[78-L] Record Stores

[Cary Ginell]

And I'm doing a talk at ARSC in May on The Record Changer, which triggered the whole pirating mess in the early '50s that led directly to the formation of the X and Riverside labels. I have just about every issue and I know exactly where they all are.

Cary Ginell

> Date: Thu, 11 Feb 2010 20:37:30 -0500
> From: mbiel at mbiel.com
> To: 78-l at klickitat.78online.com
> Subject: Re: [78-L] Record Stores
> 
> :From: "Michael Biel" <mbiel at mbiel.com>
> >>  Of course 
> >> HRS, IRCC, UHCA and others was a legit means to get rare records 
> >> repressed for sale, and this is noted as showing the companies that 
> >> there was a market for re-pressings, 
> >>
> >>     
> Steven C. Barr wrote
> > These "pirate" re-issues generated a lot of controversy in the forties!
> >   
> 
> WRONG!  You are talking about an entirely different sort of thing.  
> These were AUTHORIZED licensed and contractually paid for pressings.  
> What you are discussing were things like Jolly Roger, Biltmore, Hot Jazz 
> Club of America (HJCA) (not to be confused with United Hot Clubs of 
> America (UHCA)), Blue Ace, Jay, Gee Gee, Vinylite Jazz Reissues, and a 
> bunch of others.  The ones I mentioned were legit -- International 
> Record Collectors Club (IRCC), Historic Record Society (HRS) were 
> classical/operatic, and UHCA was Milt Gabler at Commodore.  Be more 
> careful of what you accuse.
> > Technically, of course, they were illegal in virtually all the states (this
> > was only partially dealt with in more recent copyright laws covering
> > sound recordings) 
> 
> Not the ones I mentioned.  Those were totally legal everywhere.
> 
> > I had, and THINK I still have, a complete set of
> > Record Changer magazines...and there wasa LOT of discussion about
> > such issues (and the dearth of legal reissues of great jazz performances
> > as well...!). The eventual result was that the record companies finally
> > realized they were "sitting on a gold mine" and started reissuing jazz
> > rarities...often in album-set form...!
> >
> > Steven C. Barr
> 
> The result of the legal labels in the 30s was George Avakian hired at 
> Columbia and Milt Gabler at Decca.  After the illegal pirates in the 
> post war years were shut down, the result was Riverside Records, 
> X-Label, and reissued by Orren Keepnews on these labels.  Geoffrey has 
> written a book on the jazz labels, and Tom Peel and John Stratton has 
> written a book about the legal classical operatic labels.  Theres 
> another book about Eddie Smith I don't have yet.
> 
> Mike Biel  mbiel at mbiel.com
> 
> 
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