By Tim Gracyk, F. Hoffmann
Come upon the trailblazers whose recordings extended the limits of know-how and taken “popular” tune into America's dwelling rooms!Popular American Recording Pioneers: 1895--1925 (winner of the 2001 organization for Recorded Sound Collections Award of Excellence in old Recorded Sound study) covers the lives and careers of over 100 musical artists who have been specially vital to the recording in its early years. listed here are the lads and ladies who introduced into American houses the hits of the day--Tin Pan Alley numbers, Broadway express tunes, ragtime, parlor ballads, early jazz, and dance track of all kinds.Popular American Recording Pioneers: 1895--1925 compiles infrequent info that used to be scattered in thousands of checklist catalogs, hobbyist magazines, newspaper clippings, phonograph exchange journals, and different resources. glance no extra! This quantity is the last word source at the subject!You increases your wisdom in those parts:
- the recording industry's adolescence
- artists’personalities and musical kinds
- popular track background
- history of recording technologyPopular American Recording Pioneers: 1895--1925 presents a different “who's who” method of renowned track background. it's the definitive paintings at the tune that was once well known in the course of America's coming of age. No track historian may be with no this quantity.
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Come across the trailblazers whose recordings extended the bounds of know-how and taken “popular” tune into America's residing rooms! well known American Recording Pioneers: 1895--1925 (winner of the 2001 organization for Recorded Sound Collections Award of Excellence in old Recorded Sound learn) covers the lives and careers of over 100 musical artists who have been specially vital to the recording in its early years.
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Extra resources for Popular American Recording Pioneers: 1895-1925
She was most often paired with soprano Olive Kline. The two sang duets on several records in Victor’s blue label 45000 series; on several other discs, Kline as solo artist is featured on one side, Baker the other. Kline had been elevated from regular black label status to the more prestigious blue label series in June 1917. Baker followed with the release in December 1917 of “He Shall Feed His Flock” from Handel’s Messiah (Victor 45144). For music considered at the time to be nonserious, especially Tin Pan Alley hits and musical comedy selections, she adopted the pseudonym Edna Brown, using it from the beginning of her Victor career in the early 1910s into the 1920s.
He died in Hollywood of heart failure. B; Baker Elsie (September 2 7 ,1886-April 28,1958) The contralto Elsie West Baker was born in Philadelphia to Carrie Ella (Greene) and William Drinker Baker. She began her recording career by The Artists 35 making cylinders for a few companies—Thomas A. S. Phonograph Company (which produced U-S Everlasting cylinders); and the Indestructible Phonographic Record Company (Montgomery Ward and Company issued these cylinders as Lakeside Indestructibles). Early in her career she also made Columbia discs, sometimes using the pseudonyms Edna Brown, Nora Watson, and Mabel West.
In other ways he was a throwback to an earlier era, especially in his use of black dialect and appearing on stage in blackface. He worked in vaudeville before beginning his recording career. His first records were made in early 1919. Around the time he recorded “St. Louis Blues” for Emerson, he also provided vocal refrains on dance numbers issued by the Aeolian Company, maker of Aeolian-Vocalion discs. Bernard sang on dance records cut by the Novelty Five, a Harry A. Yerkes ensemble. The earliest titles with Bernard contributing a vocal refrain are “Bluin’ the Blues” (12117), “Don’t Cry, Frenchy, Don’t Cry” (12117), “Shake, Rattle and Roll” (12124), and “I Want to Hold You in My Arms” (12135).