[78-L] James Reese Europe "Hellfighters"

[bruce78rpm at comcast.net]

----- Original Message ----- 
From: "David Lennick" <dlennick at sympatico.ca> 
To: "78-L Mail List" <78-l at klickitat.78online.com> 
Sent: Sunday, October 11, 2009 5:57:17 PM GMT -05:00 US/Canada Eastern 
Subject: Re: [78-L] James Reese Europe "Hellfighters" 

This will depend to a large extent on what key you hear in each version. There 
are certain keys that are impossible for brass instruments. And at this point 
I'll step back and let people who know what they are take over. 

dl 


Jeff Sultanof wrote: 
> I am starting a brand new project that will probably take a little while, 
> and I want to get off on a good start. So I am getting information from the 
> one group that can really help. 
> 
> The project involves transcribing, arranging and adapting music for concert 
> band from the era 1840-1920, much of which has not been available in many 
> years. Such names as Francis Johnson, Arthur Pryor, Ford Dabney and James 
> Reese Europe are involved. The sources will be recordings, old sheet music 
> (usually piano arrangements), and old instrumental arrangements (which would 
> need to be adapted for modern instrumentation). I will probably arrange 
> these for concert orchestra as well. I have a publisher for all of this, the 
> same one publishing my historical big band scores. 
> 
> The issue involves the Hellfighters recordings. As we all know, they were 
> recorded by the infamous Pathe label. As we also know, all 24 recordings 
> were reissued in two separate CD editions. The approach to remastering was 
> totally different for each set, and this raises a particular problem with 
> regard to two of the sides which were reissued on the Actuelle label 
> (according to Rust): That Moaning Trombone and Memphis Blues. Both of the 
> sides on the Memphis Archives set sounds rather frantic; the IAJRC set 
> reissues these sides at a slower speed, changing the key of both pieces. 
> 
> This brings up a series of questions, since both sets were remastered by 
> people whom I consider authorities: Brad Kay and John R.T. Davies. At what 
> speed were these recorded at? What is the 'normal' playback speed of Pathe 
> vertical cut discs? Was there a difference in speed for Actuelles? Assuming 
> the Actuelles were dubbed from a Pathe and not the large master cylinder, 
> would that account for the difference in speed, or did John R.T. think as I 
> did that the Pathe's sound frantic and were recorded at a slower speed? 
> 
> I realize that many of these questions may have been answered in different 
> contexts in books and articles, but anything anyone knows or is aware of 
> would be helpful. It has been suggested that I contact Maurice Peress about 
> this since he re-created the Europe Carnegie concerts, but Mr. Peress tends 
> to be territorial and considers Europe his turf, an attitude I've 
> encountered repeatedly with regard to George Gershwin and Gil Evans (as if 
> people 'own' this music), so I am coming to you first. 
> 
> Thanks in advance, 
> Jeff Sultanof 
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