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(12 hours ago)
His Master's Voice launched the model 102 in August 1931. This model represents the ultimate in portable gramophones, and is very popular among col...
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His Master's Voice launched the model 102 in August 1931. This model represents the ultimate in portable gramophones, and is very popular among collectors today.
The model was available in several colours, black, blue, red, green, brown and grey, and a deluxe version in red leather. The latter three are major rarities, as the brown and grey versions were only produced for two and a half years, and the leather version disappeared in 1937. HMV 102 remained in production until 1958.
My blue HMV 102 was manufactured in 1939. It has the number 5A soundbox.
The music is by Benny Goodman and his orchestra. Smoke House Rhythm was recorded in New York on 10 November 1938. The soloists are
Benny Goodman, clarinet
Bud Freeman, tenor sax
Harry James, trumpet
Also heard is drummer (in this case), Lionel Hampton.
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ptm51 liked a video
(12 hours ago)
His Master's Voice launched the model 102 in August 1931. This model represents the ultimate in portable gramophones, and is very popular among col...
more
His Master's Voice launched the model 102 in August 1931. This model represents the ultimate in portable gramophones, and is very popular among collectors today.
The model was available in several colours: black, blue, red, green, brown and grey, and a deluxe version in red leather. The latter three are major rarities today, as the brown and grey models were only produced for two and a half years and the leather version disappeared in 1937. HMV 102 remained in production until 1958.
My grey HMV 102 was manufactured in 1931. It has the correct no. 16 soundbox, and the very complicated brake system. This brake was replaced for a simpler version in February 1932 due to many customer complaints.
The music heard in the video is by Bert Lown & his Biltmore Music. "When I Take My Sugar To Tea" was recorded on March 12, 1931. The vocal is by The Biltmore Trio: Elmer Feldkamp, Mac Ceppos and Paul Mason - all of them regular members of the band.
In this band were also jazz greats like Stan King (drums), Tommy Felline (guitar), Al Philburn (trombone) and Adrian Rollini (bass sax). The latter is heard briefly at the end of the record in the ensemble playing.
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ptm51 liked a video
(12 hours ago)
Recorded in August of 1924. The Synco Jazz Band was one of several recording ensembles involving clarinet and baritone saxophonist Joseph Samuels. ...
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Recorded in August of 1924. The Synco Jazz Band was one of several recording ensembles involving clarinet and baritone saxophonist Joseph Samuels. Beginning in January 1919, this group made a series of jazz or jazz-like records which were issued on the Arrow, Arto, Columbia, Empire, Grey Gull, Homochord, Operaphone, Pathe Actuelle, and Perfect phonograph labels. Their recordings were also released under the names of the Alabama Jazz Band, the Astoria Orchestra, the Great Western Serenaders, Joseph Samuels & His Orchestra, the Novelty Dance Orchestra, and the Regent Dance Orchestra, among many others. The only known players in the Synco Jazz Band -- in addition to Samuels -- were Jules Levy, Jr., cornet, Ephraim Hannaford, trombone, and pianist Larry Briers. The drummer has not been positively identified but may have been Herman Berkin. None of the banjo players who periodically recorded with this band from 1921-1923 have ever been identified either. Nathan Glantz is believed to have played alto saxophone with this ensemble from time to time, and in 1924 and 1926, additional instruments were added, such as tuba, soprano sax, and piano-accordion. The Synco Jazz Band's choice of material was often surprisingly substantial. In 1919 they recorded "Everybody Shimmies Now," "The Alcoholic Blues," "At the Jazz Band Ball," and the "Beale Street Blues." In 1920, they chose to record "Bluin' the Blues," arguably the most savory melody ever to come out of the Original Dixieland Jazz Band. In 1921, the Syncos recorded "Sweet Mama," "The Satanic Blues," and, most notably of all, Luckey Roberts' "Railroad Blues." They came out with "Chicago," "The State Street Blues," and "Hot Lips" in 1922, and "House of David Blues," "Red Hot!," and "Do-Doodle-Oom" in 1923, placing the Synco Jazz Band in relative competition with Fletcher Henderson. Their jazziest records of 1924 were "TheWest Indies Blues," "Nobody Knows What a Red Headed Mama Can Do," "The Blues Have Got Me," "Oh! Mabel," and "I Ain't Got Nobody To Love." 1926 -- their last year of recording under this name -- saw them produce three final recordings, most notably the "Bell Hoppin' Blues." What this world needs is a double-CD chronicling the history of this hot little band, a mysterious group that occupies an historical position somewhere between the Original Dixieland Jazz Band and the New Orleans Rhythm Kings.
Read more: http://www.answers.com/topic/synco-ja...
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Bedankt voor je vriendschap uitnodiging! Groet, Aad