bears his name. Career Moten started making music from an early age and developed as a pianist, pulling together other musicians in a band. His first recordings were made (for OKeh Records) on September 23, 1923, and were rather typical interpretations of the New Orleans style of King Oliver and others. They also showed the influence of the ragtime that was still popular in the area, as well as the stomping beat for which his band was famous. These OKeh sides (recorded 1923–1925) are some of the more valuable acoustic jazz 78s of the era; they are treasured records in many ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bix Beiderbecke
Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist and composer. Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone, with such clarity of sound that one contemporary famously described it like "shooting bullets at a bell. His solos on seminal recordings such as "Singin' the Blues" and " I'm Coming, Virginia" (both 1927) demonstrate a gift for extended improvisation that heralded the jazz ballad style, in which jazz solos are an integral part of the composition. Moreover, his use of extended chords and an ability to improvise freely along harmonic as well as melodic lines are echoed in post-WWII developments in jazz. "In a Mist" (1927) is the best known of Beiderbecke's published piano compositions and the only one that he recorded. His piano style reflects both jazz and classical (mainly impressionist) influences. All five of hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Armstrong
Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, he followed his mentor, Joe "King" Oliver, to Chicago to play in the . In Chicago, he spent time with other popular jazz musicians, reconnecting with his friend Bix Beiderbecke and spending time with Hoagy Carmichael and Lil Hardin. He earned a reputation at "cutting contests", and his fame reached band leader Fletcher Henderson. Henderson persuaded Armstrong to come to New York City, where he became a featured and musically influential band soloist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
King Oliver
Joseph Nathan "King" Oliver (December 19, 1881 – April 8/10, 1938) was an American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of Mute (music), mutes in jazz. Also a notable composer, he wrote many tunes still played today, including "Dippermouth Blues", "Sweet Like This", "Canal Street Blues", and "Doctor Jazz". He was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, "if it had not been for Joe Oliver, Jazz would not be what it is today." Biography Life Joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville, Louisiana, Donaldsonville in Ascension Parish, Louisiana, Ascension Parish to Nathan Oliver and Virginia "Jinnie" Jones. He claimed 1881 as his year of birth in his draft registration in September 1918 (two months before the end of World War I) but that year is open to debate, with some census records and other sources suggesting 1884 or 1885 as his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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