@KawhackitaRag You're welcome as always Andrew. I applaud your expertise on early piano works on record and the old rolls. Some of this stuff may be in the L.O.C. as far as documentation on the compositions. But after 80 years +, a lot of information is forever lost. And the copyrights in a majority of cases were never renewed. There is a guy out there that claims that he owns the rights to Paramount Records recordings.
@KawhackitaRag And from my previous note, how could anyone lay to the claim that they would own any Paramount Records recordings? The Wisconsin Chair Company boarded their doors in 1932. All of the masters were either sold to someone to line chicken coops with, and the rest of them were dumped into the river by employees that were laid off. John Tefteller owns a lot of the rarest of the Paramount blues 78's, and a lot of their memorabilia, just by tracking it down. He doesn't own the copyrights.
@KawhackitaRag You can look up Paramount Records on wikipedia and it will give you the history of the label and how the recordings changed hands as far as so-called "copyrights". Personally, I think the article is a load of bullshit. If Paramount Pictures owns the rights to these recordings, then every recording by the label would have a flag on it. I really don't know how they come up with the info on these recordings. I would have guessed that the company log books floated downstream as well.
Given that most (but perhaps not all) songs recorded on the Paramount label were copyrighted in some form (usually a manuscript deposit at the Library of Congress), I would not be surprised if Blythe, who had supposedly had some kind of connection with the Paramount company beyond simply recording for them, managed to get ahold of the score for this tune (or maybe was the one who wrote it out for Foster), and thus was able to make a roll of it.
Musically, Rudy Foster sounds very much influenced by Blythe, not only the left-hand figures, but many of the right-hand figures as well, and even the weird "up-in-the-air" ending, are Blythe hallmarks.
As much as I would love to believe that this is Jimmy Blythe recording under another name, the piano touch, mannerisms, etc. are too different for me to entertain this notion.
Interestingly, both of Rudy Foster's recorded tunes, "Black Gal Makes Thunder", and "Corn Trimmers" were released on piano rolls made by the Capitol Roll and Record Co. of Chicago. The performer on these rolls is attributed to James Blythe, but we are not certain because the credited 88-note versions have not yet turned up, nor has a 1930 roll catalog listing performers.
The late John Steiner owned the rights to Paramount and re issued some on the Paramount 14000 series and , on his own label STEINER- DAVIS
05Toamasina1938 1 year ago
Thanks for posting this fantastic recording!!!
KawhackitaRag 1 year ago
@KawhackitaRag You're welcome as always Andrew. I applaud your expertise on early piano works on record and the old rolls. Some of this stuff may be in the L.O.C. as far as documentation on the compositions. But after 80 years +, a lot of information is forever lost. And the copyrights in a majority of cases were never renewed. There is a guy out there that claims that he owns the rights to Paramount Records recordings.
randomandrare 1 year ago
@KawhackitaRag And from my previous note, how could anyone lay to the claim that they would own any Paramount Records recordings? The Wisconsin Chair Company boarded their doors in 1932. All of the masters were either sold to someone to line chicken coops with, and the rest of them were dumped into the river by employees that were laid off. John Tefteller owns a lot of the rarest of the Paramount blues 78's, and a lot of their memorabilia, just by tracking it down. He doesn't own the copyrights.
randomandrare 1 year ago
@KawhackitaRag You can look up Paramount Records on wikipedia and it will give you the history of the label and how the recordings changed hands as far as so-called "copyrights". Personally, I think the article is a load of bullshit. If Paramount Pictures owns the rights to these recordings, then every recording by the label would have a flag on it. I really don't know how they come up with the info on these recordings. I would have guessed that the company log books floated downstream as well.
randomandrare 1 year ago
Given that most (but perhaps not all) songs recorded on the Paramount label were copyrighted in some form (usually a manuscript deposit at the Library of Congress), I would not be surprised if Blythe, who had supposedly had some kind of connection with the Paramount company beyond simply recording for them, managed to get ahold of the score for this tune (or maybe was the one who wrote it out for Foster), and thus was able to make a roll of it.
KawhackitaRag 1 year ago
Musically, Rudy Foster sounds very much influenced by Blythe, not only the left-hand figures, but many of the right-hand figures as well, and even the weird "up-in-the-air" ending, are Blythe hallmarks.
As much as I would love to believe that this is Jimmy Blythe recording under another name, the piano touch, mannerisms, etc. are too different for me to entertain this notion.
KawhackitaRag 1 year ago
Interestingly, both of Rudy Foster's recorded tunes, "Black Gal Makes Thunder", and "Corn Trimmers" were released on piano rolls made by the Capitol Roll and Record Co. of Chicago. The performer on these rolls is attributed to James Blythe, but we are not certain because the credited 88-note versions have not yet turned up, nor has a 1930 roll catalog listing performers.
KawhackitaRag 1 year ago
@KawhackitaRag
I am afraid but Corn trimmers was attributed to Clarence Johnson on the EUPHONIC LPS ...but who knows ?
05Toamasina1938 1 year ago