Subject Index · 2016. 4. 19. · Allen, Fulton (“Blind Boy Fuller”) 296– 297, 304; as...
Transcript of Subject Index · 2016. 4. 19. · Allen, Fulton (“Blind Boy Fuller”) 296– 297, 304; as...
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339
Subject Index
369th Infantry (Hell Fighters) Band 3“81” Theater (Atlanta) 122
A
Adams, W. A. 160Advertising — see Marketing of race
recordsAeolian Hall (New York) 57Aeolian-Vocalion (label) 1, 24; see also
Vocalion (label)Agee, Alphonsus 180Ajax (label) 83–84, 85, 86–96: Ajax
Record Co. founded; failure of 98; first releases 85; recording sessions described 88–89, 90–91; white pop material on 98
Akers, Garfield 254Alabama Fuzzy Wuzzies (pseudo) 189Alabama Harmony Boys (pseudo) 189Alabama Jazz Pirates (pseudo) 189Alabama Jug Band 286Aladdin (label) 333Alcohol: Prohibition, repeal of 283;
served at recording sessions 171–172, 260–261; use of by blues singers 187, 287
Alderson, Mozelle 207, 208, 266Alexander, Dave 289Alexander, Texas 235, 250, 293Allen, Fulton (“Blind Boy Fuller”) 296–
297, 304; as part-time talent scout 295; described in Time magazine 297
Allen, Henry “Red” 289Allen, Walter C., on Handy Record
Company 59–60Allied Record Manufacturing Co. 313,
324All Star Artists’ Bureau 324Alston, James 124Altschuler, Robert 298, 301American Federation of Musicians:
actions discourage use of non-union artists 305; addresses irregularities in Gant artist contract 326; grants recording license to Oberstein 309; recording ban imposed 316; recording ban lifted 321; shuts down Charlie’s
Rhumboogie Café 329; singers and non-union members not bound by recording ban 316; supports higher pay for black artists 305; threatens to revoke Decca and RCA licenses over sub-scale pay for black artists 305
American Record Corporation: Arthur Satherley employed by 214; artist pay rates 305; as division within Consolidated Film Industries 278–279; as second-largest U.S. record company 300; budget-label reissues by 235, 293; concurrent issues on budget labels by 278, 285; disbanded 300; discontinues Okeh 291; division of race material between Vocalion and ARC budget labels 291; problems encountered following Brunswick-Vocalion acquisition 291; purchased by Columbia Broadcasting System 300; race series slow to develop in early 1930s 279; recording expeditions by 293–294, 297, 298; reorganized by Robert Altschuler 298; selective allocation of masters to budget labels by 294, 299–300; shared catalog-numbering system for budget labels 294; suspends new race record issues (1931) 278; takes over production of Broadway records 288; white country music catalog 277
Ampex Corporation 334Anderson, Charles 123Anderson, Marian 78Anderson, Missouri 180Andrews, Ed 140Angelus (Australian label) 273Anonymous race record issues 258Apex (Canadian label) 84Apollo (label) 323Arco (label) 321Armstrong, Lil 289; see also Hardin, LilArmstrong, Louis: and Erskine Tate’s
Vendome Orchestra 162, 165; and Hot Five 157, 158; leaves King Oliver band 109; quoted on King Oliver’s Creole Jazz Band 104; quoted on Lincoln Gardens 102; pseudonym use by 163;
Subject IndexIllustrations are shown in boldface type
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signed by Okeh 157; transition to commercial material 251
Arnold, Kokomo: Decca records 287–290; quoted concerning his first Decca session 287; Victor records by 287
Artist-management contracts: abuses in 326; negotiated by talent scouts 70, 79, 169, 287, 303
Artist payment fees (flat rate): attempts by record companies to avoid paying union scale 305; Black Swan 40–41; Columbia 29, 120; Edison 78, 79; for major vs. minor artists 305; Gennett 194 (note 16), 227; Pathé 69; union scale 305; see also Royalties, artist
Artist pseudonyms on race records 87, 93, 163, 173–174, 189, 200, 203, 206, 221–225, 232, 244, 250, 258, 269, 274, 277, 278, 279, 287, 288, 289, 297, 309, 311–312; use of to disguise white artists on Black Swan records 46
Artist royalties — see Royalties, artistArto Company 24–27, 30; and G.-B.
Records 57–58; Arto records 24–28; financial problems 27–28; licenses recordings to other labels 26; piano rolls 24; presses Sunshine records 59
Artophone Corporation 215 (note 13); and Herwin records 197; as Paramount distributor 198; trademark filing 198
Art Tone (label) 333Ashford, R. T.: as Paramount talent
scout 191, 337; refers Blind Lemon Jefferson to Paramount 145
Associated Independent Record Company Operators Association 333
Atlanta Phonograph Company 273Austin, Claude 258Austin, Gene 78Austin, Lovie: and Blues Serenaders 106,
107; at Monogram Theater (Chicago) 129; quoted on Bessie Smith 117
Autograph (label) 112
B
Bailey, Buster 289Bailey, Kid 254Ballard Chefs 266Ballenger, Eugene 254Baltimore Afro-American 43Baltimore Blues Orchestra (pseudo) 48Banks, Paul’s Kansas City Trio 64Banner (label) — see American Record
Corporation; Plaza-Scranton labels
Banta, Frank 70Barbecue Bob — see Hicks, Robert Barefoot Bill (pseudo) 250Barfe, Louis 16Barker, Blue Lu 289Barrel House Five 213Barrett, Edward 201Barron’s (Harlem) 24Bastin, Bruce, quoted on J. B. Long 295Bates, Deacon L. J. (pseudo) 148, 231Bauquet, Achille 110Baxter, Andrew and Jim 185, 247, 249Baxter, Helen 78–79Beacon (label): marketed primarily to
radio stations and jukebox operators 316, 318; race records 317, 318, 319–320; reissues on Gennett and Joe Davis labels 323
Beacon Music Company 316Beale Street Palace Theater (Memphis)
125Beale Street Sheiks 191Beaman, Lottie — see Kimbrough, Lottie
BeamanBechet, Sidney 118Beck, Blind James 207, 208Beck, Elder Charles 274Beiderbecke, Bix 167Bell (label): licenses Arto recordings 26;
race records 70, 80 (note 4)Bell, Ed 153, 155, 250Bell, James 189Belt Sacred Quartet 249Bennett, Eloise 208Bennett, Will 254Bentley, Gladys 313Berliner, Emile 83, 84Berliner, Herbert S. 83, 84; and Ajax
records 83–84; and Berliner Recording Laboratories 100 (note 20)
Berlin, Irving 65Berman, Bess and Isaac “Ike” 323Berman, Irving 321Berman, Isaac — see Berman, BessBernard, Al 24, 35, 70Bernard, Glory 258Bertrand, Jimmy 163, 181Bessemer Sunset Four. 254Bibb, Joe and Viola 36Biddleville Quartet 153Bigard, Barney 289Big Bethel Choir 179, 183Big Bill — see Broonzy, William Lee
Conley Big Bloke (pseudo) 311
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Subject Index
Big Boy Ben (pseudo) 309Bigeou, Esther 31Big Joe and his Rhythm 287Big Town (label) 333Billboard magazine: negative race-record
reviews in 320Birmingham Blutette 215 (note 11)Birmingham Jubilee Singers 178Birmingham Quartet 178Black Ace (pseudo) 289Black and Blue Trio (pseudo) 92Black and White (label) 324, 328Black Billy Sunday — see Dixon, Calvin
P.; McPherson, GordonBlack Birds of Paradise 188, 189–190Black Ivory King (pseudo) 289Black Patti (label) 201–206, 207–210;
discontinued 210; distribution and marketing problems 210; first recording session 205–206; first releases on 202–203, 206, 207; Gennett recording fees for commissioned masters 203, 215 (note 21); last original recordings issued on 210; last recording sessions for 210; recording locations 208; named for Sissieretta Jones 202–203; recordings reissued on other labels 200, 207; reissued material on 203–204, 208, 209; State Street Music Company as publishing affiliate of 201–202; use of rejected Gennett masters on 205, 210; white performers on 208, 210; see also Chicago Record Company
Black Swan (label) 35–39, 40, 41, 42–54; alleged white conspiracy against 36–37, 38, 44, 49–50; as second black-owned record label 1; Bessie Smith audition (anecdotal) 43; classical material on 37–38, 45; deceptive advertising claims 46, 47; distribution map (1922) 44; distribution problems 43; final releases by 52; first blues record 38; first releases 38–39; implements separate race series 48–49; initial public reaction to 39; loss of artists by 51–52; masters licensed to Paramount 53–54; named for Elizabeth Taylor Greenfield 36; popular and miscellaneous material on 48–49; pressed by Bridgeport Die & Machine 50; pressed by New York Recording Laboratories 37, 50; pseudonyms used to disguise white artists 48; purchased by New York
Recording Laboratories 53; quantity of records produced 45; recording studio 37, 54 (note 13); Red Label Record 45; salesmen and agents 44; second-anniversary celebration 52; use of masters from outside sources 26, 48; see also Pace Phonograph Corporation
Black Swan Troubadours 41, 43, 52Blackwell, Scrapper 235–236, 287, 304,
311Blake, Arthur (“Blind Blake”) 153, 266,
274, 276; as accompanist to other artists 151; biography in Paramount Book of Blues 152; first recording session 151; signed by Mayo Williams for Paramount 151
Blake, Blind — see Blake, ArthurBlake, Eubie: and his “Shuffle Along”
Orchestra 24; Emerson records by 25; rejected by Victor 23; Victor records by 77
Blind Amos (pseudo) 232Blind Gary (pseudo) 297Blind Mack (pseudo) 297Blind Norris (pseudo) 289Blind Sammie (pseudo) 187, 250, 269Blind Texas Marlin (pseudo) 229–230Blu-Disc (label) 65–67; correct starting
date for 65; first recordings by Duke Ellington and Paul Robeson 65, 66, 67; suspected affiliation with Jo Trent 65
Bluebird (label): as Woolworth client label 282; catalog split by genre 303; changes implemented by Eli Oberstein 283–284, 285; competition with Decca 285; cost-reduction strategies 282; deleted Victor recordings reissued by 282; introduced 281–282; Montgomery Ward reissues 304; publisher royalties reduced for 282; trademark filing 290 (note 4)
Blue Bonnet Hotel (San Antonio) 302 (note 10)
Blue Flame Syncopators 26Blues contests 43“Blues” craze in early 1920s 23–34;
mistaken for passing fad 69; religious protests against 20
Blythe, Jimmy’s Blue Boys 289Boatner, Edward H. 4Boerner, Frederick W. 273, 275Bogan, Lucille 153, 154Boogie woogie 244–245, 246Bourne, C. H. 61
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Bourne, Clifford S. 61Bouttle, Matthew V. 36Bowen, R. W. 197Bowers, Frederick V. 22 (note 28)Boy Scout Band of Springfield, Missouri
182Bracey, Caldwell 274Bracey, Ishmon 187, 260Bradford, Mary H. 114Bradford, Perry: and Victor records 23,
171; as talent broker 69; jailed for subornation of perjury 17; Jazz Hounds 12–13; manages Edith Wilson 17, 29; manages Mamie Smith 9, 17; quoted on decline of Mamie Smith’s record sales 20; quoted on Fred Hager 17; quoted on rejection of blues by Harlem society 37–38; sued over “Crazy Blues” 17
Bradley, Tommie 311Bradshaw, Tiny’s Orchestra 326Brager, Mrs. 69Bragg, Dobby (pseudo) 244Bragg, J. H. and his Rhythm Five 297Brasswell, Frank 241–242, 277Bridgeport Die & Machine Company
50, 67Broadway (label) 276; material reissued
on 214; revived by Decca 288Broadway revues: material on race
records 253Brockman, Polk 226, 274; and Blind
Lemon Jefferson’s defection to Okeh 192; as Okeh talent scout 159, 188, 250, 274, 337; as Rev. Gates’ manager 220, 221; as Victor talent scout 283–284, 337; shares supervision of Okeh recording sessions with H. C. Speir 274
Bronze (label) 312–313, 324–325; first releases 313; reasons for failure of 324
Brooks, Shelton 30, 58Brooks, Tim 1Broome, George W. 1–5; artists recorded
by 4; as first black record-company owner 1; as motion picture producer 1; Broome Exhibition Company 1; first recording sessions 4
Broome (label); as first black-owned record label 1; Booker T. Washington release 5; Broome Special Phonograph Records 4, 5–8; see also Broome, George W.
Broonzy, William Lee Conley (“Big Bill”) 243, 281, 293, 296, 304; quoted on hostility of Southern whites toward
“Yankees” 320; records for ARC 277; transferred to Columbia general catalog in 1940s 320
Brown, Ada 113, 114Brown, Gabriel 319–322, 323Brown, Henry 246Brown, Kid 210Brown, Lee 289Brown, Lil and Will 207Brown, Lillyn 30, 118–119Brown, Richard “Rabbit” 185Brown, Robert (“Washboard Sam”) 303Brown, Willie 232, 274Brunswick ( label) : acquired by
Consolidated Film Industries (ARC); first race releases on 77; recording expeditions — see Vocalion (label); rights revert to Warner Brothers 302; see also Brunswick-Balke-Collender Company
Brunswick-Balke-Collender Company 77, 143, 161; Atlanta studio (proposed) 213–214; Brunswick-Vocalion record division sold to Warner Brothers 262; forms race record division 161; “Light-Ray” recording system 167; record division sold to Consolidated Film Industries (ARC) 279; see also Brunswick (label); Vocalion (label)
Brunswick Record Corporation, as division within American Record Corporation–Consolidated Film Industries 278
Bryan, Fred M. 62Bryant, Edler Richard’s Sanctified
Singers 226Brymn, Tim’s Black Devil Orchestra 31Bull City Red — see Washington, GeorgeBumble Bee Slim — see Easton, AmosBunch, Frank and his Fuzzy Wuzzies 189Burleigh, Harry T. 4Burnett, Rev J. C. 222–223, 232; first
records by 65; Beacon and Joe Davis records 318, 319
Burris, James 57–58, 85Butler, Charlie 160Butterfield, Erskine 319
C
C & S Records (label) 63–64Cadillac, Bobbie 250Cajun music 254Calaway, W. R. 294Caldwell-Lyons Phonograph Co. 137
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Subject Index
Calicott, Joe 254California: as hospitable environment
for black entrepreneurs in 1940s 333; race-record labels based in 60, 333
California Ramblers 69 138Calloway, Blanche & her Joy Boys 281Cameo (label) 177, 222Campbell College Quartet 274Campbell, Floyd 180Campbell, Gene 254Campbell, Rev. E. D. 222Cannon, Gus 249; signed away from
Paramount by Victor 187Cannon’s Jug Stompers — see Cannon,
GusCapitol Roll and Record Company 56
(note 44)Cardinal (label) 39, 55 (note 22)Carolina Peanut Boys (pseudo) 184Carr, Dora 159Carr, Leroy 235–236, 237, 287, 304Carson, Fiddlin’ John 169Carter, Alice Leslie 30, 43Carter, Bo 274Carter Family 185Carter, Josephine 31Carter, Leroy 297Carter, Oscar 243Casey, Powell 206Celebrity (label) 321Celestin’s Original Tuxedo Orchestra
178Censorship of lyrics 186Champion (label) 190, 265; revived by
Decca 288Chappelle, Juanita Stinnette and
Thomas 31, 63–64Charles, Harry: and Paramount white
country-music series 191; artists signed by 153; as Paramount talent scout 152, 191; invited to join Q.R.S. staff 212; quoted on use of expense account 153
Charleston Trio (pseudo) 92Charlie’s Rhumboogie Cafe 326–327,
328–330; see also Rhumboogie (label)Chatmon, Harry 297Chatmon, Sam 261C. H. Bourne Recording Company 61Chicago Defender: artist solicitations in
72; jug bands mocked in 142; race record advertising campaigns in 134; slanted reporting by 36, 38, 45
Chicago (label) 329Chicago Music Company 308
Chicago Music Publishing Company 202Chicago Record Company 200–209;
incorporated 201–202; reasons for failure of 210; see also Black Patti
Childs, Virginia 178Choo Choo Jazzers (pseudo) 90, 92Church, Blind Clyde 249Churchill, Savannah 317, 321Clarion (label) 39Clark, Carroll C. 38Classical music: on race record 4–6, 38,
45, 57, 62; recordings of by white artists marketed to black buyers 3
Clayborn, Rev. Edward 181, 229, 232Clay, Sonny’s Plantation Orchestra 163Clef Club Orchestra 62Clifford (Australian label) 273Club Maurice Orchestra 48Cole, James 235, 289Cole, Nat “King” 333Cole-Talbert, Florence 4, 6, 45, 55 (note
33)Coleman, Burl C. “Jaybird” 190, 210Coleman, Ellen 78Coleman, Ruth 72Coliseum (Chicago) 157, 159Collins, Sam 209, 278Columbia (label): combines recording
expeditions with Okeh 249–250, 268–269; discontinues budget-label line 282; limits number of takes in early 1930s 268; Personal Records 6 (note 4); race series discontinued 271, 291; race series introduced 127 ; recording expeditions by 178–179, 180, 249–250, 268–269; see also Columbia Phonograph Company
Columbia Broadcasting System 301Columbia Phonograph Company:
purchased by Consolidated Film Industries 291; purchased by Grigsby-Grunow Co. 271; budget-priced labels produced by 173, 174; operated by American Record Corporation 291; purchases General Phonograph (Okeh) 174; see also Columbia (label)
Columbia Recording Corporation 301Commonwealth Casino (Harlem) 62Compo Company 80–81, 83; kept at
arm’s-length from Ajax 84; New York studio 87
Composer royalties— see Royalties, composer-publisher
Cone, Robert H. 197
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Conqueror (label) 190, 300, 304Consolidated Film Industries 278–279,
291, 301; see also American Record Corporation
Consol idated Talking Machine Company 157, 174, 227; as Okeh distributor 107; Fearn, E. A. and 109, 157; history of 174 (note 5); Okeh race-record artists promoted by 109
Cook, J. Lawrence 70Cooper, Opal 1Copeland, Martha 177Copyrights: Copyright Act of 1911 169,
282; taken by music publishers and talent scouts 169, 202, 316
Cotton Pickers (pseudonym) 77Country music (white) on race records
185Cova Recording Corporation , 216Cox, H. C. 271Cox, Ida 105, 132, 177Craig, Sam 117Creole Cafe (Oakland, California) 60Crippen, Katie 38Criterion Laboratories 39, 69 (note 22)Critona (label) 39Crosby, Bing 286Crown (label) 265, 266, 278 (note 7)Curry, Ben 289Curry, Elder 274Custer, Clay 244–245
D
Dabney, Ford 1, 24Daddy Stovepipe — see Watson, Johnny Dalhart, Vernon 169–170, 205Dallas Jamboree Jug Band 297Dallas String Band 250Daniels, Julius 183, 187Darby, Teddy 276Davenport, Charles (“Cow Cow”) 153,
154, 159, 244Davenport, Jed 254Davis Bible Singers 250Davis, Deacon Leon 160Davis, George Howlett 24Davis, Joe: Ajax records and 83, 84,
85–96; artist contract provisions 70; artist royalties taken by 79; artists managed by 30, 126, 177; as music publisher 70; as talent broker 70–71; Beacon records 316–319; blurring of lines between pop and race material
by 323; Celebrity records 321; earliest involvement with recording industry 70; flat-rate purchase of songs by 70; freelance accompanists employed by 72; partnership with Harry Gennett 321, 323; Pathé records and 73; re-enters recording field (1942) 316; signs former Black Swan artists 52; solicits singers in African-American newspapers 72; Thomas A. Edison, Inc., and 78–79; Triangle Music Publishing Company 70; Varsity masters used by 312
Davis, Louis 254Davis, Rev. Gary 295, 297Davis, Walter 304Day, Ruth (pseudo) 269Day,Texas Bill 250Decca (label): as competitor to Bluebird
285–286; Broadway and Champion revived as subsidiary labels to 288; dispute over pricing levels 285; first race-record releases on 286; race material increasingly urbanized in later 1930s 289; Race Record catalog (1938) 306; recording expeditions 289; studio locations 286; sued for failure to pay artist royalties 305, 307–308
Decca Record Company, Ltd. (London) 285
Delta Twins (pseudo) 297Dempsey-Tunney fight, recorded by
Paramount 154Dennett, Fred 201Dennett, John R. 201Depression, 1930s — see Great DepressionDett, R. Nathaniel 4De Vant, Louise 258–259De Vry Corporation 214De Vry, Herman A. 214Devil’s Son-in-Law — see Wheatstraw,
PeetieDickenson, Rev. Emmett 278Dickerson, Aletha: and Hokum Boys
241; as Mayo Williams’ assistant 201–202; as Paramount recording manager 241; quoted on decline in NYRL’s business 273
Dickerson, Marion L. 17Discs, Inc. 308Dixieland Jug Blowers 172, 179, 183; see
also McDonald, EarlDixie Stomper (pseudo) 174Dixon Brothers Quartet 159Dixon, Calvin (“Black Billy Sunday”) 217
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Subject Index
Dixon, Perry 250, 254, 293–294Dixon, Willie 285Dodds, Baby 104Dodds, Johnny 107, 172, 247Dolceola 228, 22Doolittle, Rev, Mose 222Dorsey, Thomas A. (“Georgia Tom”) 266;
and Famous Hokum Boys 241–242; ARC-group recordings 277; as “father of modern gospel music” 237; as Ma Rainey’s accompanist 237; quoted on source of word “hokum” 241
Dotson, Coley 254Douglass Theater (Macon, Georgia) 122Down South Boys (pseudo) 311Dranes, Arizona 227, 250Dream books, as adjunct to race-record
sale 182, 273Driggs, Frank, on location of Robert
Johnson sessions 302 (note 10)Droop’s Music House (Washington,
D.C.) 217DuBois, W. E. B. 36Duckett, Slim 274Dudley, Roberta 60, 61Dunn, Johnny 29, 127Dupree, Champion Jack 318, 319, 323Durante, Jimmy’s New Orleans Jazz
Band 110Dye, Ivory 183
E
Easton, Amos (“Bumble Bee Slim”) 304Ebony (label) 329–330Echo Records (phantom label) 58Eddie and Sugar Lou’s Hotel Tyler
Orchestra 254Edey, Mait 244Edison (label): blues records on 78–79,
79–80; last recordings by black artists on 257; race records 79; “red-star” labels 79, 81 (note 28); suspends commercial recording activities 257; see also Edison, Thomas A.
Edison, Charles 257Edison, Thomas A.: ignores blues craze
23; quoted on blues singers auditioned by 78–79; racist comments by 78–79; see also Edison (label)
Edmond’s Cellar (Harlem) 39–42Edwards, Flo (pseudo) 206E. E. Forbes Company (Birmingham)
191Electradisk (label) 282
Electric and Musical Industries 271Elgar’s Creole Orchestra 166Ellington, Duke 163–164, 181; first
records by 65; pseudonyms used by 266; releases split between general and race series 164; transferred to Victor race series 247
Elliott, Ernest 90Emerson (label) 24–25, 30, 118–119;
masters used by Blu-Disc 65; race record series 73; recordings used by Black Swan 48
Emerson, Ralph Waldo (organist) 205, 208
Emerson Recording Laboratories 67; see also Emerson (label)
Erickson, Janet 261Estes, Sleepy John 249, 289Europe, James Reese 2–3, 85Evans, Merle 315Excelsior (label) 324, 333Exclusive (label) 324, 333Ezell, Will 153, 246
F
F. W. Boerner Company 273, 275, 279Fairview Jubilee Quartet 278Famous Blue Jay Singers of Birmingham
266, 276–277, 288Famous Hokum Boys 243, 277Fearn, E. A.: as promoter of Okeh race
artists 109, 157; public recording demonstrations staged by 159
Feather, Leonard, quoted on Varsity race records 309
Ferguson, Troy 250Fertington 258Fields, Arthur 69, 72Fifteenth Regiment Blues Contest 43Finnell, Douglas and his Royal Stompers
254Five Harmaniacs 183Five Harmoniques 62Five Red Caps 318, 319Five Soul Stirrers 313Fletcher, John 556 (note 44); and
Fletcher Record Company 45; and Olympic Disc Record Corporation 45; and Operaphone plant 37; files for bankruptcy 50; partnership with Harry Pace 45, 48, 50
Fletcher Record Company: manufactures Black Swan records 45, 48
Flowers, Tiger 220
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Forest, Rev. J. F. 190, 227Four Blackbirds 313Four Toppers 318Four Tunes 321Fowler, Lemuel 70, 78Framer, Eli 249Frazier, Jake 72, 88,91Frederick V. Bowers, Inc. 17Friars Inn (Chicago) 101Frye, Ed — see Moss, Arthur and Ed FryeFuller, Blind Boy — see Allen, Fulton Fuller, Bob 22 (note 32), 72, 89, 91
G
Gant, Cecil 324–325Garland, Hattie 206–207, 207Garnes, Antoinette 4, 45, 55 (note 33)Garnett, Blind Leroy 246Garvey, Marcus 61–62Gate, Rev. James M. 160, 179, 187, 200,
207, 217–221, 232, 250, 284, 304Gaumet Auditorium (Los Angeles) 61G.-B. Record Company 57, 58Gee, Jack 120–121General Electric recording equipment
189–190; see also PallophotophoneGeneral Phonograph Corporation:
history of 9; purchased by Columbia 174; see also Okeh (label)
Gennett (label): artist royalties 189, 194 (note 16), 227; client and subsidiary labels 189, 190, 197–213; closure of commercial recording division 290 (note 15); fees charged for master production 203; first race records 105; Ku Klux Klan records produced by 79, 101; label discontinued 265; ledger sheets 204; masters licensed to other labels 199, 210, 288, 311; Q.R.S. records and 211–212; race records catalogs 188; race records 134–135, 188–189, 189–190; recording expeditions 189–190, 190; rejected masters used by Black Patti 210; revived by Harry Gennett and Joe Davis 321, 322–323; specials 136, 137; studio leased for Paramount sessions 259; studio locations 213, 216 (note 35) ; talent scouts used by 101
Gennett, Fred 103; and Black Patti 201, 210
Gennett, Harry: licenses Gennett masters to Decca 289; partnership with Joe Davis 321–324
Georgia Bill (pseudo) 187, 269Georgia Tom — see Dorsey, Thomas A.Georgia Yellow Hammers 185Gerun, Tom’s Orchestra 254Gibbs, Arthur & his Gang 77Gibson’s New Standard Theater
(Philadelphia) 117Gillum, Bill “Jazz” 281, 303Gilpin, Charles S. 57–58Gilt Edge (label) 324Gitfiddle Jim (pseudo) 287Glenn, Charlie 326Glinn, Lillian 250Glover, Mae 311Gold, Lou & his Orchestra 240Goodman, Benny 281Gover, Emma 70Grainger, Porter 90; and Rainbow
Music Company 65; suspected Grey Gull records by 258–259
Grainger, Sister Ethel 222Gramercy Studio (RCA) 256Grand Theater (Chicago) 129Grant, Willy M. (pseudonym) 51Graves, Roosevelt & Uaroy 266Gray, Charles and his Rhumboogie Five
328Gray, Christina 250Gray, Eddie 49Gray Geneva 160Great Britain, American race recordings
issued in 32, 143Great Depression (1930s): diminished
recording opportunities during 266; effect of on record sales 262, 265; new labels launched during 265; reduced migration of Southern blacks to Northern cities during 265; references to in blues lyrics 270; stock market crash and 262; unemployment rate during 274–275, 304
Greenfield, Elizabeth Taylor 36Grey Gull (label): Handy Music
Company masters possibly used by 59; race series 257–258; suspends recording operations 258, 265
Griffin, John 136Griffin, Tommy 267Grigsby-Grunow Company: purchases
Columbia Phonograph Company 271Gross, Helen 74, 93Grunow, W. C. 271Guardsman (British label) 143Guitar Evangelist, The — see Clayborn,
Edward W.
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Subject Index
Gundy, Rev, A. A. 250Gunter Hotel (San Antonio) 298Gutshall, Jack 333
H
Hadley, Elder J. J. (pseudo) 232Hager, Fred 10, 16Hall, Arthur 69Halligan, Edward 154Hammond, John 244, 281Hampton, Lionel 334Handy Brothers Music Company 58Handy, L. M. 58–59Handy, W. C.; as source of questionable
Bessie Smith “spit” anecdote 43, 118–119; as talent broker 69–70; attitude toward white performers performing his songs 35; Handy Record Company and 59–60; not involved with Black Swan records 35; quoted on racial prejudice in recording industry 9; record production by 58–59
Hannah, George 183Hardge, Johnny (pseudo) 249Hardin, Lil 104; see also Armstrong, Lil
HardinHare, Ernest 70“Harlem Hit Parade” charts (Variety)
318; inclusion of pop white artists in 316; reflect increasing demand for more commercially oriented race records 316; “Rhythm and Blues” replaces “Race Records” in 334
Harlem (label) 329Harlem Hot Chocolates (pseudo) 266Harlem Serenaders (pseudo) 311Harlem Wildcats (pseudo) 311Harmony (label) 173, 174, 282Harreld, Kemper 55 (note 34)Harrington, Ham Tree 77Harris, Alfoncy 294–295Harris, Bethenea 249Harris’ Blues and Jazz Seven 26Harrison, Charles 69Harris, Sister 69, 70Hart, Hattie 249Harvard Radio and Television Shop
(Harlem) 316Hawkins, Coleman 319Hawkins, Erskine 329Hawkins, Walter “Buddy Boy” 154, 192Hayes, Clifford 172; and Louisville Jug
Band 140–141, 142–143, 183Hayes, Roland 3, 8 (note 4)
Haynes, Gace 254Haynes’ Harlem Syncopators 48Heavenly Gospel Singers 304Hegamin, Lucille 24–27, 43, 177; decline
in record sales 27; first records 26; rejected by Victor 23
Hegamin, William 24, 26Heidemann, George H. 197Heineman, Otto 157, 174Heller, Sig 260Henderson, Fletcher 36, 77, 165, 252; and
Triangle Music Publishing Company 70; as accompanist 36, 38, 90; as Black Swan’s musical director 36, 51; auditions Ethel Waters 40–41; first recording session 25; name used to disguise white bands on Black Swan 48; pseudonymous Varsity reissues 309
Henderson, Rosa 72, 74, 77, 79Henderson, Slim 72Henry, Waymon “Sloppy” 159Henton, Laura 254Herwin (label) 197–199; correct starting
date 199; discontinued 200; lack of original recordings on 200; race series 200; master sources 199, 207; trademark revived for LPs 215 (note 14); trademark sold to Wisconsin Chair Company 200
Heywood, Eddie 123Hibbard, Charles 12Hicks, Edna 77, 86 Hicks, Robert (“Barbecue Bob”) 178,
180, 270; use of real name on religious recordings 232
Higgins, Billie 72Hightower, Lottie’s Eudora Night
Hawks 206Hightower, Willie 206Hill, King Solomon 266, 311Hill, Sammy 249Hines, Earl 213, 333Hinton, Jimmy “Skeeter” — see Wilson,
George “ChickenHip-hop 334Hite, Mattie 23, 70, 80–81 (note 4)Hit of the Week (label) 265, 266Hodges, Johnny 249Hogg, Andrew 289Hokum 240–241, 275, 277Hokum Boys 240–241, 275Holland, T. V. 43Holmes, Mrs. Winston, quoted on
decline of race record sales in early 1930s 265
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Holmes, Winston 64–65, 222; see also Meritt (label)
Holy Ghost Sanctified Singers 226Homestead (label) 277Honey Dripper, The — see Sykes,
RooseveltHooper, Louis 72, 89–90Hornsby, Dan, as Columbia talent scout
178, 180Horsley, Gus 58House, Son: declines Paramount
recording offer 274; quoted on Charley Patton 261; quoted on recording religious song with Charley Patton 232
Houston, Ruby 187Howard, Paul 268Howard, Rosetta 289Howell, Joshua Barnes (“Peg Leg”) 178,
180Huey, Richard and the Jubileers 319Hughes, Chief Justice Charles Evan 115
(note 24)Hughes, Revella 38–39Hull, Papa Harvey 207Hunter, Alberta: dissatisfaction with
Black Swan marketing 51; first records by 38; popularity with white audiences 177; recommends King Oliver to Columbia records 102
Hunter, Eddie 78Hurte, Leroy: and Bronze Records 313,
324–325; as record manufacturer 324; see also Bronze (label)
Hyde, Hattie 249I
Imperial (label) 333Imperial Quintet 187Independent Quartet 250Independent Recording Laboratories
86
J
J. & W. Seligman 172Jackson, Bo Weavil 153Jackson, Clayton 101Jackson, Cliff 72; Krazy Kats 258Jackson, Dewey’s Peacock Orchestra
161, 167, 180, 182Jackson, Frankie — see Jaxon, Frankie
“Half Pint”Jackson, Jim 183–184, 187, 247, 254Jackson, Little Joe and his Boys 189
Jackson, Lulu 235Jackson, Mary 70Jackson, Mike 171Jackson [Mississippi] Chamber of
Commerce 273Jackson, Mose (pseudo) 279Jackson, Papa Charlie 137–139, 281, 291Jackson, Sister Odette 222Jackson, Willie 178Jacobs, Sara 297Jaffa, Lewis A. 308James, Corky and his Black Birds
(pseudo) 189James, Skip 275– 276, 289Jaxon, Frankie “Half Pint” 160, 208Jazz Hounds 12, 18–19, 21 (note 9), 29Jazz Information magazine 309, 311, 313,
314Jefferson, Blind Lemon 146, 192, 235;
biography in Paramount Book of Blues 147 ; birthday record 190 ; first recording session 145; religious material recorded by 145, 231; signed by Okeh 192–193; s igned by Paramount 145
Jim Jam (pseudo) 311Joe Brown’s Alabama Band (pseudo) 48Joe Davis (label) 319, 323Johns, Irving 123Johnson, Bert 254Johnson, Bessie 249Johnson, Bessie (pseudo) 48Johnson, Bill 104Johnson, Billiken 250Johnson, Blind Willie 229–230, 231–232,
250Johnson Brothers 185Johnson, Charlie 24, 32 (note 7);
Paradise Orchestra 251–252Johnson, Easy Papa (pseudo) 244Johnson, Edith North 213, 261Johnson, Edmond “Mule” 39–42Johnson, Eldridge R. 167, 172Johnson, J. C. 258–259Johnson, Jack 96Johnson, James P. 30, 78Johnson, James “Stump” 213, 261Johnson, Jesse 243; artists recruited for
Paramount by 261; as first black Paramount talent scout since Mayo Williams’ departure 261
Johnson, Joe “Ziggy” 326Johnson, Lil 304Johnson, Lonnie 160, 235Johnson, Margaret 33 (note 27), 171
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349
Subject Index
Johnson, Mary 287Johnson, Robert 298–299, 300; death of
300; jailed for vagrancy after first recording session 298; place in musical history 300; questionable anecdotes concerning 298; record sales 298–299; recordings reissued on ARC budget labels 299–300, 304
Johnson, Tommy 187, 260Jones, Alberta 200Jones & Collins Astoria Hot Eight 249Jones, Bo 254Jones, Clarence 106Jones, Coley 250Jones, Duke (pseudonym) 70Jones, Jake 254Jones, Maggie 70, 74Jones, Rev. Sam Hall (pseudo) 222Jones, Richard M. 107; as Okeh race-
series manager 114, 157; as Okeh talent scout 227, 250
Jones, Samuel (Stovepipe No. 1) 137Jones, Sissieretta (nee Matilda Sissieretta
Joyner) 202Jones, Willie 235Jordan, Charlie 268Jordan, Genevieve 78Jordan, Luke 185–186Joseph, Edmond 297Jug bands 141, 172, 179, 183, 226, 239,
244, 281, 291, 297Jukeboxes 283, 309, 316, 317
K
Kansas City Blues Strummers 182Kansas City Five 90Kansas Joe — see McCoy, JoeKapp, David 279Kapp, Jack: and creation of Decca
Records 285–286; and Decca recording expeditions 305; as manager of Brunswick-Vocalion race division 161, 167; attempts take-over of Paramount 279; attempts to purchase Columbia Phonograph Company 285; licenses Paramount masters and trademark 279, 288; moves to American Record Corporation 279; resigns from American Record Corporation 291; resigns from Brunswick 286; revives Broadway and Champion labels 288; revives Paramount label 279; signs Brunswick artists for Decca 286
Kapp Music Company 122
Kastel, Phillip 308Kaufman Brothers (Irving and Jack) 72Keith vaudeville circuit 30Kelly, Willie (pseudo) 242, 243, 244Keppard, Freddie 114Kid Stormy Weather (pseudo) 297Kimbrough, Lottie Beaman 64, 254Kimbrough, Sylvester 64, 254King, Edward (“Eddie”) 9–10, 20–21
(note 5), 167, 168King Edward Hotel (Jackson, Mississippi)
274King, Maynard 206King (label) 329Kirk, Andy and his Twelve Clouds of
Joy 254Kirkeby, Wallace Theodore (“Ed”): as
Bluebird manager 283–284; as talent broker 69; discographical data in logs 68 (note 22), 70; first booking of a black singer by 69; studio information in recording logs 54
Klatzko, Bernard 215 (note 14)Kleist, Ed, quoted on 1930s decline of
Paramount production 273Klopp, Walter 258Kramer, Jesse G. 197–199Krueger, Bennie 48Kuehn, Clara 263 (note 15)Ku Klux Klan 235; records produced
for 79, 101
L
Lacey, Rubin 145, 147Ladnier, Tommy 106, 107La France, Paul (pseudo) 279Laibly, Arthur: and alcohol use at
Paramount recording sessions 260; and Paramount country music series 154; as Paramount talent scout and manager,150–151, 273; harassment of Mayo Williams by 151
Landry, Bob, quoted on decline of race record sales in early 1930s 265
Law, Don: and Robert Johnson sessions 300–301; as ARC talent scout 294; confirms Gunter Hotel as site of Robert Johnson sessions 301; takes over supervision of Vocalion-ARC recording expeditions 298
Lawlers, Ernest 297Layer, Clarence and Raymond 197–199Leadbelly —see Ledbetter, Huddie Ledbetter, Huddie (“Leadbelly”) 279
-
Race Records and the American Recording Industry
350
Lee, Bertha 294Leeds Music: sues Oberstein for unpaid
royalties 312Lee, George E.’s Orchestra 65, 254Lee, Julia 254Lee, Ruth 60, 61Leland Hotel (Aurora, Illinois) 305Lenley, Rev. Joe 250Lester, Rev. W. M. 250Levee Syncopators (pseudo) 258Levy, John 313Lewis, Edward R. 285Lewis, Furry 254Lewis, Meade Lux 244Lewis, Noah 249Lewis, Sammie 135“Light Ray” recordings (Brunswick) —
see PallophotophoneLill’s Hot Shots (pseudo) 163Lily, James 107Lincoln Gardens (Chicago) 102Little Georgie Porgie Breakfast Food
Baby of the Air 276Lone Wolf, The — see Woods, Oscar Long, James Baxter: artists discovered
by 295; as Vocalion-ARC talent scout 294–295, 296–297, 338
Louis, Joe 326, 328Lubinsky, Herman 324Lunceford, Jimmie: hired for product
endorsements 307; sues Decca for unpaid royalties 305, 307
Lyles, Aubrey — see Miller, Flournoy and Aubrey Lyles
Lynch Sisters 297Lyon & Healy Building (Chicago) 205Lyric (Australian label) 273
M
Macdonald, Cliff 324, 326Macdonald, John S. 167, 168Macdonough, Harrry (pseudo) 167Maceo, Big 285Mack, Cecil 85magnetic tape recording 334Manhattan Casino 25Manning, Leola B. 254Manor (label) 321Marketing of race records: advertising,
racia l s tereotypes in 16 , 19 ; promotional merchandise 142, 182; contests 129–130, 131, 260, 262, 296; promotional stage shows 109, 157–158; public recording demonstrations 159;
live recording demonstrations 159; stage shows 157
Marne, Geoffrey (pseudo) 309Marsh Laboratories 112, 154, 155Martin, Carl 281Martin, Daisy 30, 31, 43, 70–71, 197Martin, Sara: decline in record sales 177;
first records 31–32; in motion pictures 257–258; Jug Band 140–141; Q.R.S. records 213; use of unconventional accompaniments by 136–138
“Masked Marvel” contest (Paramount) 260, 262
Mason, Rev. Moses 192McCall Building (Memphis) 183McCall, William 326McClennan, Tommy 320McCoy, Charlie 254, 274McCoy, Joe (“Kansas Joe”) 287McCoy, Viola 74, 79, 177McDaniel, Hattie 65McDonald, Earl 266; Original Louisville
Jug Band 179; see also Dixieland Jug Blowers
McGee, Rev. F. W. 222, 247McGhee, Brownie 295McGill, Ella 131McHenry, Norris 289McKee, Margaret 48McKinney’s Cotton Pickers 240, 247,
268McPherson, J. Gordon (“Black Billy
Sunday”) 311McTell, Blind Willie 187, 247, 249–250,
269Mechanical-reproduction rights, control
of by artists’ managers 70, 169; see also Copyrights
Medicine-show entertainers 136–137, 183
Melrose, Lester; and Gennett records 102; as RCA talent scout 283–284, 303; cheating on artist contracts 304; difficulties on Southern scouting trips 320; quoted on obtaining race-record talent 283
Melrose Music Company 110Melrose, Walter; and Gennett records
102; and Jelly Roll Morton 110, 115 (note 23), 171–172
Memphis Auditorium 249Memphis Jazzers (pseudo) 258Memphis Jug Band 183, 187, 249, 268,
281, 291Memphis Minnie 268, 287, 304
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351
Subject Index
Memphis Sanctified Singers 249Memphis Sheiks (pseudo) 184Memphis Strutters (pseudo) 189Meritt (label) 64–65; correct starting
date for 64; loses Rev. Burnett to Columbia 222
Meyers, Hazel 86M-G-M (label) 320Michall, Ernest 210Miles, Josie 41, 43, 51, 79, 90; managed
by Joe Davis 72; replaces Ethel Waters in Black Swan Troubdours 52
Miles, Lizzie 77Miley, Bubber 22 (note 32), 70, 72, 91Miller, Flournoy, and Aubrey Lyles 24Miller, Luella 181, 183Miller, Polk and Old South Quartet 250Miller, Walter 79Mills Brothers 286Mills, Maude 257–258Milton, Rev. J. M. 250Mississippi Jook Band 292Mississippi Moaner (pseudo) 297Mississippi Mudder (pseudo) 287Mississippi Mud Steppers (pseudo) 274Mississippi Sheiks 266, 272, 276, 311;
Champion reissues from Paramount masters 289; dropped by Okeh 276; records issued in white country music series 274; signed by Paramount 276
Mitchell’s Christian Singers 296Mitchell’s Four New Singers 296Modern (label) 333Modern Music Sales 316Moeser, Otto 201, 216; proposes sale of
Paramount to H. C. Speir 273Monogram Theater (Chicago) 106, 129Montgomery, Little Brother 129Montgomery Ward (label) 276, 285, 303;
replaces Broadway as house brand; race records on 303; recordings issued exclusively on 304; regional sales of selected records 304
Moody, Julia 43, 52Moonlight Revelers (pseudo) 258Moore, Alex 289Moore, Johnny’s Three Blazers 329Moore, Kid Prince 289Moore, Monette 72, 87, 93Moore, Philip “Jazz Baby” 183Moore, Whistlin’ Alex 250Moore, William 192Morrison, George 10, 21 (note 7)Morris, Thomas & his Seven Hot Babies
171
Morton, Ferdinand “Jelly Roll”: and Walter Melrose 110, 115 (note 23), 171–172; dropped by Victor 268; early band and solo recordings 110–112; first records by 110; Gennett records 110, 112; Victor records 170, 171–172; Vocalion records 165
Mosley, Rev. W. M. 179, 222, 250Moss, Arthur, and Ed Frye 77Moss, Buddy 297, 304Moten, Bennie’s Kansas City Orchestra
113–114, 177, 268Mount Calvary Church (Atlanta) 217Motion pictures: produced by George
W. Broome 1; race-record artists starring in 255–257
Mud Dauber Joe (pseudo) 287Murphy, Dudley 256Murray, J. W., quoted on broadening
appeal of race records in 1940s 320–321
Music publishers 169, 202, 316; Chicago Music Company 308; Chicago Music Publishing Company 202; Rainbow Music Company 65; Southern Music Publishing Company 169; State Street Music Publishing Company 201, 308; Triangle Music Publishing Company 71
N
Nail, John E. 36Nash, Thomas 83, 84Nathan, Syd 329National Baptist Convention (Chicago)
223National Vaudeville Association 30Naughton, M. 45Negro Musician, The 36–37Nelson, Dave’s Harlem Shots 281Nelson, Richard A. 324Nelson, Romeo 244Nettles, Isaiah 297New Orleans Blues Band (pseudo) New Orleans Jazz Band (pseudo) 309New Orleans Rhythm Kings 101–102New Orleans Strutters (pseudo) 189New York Age, slanted reporting in 43New York Recording Laboratories
(Paramount): closes New York studio 155; decline in production in early 1930s 276; employees terminated 276; first Chicago recording session 105; Grafton, Wisconsin, studio 258–260,
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Race Records and the American Recording Industry
352
276; purchases Black Swan 52–54; see also Paramount (label)
Nichols, Nick 250Nix, Rev. A W. 223, 232Nolan, Dixie (pseudo) 249Noonan, Justice Thomas 307Noone, Jimmie 106, 240Nordskog (label) 59–60Nordskog, Andrae 60Norfolk Jazz Quartet / Norfolk Jubilee
Four 31, 231, 289, 311Norris, Blind 254North, Hattie 254Norwood, Pig 274Nubian Five 69–70Nugrape Twins 179
O
Oak Cliff T-Bone (pseudo) 250Oakley, Giles, quoted on T-Bone Walker
328–329Oberstein, Elliot Everett (Eli): abuse of
artist management contracts by 303; alleged links to jukebox syndicate 309; as Bluebird manager 282–283, 303; denies using Paramount material on Varsity 310–313; publisher royalties not paid by 309; Varsity and Royale records 308–309
O’Bryant, Jimmy 107Oden, Jimmy 311Odessa 254Oertle, Ernie 298–299Okeh (label): as Columbia subsidiary
174; as early leader in race-record field 30–32; combines recording expeditions with Columbia 249–250, 268–269; demoted to budget label 281; discontinued by ARC 291; early history of 9; final race series issues 281; first Chicago recordings 133; first country blues recording 140–142; limits number of takes in early 1930s 268; markets race records across racial lines 134; Okeh Cabaret and Style Show 157; Okeh Race Record Artists Night 158; promotional stage shows 157; race series discontinued 271; recording expeditions 249–250, 268, 269 ; Twelve Room House for the Blues (album) 142
Old Pal Smoke Shop Four 183Old Southern Jug Band (pseudo) 143Oliver, Joe (“King”): and Clarence
Williams 213; Creole Jazz Band 102–103, 108–109; discrepancies in reported Creole Jazz Band recording dates 114 (note 9), 115 (note 19); Dixie Syncopators 161, 174; first records by 102; Gennett recording session described 104; musician salaries skimmed by 109; public appearance described 109; recommended to Columbia by Alberta Hunter 102;
Oliver, Paul 16Olympic (label): recordings by white
artists issued on Black Swan 48; revived by Fletcher Record Company 48
Olympic Disc Record Corporation: plant and studio purchased for Black Swan 45
Operaphone studio and pressing plant 37
Original Dixieland Jazz Band 23–24Original Memphis Five 29–30, 69, 77Ory, Edward “Kid” 60–61, 107, 171–172Otto Heineman Phonograph Supply
Company 9; see also General Phonograph Corporation; Okeh (label)
Oxley, Harold 326
P
Pace & Handy Music Company 35, 70Pace, Harry: 35–53, 54; licenses Black
Swan masters to New York Recording Laboratories 53–54; partnership with John Fletcher 45, 48, 50; pledges to use only black artists 35; terminates Paramount licensing agreement 54; see also Black Swan (label); Pace Phonograph Corporation
Pace Jubilee Singers 206, 207Pace Phonograph Corporation (Black
Swan): alleged white conspiracy against 36–37, 38, 44–45, 49–50; as second black-owned record company 1; bomb scare at pressing plant 49–50; deceptive advertising claims by 42, 46, 47, 50; difficulties in securing manufacturing 37; early investors in 36–37; initial capitalization of 35–36; purchased by New York Recording Laboratories 53–54; reorganized as Black Swan Record Co. 50; sales and profits 45; stock offerings 50; Swanola phonographs 54 (note 3); see also Black Swan (label)
Page, Walter’s Blue Devils 254
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353
Subject Index
Pallophotophone (“Light-Ray”) recording equipment 180, 194 (note 7)
Papa, Frank 70Paramount (label): advertising artwork
recycled by 275–276; alcohol served at recording sessions 260–261; Black Swan reissues on 53–54; decline in production and sales during early 1930s 274, 276; difficulties acquiring and retaining artists in early 1930s 274; distribution problems 271, 273; final race-series recordings 276; first Chicago recording sessions 105; loss of artist to competing labels 187; masters licensed to other labels 26, 200, 212, 266, 273, 288–289, 311; production and sales decline in early 1930s 273; race-record (12000) series introduced 134; recordings issued on Black Swan 48; revived by Jack Kapp and American Record Corporation in 1930s 279; shifts focus from New York to Chicago 133; solicits blues lyrics 189, 190; studio locations — see New York Recording Laboratories; suspends advertising in Chicago Defender 273; trademark and masters licensed by Jack Kapp 279; use of masters from outside sources by 59, 65, 207; Varsity reissues of Paramount recordings 310–313; white country-music series 154, 191, 195 (note 18); see a l so New York Recording Laboratories
Paramount–Black Swan (label) 53–54Paramount Book of Blues 131, 137–138,
147 152Parham, Hartzell Strathdede (“Tiny”)
268Parker, Mel 249Parker, Shorty Bob 289Parlophone (British label), American
blues recordings on 32Pasternack, Josef 78Pathé (label) 1, 69, 70, 73, 219, 222Patton, Charley 259, 261–262; death of
301 (note 1); declines Paramount recording offer 274; discovered by H. C. Speir 261; final recording sessions 294–295; jailed in Mississippi 294; religious material recorded by 232; slurred diction 261
Paul, Les 289Peabody Hotel (Memphis) 254Pearson, William 206
Pebbles, The 180Peer, Ralph 168; and Artophone
Corporation 197; and disagreements with Otto Heineman 157; as Okeh employee 107, 114, 157, 197; as Bluebird artists and repertoire manager 282–283; as music publisher 169; as Victor talent scout 167–168, 169–170, 183; control of copyrights and mechanical-reproduction rights by 169; Okeh sessions supervised by 107; recording expeditions supervised by 185; resigns from RCA Victor 283–284
Pennsylvania Standard Theater (Philadelphia) 43
Perfect (label) 219, 278, 296Perfection piano rolls 24Perkins, Betty 254Perkins, Cora 160Perryman, Rufus (Speckled Red) 246,
303Petrillo, James Caesar, and American
Federation of Musicians’ recording ban 315–318, 321
Phillips, Washington 228–229, 232, 250Phonola (Canadian label) 12; Pinewood Tom (pseudo) 279Pittsburgh Courier 43Plantation Room (New York Winter
Garden) 63Plastics, as replacement for shellac
pressings after World War II 334Plaza Music Company — see Plaza
Music Company–Scranton Record Company labels
Plaza Music Company–Scranton Record Company labels: “control” numbers assigned to masters recorded by 232; masters licensed to other labels 65, 200, 212; race records 221, 222
Pope, Jenny 254Popular and miscellaneous (non-
classical) material on race records 49, 65–66, 77, 143
Portable recording machines 333Powell’s Jazz Monarchs, 160Powers, Ollie 106Price of race records (retail) 281–282;
budget labels 282, 285Price, Sammy and his Four Quarters
254Prigett. L C. 187Prime, Alberta (sic) — see Pryme, AlbertaPrimitive Baptist Choir 278
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Race Records and the American Recording Industry
354
Prohibition, repeal of 283Pruitt Brothers (Miles and Milas) 136Pryme, Alberta 65, 68 (note 26)Pseudonyms — see Artist pseudonyms
on race recordsPuckett, Riley 178Pullum, Joe 304
Q
Q.R.S (label): revived by Cova Recording Corporation in 1930 216 (note 41), 266; original vs. reissued material on 200, 207, 212, 213; discontinued 214; earlier versions of label 211; marketing and distribution problems 214; masters purchased by Paramount 214; produced by Starr Piano Co. (Gennett) 211–213; white country-music series 212; reasons for failure of 214
Queen (label) 329, 331 (note 35)
R
Race-record series, annotated list of 335–336
Race records marketed to white buyers 12–13, 77
“Race Records,” replaced as marketing term by “Rhythm and Blues” 334
Rachel, James (“Yank”) 249Racial integration: in record-company
management 45; during recording sessions 30, 110
Racial prejudice: alleged in relation to Black Swan record 36–37, 43, 44–45; among record dealers 16; Edison, Thomas A., and 78–79; Ku Klux Klan and 79, 101, 235
Racial stereotypes: in race record advertising 16, 19, 93, 94, 120, 160; on records in early 1920s 35, 70; stereotyping of white businessmen by black newspapers 36–37
Racially segregated record catalogs, first use of 30
Radio: broadcasts by race artists 123–124, 254, 266, 321; role in promoting race record artists 321; station WCB (Atlanta, Georgia) 123; station WHAS (Louisville, Kentucky) 266; station WHOM (Jersey City, New Jersey) 321; station WMC (Memphis, Tennessee) 124; station WNOX (Knoxville, Tennessee) 254; station WPAT
(Patterson, New Jersey) 321Radio Corporation of America: early
budget labels produced by 276, 281–282; purchases Victor Talking Machine Company 247; see also Bluebird (label), Victor ( label) ; moves Chicago recording operation to avoid paying union scale 305; Photophone equipment 213, 261 (note 35)
Rainbow Music Company 65Rainbow Record Shop (Harlem) 323;Rainey, Gertrude Pridgett (“Ma”)
129–132; decline in record sales in later 1920s 177; influence on Bessie Smith 117; “Mystery Record” contest 131; signed by Paramount 129; touring by 129, 136
Ramey, Ben 183Ransom, Rev. William 183Reavis, Hattie King 45Record Artists Music Company 308Record catalogs, first racial segregation
in 30Record sales and pressing statistics:
anecdotal reports 16, 21–22 (note 24); decline in during early Depression years 265, 268; inflation of by modern writers 16; “million-seller” myths in pop-culture writing 22 (note 24); quantities pressed 180; sales rebound in late 1930s 303; Victor records 185, 187, 262, 265, 268, 280 (note 9)
Record Syndicate Trust 312Recording expeditions: as strategy to
avoid paying union scale 305; decrease in frequency of during early 1940s 305; during early Depression years 268; to Atlanta, Georgia 159–160, 178, 179–180, 183, 187, 249, 268, 269; to Augusta, Georgia 298; to Birmingham, Alabama 189–190, 190; to Charlotte, North Carolina 185, 187, 268, 289; to Cincinnati, Ohio 268; to Dallas, Texas 249, 250, 254, 268, 289, 297, 300; to Fort Worth, Texas 293–294, 298; to Hattiesburg, Mississippi 298; to Indianapolis, Indiana 235; to Jackson, Mississippi 268, 269, 274, 297; to Johnson City, Tennessee 250, 268; to Kansas City, Missouri 254, 268; to Knoxville, Tennessee 254, 268; to Louisville, Kentucky 268; to Memphis, Tennessee 183, 187, 249, 254, 268; to New Orleans, Louisiana 178, 184, 249, 250, 254, 289; to Richmond, Virginia
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355
Subject Index
249–250, 268; to San Antonio, Texas 249, 250, 254, 268, 293–294, 297, 298; to Savannah, Georgia 187; to Shreveport, Louisiana 268; to St. Louis, Missouri 159, 167, 180, 182–183, 293–294; see also by label name
Red Hot Old Mose (pseudo) 192Red Star Films 257–258Reed, Long Cleve and his Down Home
Boys 207Reed, Willie 250Reeves, Reuben & his River Boys 253Rega, H. Wallace (pseudo) 21 (note 9)Rega, Milo (pseudo) 21 (note 9)Rega Orchestra 10, 11–12Regis (label) 321Reiner, Paul and Lillian 323Religious material on race records
217–232; first issued recording by black preacher 217; recorded by blues artists 145, 231, 232; secular material recorded by religious artists 229–230, 231, 232
Remington, Philo 37Reneau, George 78Rene, Leon 324, 333Rene, Otis 324, 333Rey, Charles 250Reynolds, Alberta 244Reynolds, Patrick “Flash” 313Rhinehart, Mack 297Rhumboogie (label) 326–328; see also
Charlie’s Rhumboogie Café“Rhythm and Blues” substituted as
marketing term for “Race Records” 334Rialto Music Shop (Chicago) 111, 273Richardson, Mabel 171Ricketts, Robert 65Rico Phonograph Company 57Rico, Pureza 57Ringling Brothers–Barnum and Bailey
Circus Band 315Robbins, Robert 136Robechaux, Joseph’s New Orleans
Rhythm Boys 289Roberts, Elder Tarleton 249Roberts, H. T. 258Robeson, Paul: as Black Swan salesman
44; first records by 66–67; records promoted to counter Rev. Gates 217
Robinson, Alex 241Robinson, Banjo Ikey 253Rock ’n’ roll 334Rockwell, Tommy 188Rodeheaver Laboratories 147
Rodemich, Gene’s Orchestra 180Rodgers, Gene 319Rodgers, Jimmie 185, 249Roger William Baptist Church
(Birmingham, Alabama) 190Roland, Walter 279, 294Roosevelt, James 115 (note 24)Rose, Herman 69–70Rosenman, Justice Samuel 308Ross De Luxe Syncopators 187Royale (label) 308Royalties, artist: failure of record
companies to pay 189, 305, 308; flat-rate payments in lieu of 70; raised in response to introduction of Varsity 309; taken by music publishers and talent brokers 70, 79
Royalties, composer-publisher: failure of record companies to pay 312; mandated by Copyright Act of 1911 169, 282; reduced by publishers for Bluebird 282; taken by music publishers 70, 79, 169, 202, 316; taken by talent brokers 79
Rural influences in “classic” blues recordings 136–138
Russell, Luis 165, 165, 240
S
Sack Amusement Enterprises 256Sally Sad (pseudo) 311Salty Dog Sam (pseudo) 278Sampson, Deryck 319Sampson, Sammy (pseudo) 277Samuels, Joseph 19–20, 31Sanders, Elder Oscar 293–294Sanders, Sister Sallie 179Sane, Dan 191Sarah and her Milk Bull (pseudo) 297Satherley, Arthur: and Q.R.S. records
212–213; as American Record Corporation manager 214, 241–242, 276, 294, 298; and Paramount race record advertising 134; as CBS race- and country-music division manager 301; quoted on failure of Q.R.S. records 214; quoted on preparing congregations for recording 226; resigns from Paramount 212
Saunders, Gertrude 24, 78Savoy (label) 323–324Savoy Bearcats 171, 172Schiele, Herbert and Edwin 197–199Schneider, Sam 323
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Race Records and the American Recording Industry
356
Schriber, Les, Sr. 323Schuller, Gunther 16, 172Schultz, Alfred 261Scott, Effie 254Scott, James 114Scranton Button Company 309; see also
Plaza Music Company–Scranton Button Company labels
Scruggs, Irene 249Sear, Roebuck & Company: budget
labels marketed by 190, 300, 304; commissioned recordings reissued on Black Patti 208
Secular material recorded by religious artists 229–230, 231, 232
See Bee (label) 61–62Selvin, Ben’s Orchestra 22 (note 24)Senior Chapel Quartette 254Senter, Boyd 112, 115 (note 28)Settles, Rosetta 244Seventh Day Adventists’ Choir 179Sexually suggestive lyrics on race
records 237, 241, 321Shade, Will 183Shanks, Charlie 79Shapiro, Bernstein & Company 17Shavers, Charlie 289Shaw, Joel & his Orchestra 311Shelby Gospel Four 289Shepard, Ollie 308Sherman Club Orchestra (pseudo) 189Shilkret, Nathaniel 92, 167, 168–169Shumaker, Edward E. 168Siegel, Herman “Hy” 323Silver Echo Quartet 321Silvertone (label) 143, 190, 205Simeon, Omar 171Singing evangelists 227–228Sissle, Noble 23–24, 25, 77, 78Skiffle bands 183, 213Skillet Dick and his Frying Pans
(pseudo) 289Skylight Singers 321Smith, Bessie 117–125, 255, 256; early
recording company audit ions (anecdotal) 43, 117–118; broadcasting by 123–124; Edison’s opinion of 79; first issued recordings 118–119; last recordings by 281; personality 117; revival of interest in following movie appearance 257; questionable “spitting” anecdote 118; touring by 121–122
Smith, Chris 85, 87Smith, Cladys “Jabbo” 251, 253
Smith, Clara (Black Patti artist) 208Smith, Clara (Columbia artist) 124, 125;
decline in record sales in later 1920s 177, 257; not same singer as Black Patti’s Clara Smith 208; recording contract secured by Joe Davis 72
Smith, Clarence “Pine Top” 244–245, 247
Smith, Ellis 250Smith, Ethel 311Smith, Ivy 311Smith, Leroy & his Orchestra 65Smith, Mamie 9–20; Ajax records 93–94,
96, 99 (note 18); and her All Star Revue 17; and Perry Bradford 9–10, 12, 17–18; decline in record sales 20, 29; first recording session 10; motion pictures featuring 257–258; Okeh records 10–20; Victor records 23, 177; rejected by Victor 23
Smith, Rev. Utah 321Smith, Susie (pseudo) 87, 93Smith, Trixie 43, 52, 177Smolev, Marvin 258Snapp, Troy Calvin 210Snapps’ Ginger Snaps 210Snowden, Elmer 72, 88–89, 91Snow, Hattie 311Son Joe (pseudo) 297Sooy, Raymond 268Soul music 334Soule, Gordon 189, 213Southern Music Publishing Company
169Southern Records (label) 329–330Southern Wonder Quartet 312Spand, Charlie 246Spartanburg Famous Four 289Spears, Blossom (pseudo) 206Specialty (label) 333Speckled Red — see Perryman, RufusSpeir, Henry C. 274; and difficulties
obtaining Paramount records 271; artists referred to record companies by 187, 298–299; as American Record Corporation talent scout 294; as consultant on Paramount’s Grafton studio 259; as Okeh talent scout 188, 250, 274; as Paramount talent scout 151, 191, 261; as Victor talent scout 187; as Vocalion-ARC talent scout 297; commissions received by 261; quoted on Arthur Laibly 151; proposed sale of Paramount to 273; shares supervision of Jackson,
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357
Subject Index
Mississippi, session with Polk Brockman 274
Speyer & Company 172Spikes Brothers & Carter 59Spikes Brothers (John & Benjamin
“Reb”) 59–60Spivey, Victoria 30, 160, 200, 257, 269Spottswood, Dick 280 (note 9)Spring, Jimmy 318Stafford, Mary 24Standard Amusement Company 17Standard Music Roll Company 24Starr Piano Company — see Gennett
(label)State Street Boys 281State Street Music Publishing Company
201, 308State Street Ramblers 288–289St. Cyr, Johnny 171Steele, Blue and his Orchestra 187Steiner, John 279Stevens, E. F. , 285Stewart, Rex 72Stewart, Sammy 106Still, William Grant: as arranger for
Black Swan 36; as Black Swan house conductor 51; pseudonym use by 51
St. James Hotel (Knoxville, Tennesse) 254
St. Louis Johnny (pseudo) 288St. Louis Levee Band 160St. Louis Music (Publishing) Company
197, 200, 271St. Mark’s Chanters 178Stokes, Frank 187, 191, 249Stoneman, Ernest 185Stovepipe No. 1 — see Jones, SamuelStreet entertainers 185, 229–230Street-vendor shouts 192Sullivan, Maxine 319Summit (Australian label) 273Summit-Cherry Markets 16–19Sun (Canadian label) 13, 83Sunrise (label) 282Sunshine (label) 59–60, 61Superior (label) 265Supertone (label) 236Supper, M. A., negotiates sale of Black
Swan to Paramount 53–54Swanola phonographs 54 (note 3)Sweatman, Wilbur 1, 70, 258–259Swift, Sammy’s Jazz Band (pseudo) 48Sykes, Roosevelt 242–243; as part-time
Decca talent scout 288Synco Jazz Band 20
T
Taggart, Blind Joe 181, 229, 232, 287Talent scouts and brokers: annotated list
of 337–338; packaging of singers, accompanists, and songs by 70–71; control of copyrights and mechanical-reproduction rights by 169; expense accounts 169; see also Allen, Fulton; Ashford, R. T.; Bradford, Perry; Brockman, Polk; Calaway, W. R.; Charles, Harry; Davis, Joe; Hornsby, Dan; Johnson, Jessee; Jones, Richard M.; Kapp, David; Kapp, Jack; Laibly, Arthur; Law, Don; Long, James Baxter; Melrose, Lester; Peer, Ralph; Rey, Charles; Satherley, Arthur; Speir, Henry C.; Sykes, Roosevelt; Walker, Frank; Wiggins, Fred; Williams, Clarence; Williams, Mayo
Tampa Blue Jazz Band 20Tampa Red — see Whittaker [Woodbridge],
HudsonTanner, Gid’s Skillet Lickers 178Tapp, Ferman 210Tarpley, Sam 311Taskiana Four 171, 304Tate, Erskine 26, 107, 113, 108–109,
112–113, 162, 165Taylor, Eva 257Taylor, Montana 245Taylor, Walter 311Temple, Johnnie 289, 304Temple, William H. 201Tenneva Ramblers 185Terry, Sonny 295Texas Blues Destroyers 91Texas Jubilee Singers 233 (note 13)Theater Owners’ Booking Association
31, 105, 139, 255Them Birmingham Night Owls (pseudo) Thomas, Walter 319Three Black Diamonds (pseudo) 92Three Gospel Tones 313Three Happy Darkies (pseudo) 92Three Hot Eskimos (pseudo) 92Three Jolly Miners (pseudo) 92Threlkeld, Bruford (“Whistler”) 142–144Thurston, Zora Neale 319Timely Tunes (label) 281–282T.O.B.A. — see Theater Owners’ Booking
AssociationTomlin, Rev. H. R. 222Tremblay & Germain 84Trent, Jo 65
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Triangle Harmony Boys 189Triangle Music Publishing Company
70–71Troy, Henry 85Tucker, Bessie 249Tucker, Ragtime Billy 61Turner, B. K. 289Turner, Lavinia 24, 30Turpin, C. Udell 44Tuskegee Institute 189Tyndall, Kline 215 (note 11)
U
Ultraphon (German label) 309Underwood, Sugar 187Unemployment — see Great DepressionU.N.I.A. — see Universal Negro
Improvement AssociationUnited States Record Corporation:
bankruptcy 312; chartered 308; sued for unpaid publisher royalties 312; see also Oberstein, Eli; Varsity (label)
Universal Negro Improvement Association 61–62
University of Louisville 333University of Wisconsin at Madison 258Up-to-Date (label) 67U . S . D e p a r t m e n t o f C o m m e rc e
publication board 334U.S. War Production Board 315Utica Jubilee Singers 297
V
Valentine, Syd’s Patent Leather Kids 289
Van Eps, Fred’s Quartet 48Variety, negative reviews of race records
in 320, 321Varsity (label) 308–311; discontinued
312; dubbed masters used on 309, 311, 314 (note 22); masters acquired by Record Syndicate Trust 312; promoted for jukebox use 309; prospectus 309–310; pseudonymous reissues of Gennett and Paramount material on 309; remaindered 312
Vassar, Callie 135Vendome Music Shop (Chicago) 26Vendome Theater (Chicago) 26Victor (label): advertising in black
periodicals 78; auditions and rejects black performers in early 1920s 9–10, 23–24; Blues and Rhythm” series 334;
early race-record issues (1923) 76, 77–78; first country-blues record 183, 194 (note 8); ignores blues craze 23; limits number of takes in early 1930s 268; race-record series 247–248, 267–268, 282; record sales 167, 172, 265, 303, 304; recording expeditions 187, 249, 268, 305; recordings reissued on budget labels 282; signs artists away from competing labels 187, 222; see also Bluebird (label); Radio Corporation of America; Victor Talking Machine Company
Victor Talking Machine Company: recording expeditions by 183; assigns mechanical-reproduction royalties to Ralph Peer 169; management changes in 1920s 167, 168; purchased by Radio Corporation of America 247; purchased by Speyer & Company and J. & W. Seligman 172; see also Victor (label)
Vincent, Walter (sic) — see Vinson, WalterVincson, Walter (sic) — see Vinson, WalterVinson, Walter 254, 274, 289, 297Vitaphone films — see Warner BrothersVocalion (label): as American Record
Corporation’s primary race label 291; as Brunswick race-series label 143, 161; celebrates race series’ first anniversary 181; first race series (1923) 74; first recording sessions 7–8 (note 6); masters reissued on ARC labels 235; masters transferred to Brunswick 167; recording expeditions 180, 182–183, 254, 268; rights revert to Warner Brothers 302; suspends recording expeditions (1930) 267; see also Brunswick (label)
Voynow, Richard, as Brunswick-Vocalion recording manager 254
W
Walker, Frank 126–127; as Bessie Smith’s manager 119–121; as Columbia race-series manager 127; as RCA race-series manager 320; quoted on Columbia recording expeditions 177; quoted on preparing artists to record 177; rejects King Oliver’s Creole Jazz Band for Columbia 102
Walker, T-Bone 326, 327; first records by 250; performance style 328–329
Wallace, Minnie 249, 297
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Subject Index
Wallace, Wesley 246Waller, Thomas (“Fats”) 172, 247, 268,
317Walsh, Arthur, quoted on Edison blues
records 79Walton, Lester 43Ward, H. E. 271Wardlow, Gayle Dean 155; quoted on
Robert Johnson 298Warner Brothers Pictures: Brunswick
and Vocalion rights revert to 302; purchases Brunswick-Vocalion division 262, 268; sells Brunswick-Vocalion division to American Record Corporation 278; race-record artists used in motion pictures by 257
Washboard Sam — see Brown, Robert Washington, Booker T. 4–5, 7 (note 11)Washington, E. Davidson 5Washington, George (“Bull City Red”)
295, 297Washingtonians (pseudo) 65Washington, Lizzie 200Washington, Sister Ernestine 321Waters, Ethel 39–42, 50, 51–52; Black
Swan recording contract provisions 41; Columbia releases split between general and race catalogs 127, 257; Edison’s opinion of 79; first records by 39; performance of “legitimate” material by 41; popularity with white audiences 177; recording pay rates 40–41; tours for Black Swan 43, 51; motion pictures by 257–258
Waters, Ethel’s Jazz Masters, as pseudonym for white bands 48
Watson, El 185Watson, Johnny (“Daddy Stovepipe”)
137, 190Watson, Sarah 137Weaver, Fred 67Weaver, Sylvester 136–138Webster Hotel (Chicago) 172–173Weems, Rev. T. E. 222Weiss, Irving’s Ritz-Carlton Orchestra
48Weldon, Will 183Welk, Lawrence 276Wells, Tudie 73Western Electric recording equipment
174Wheatstraw, Peetie 287–288Wheat Street Female Quartet 160Whistler’s Jug Band 143Whistlin’ Pete (pseudo) 190
White, Baxter 180White, Bob’s Syncopators 123White, Booker T. Washington (“Bukka”)
(pseudo) 262, 297White, Clarence Cameon 4, 6White country music: Victor V-40000
series 247; on race records 137; race records issued in white country-music series 235
White, Georgia 289White, Joshua 278–279, 292Whiteman, Paul 22 (note 24), 77White performers and pop material on
race records 65; 77, 210; race material covered by 138, 240
White, Walter T. 62Whitman Sisters 210, 212Whittaker [Woodbridge], Hudson
(“Tampa Red”): and American Record Corporation 283; and Hokum Boys 241; and Thomas Dorsey (“Georgia Tom”) 240–241; expands repertoire in 1930s 283; hosts musicians at his home in Chicago 285
Whitter, Henry 169Wholesale Musical Supply Company 197Whyte, Zack’s Chocolate Beau
Brummels 311Wickemeyer, E. C. A. (“Eck”) 101, 104Wiedeoft, Rudy’s Californians 48Wiedoeft, Herb’s Orchestra 180Wiggins, Fred 101, 103Wilkins, Robert 254, 297Wilkins, Tim (pseudo) 297Williams, Aleta 201Williams, Bert 1, 36, 42–43, 85, 217Williams, Clarence 70, 257, 258–259,
268, 286; as Bessie Smith’s manager 118–119; as Okeh race-record division manager 31, 107; as Okeh race-series manager and talent scout 30–31; as Okeh talent scout 30, 31
Williams, Cordy’s Jazz Masters 41Williams, Douglas’ Orchestra 249Williams, Fess 163, 165, 181, 268Williams, J. Mayo: and Chicago Music
Publishing Company 202; and Chicago Record Company (Black Patti) 201–202, 210, 212; and Ebony records 329; and New York Recording Laboratories (Paramount) 151, 155, 190–191, 211; and State Street Music Publishing Company 201; artist management contracts used by 202, 287, 308; as Brunswick-Vocalion race
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division manager 211, 237, 287; as Decca race-division manager 286, 287, 289, 329; as independent producer (1945) 329–330; death of 330; opinion of country-blues singers 191–192, 201–202; quoted on Arthur Laibly 151; quoted on Black Patti records 201, 205; quoted on Monogram Theater 106
Williams, Jabo , 276Williams, Joe 254Williams, John’s Memphis Stompers
206, 254Williams, Len 31, 231Williams, Leona 29Williams, Mayo — see Williams, J. MayoWilliams’ Memphis Sanctified Singers
226Williams, Millie 201Williamson, Charlie 183Williams, Spencer 26, 70Willing Four, The 321Willis, Mary (pseudo) 269Willis, Ruth 269Wilson, Edith 17–19, 28–29, 127Wilson, George “Chicken,” and Jimmy
“Skeeter” Hinton 213Wilson, Lena 43, 52, 58, 69–70, 77Wilson, Leola B. , 151Wilson’s Broadway Orchestra 62Wilson, Sunny 207
Winters, Katie 206Wisconsin Chair Company — see New
York Recording LaboratoriesWisconsin Roof (Milwaukee) 166Wiseman’s Bethel Jubilee Quartet 78Woods, Oscar 289Woolworth dime-stores 282Works Progress Administration’s
Federal Theater project 320World War II: increase in independent
producers following 334; record scrap drives 315; shellac rationing during 315; shellac substitutes developed following 334; transitions in recording industry following 333
Worrell, Rev. S. J. (“Steamboat Bill”) 181, 223–224
W. T. Grant dime-stores 24
Y
Yates, Blind Richard 207Yates, Harold 278, 291Yerkes, Harry 48Young, Bernie 106
Z
Ziegfeld’s “Midnight Frolic” 1Zion, Illinois: campaign to abolish jazz
records in 20
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Subject Index
About the Author
Allan Sutton is the recipient of the Association for Recorded Sound Collections’ 2013 Lifetime Achievement Award, and is the author of numerous books on the historic American recording industry, including American Record Labels and Companies: An Encyclopedia, 1891–1943; A Phonograph in Every Home; Recording the ’Twenties; Recording the ’Thirties; and multiple editions of Pseudonyms on American Records. A native of Baltimore and graduate of Towson University, he lives in Colorado with his wife Jill and golden retrievers Carrie and Rocky.
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