[78-L] Reissue 78's...

[simmonssomer]

There's an outfit in France which issues a hell of a lot of the complete 
recorded outputs of\
certain star musicians and jazz and dance bands who and which recorded for 
all the pre-WW II American labels.
(and some French)
They've sourced  much of their CD reissue material from 78's borrowed from 
collectors on 78's, CD's or tape.
Are they legitimate.? I can't say but I do know that they do not go to the 
record companies but do approach
collectors for rare material . They don't pay them for that as far as I 
know.

Al Simmons

----- Original Message ----- 
From: "Michael Biel" <mbiel at mbiel.com>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Saturday, November 13, 2010 9:13 PM
Subject: Re: [78-L] Reissue 78's...


>
>
> On 11/13/2010 7:30 PM, Steven wrote:
>>> it was my apparent
>>> incorrect reference...! Nevertheless, ARC continued at least until early
>>> 1939...and its "corporate descendant" (whomever that was...?!) owned
>>> the rights to virtually all of the pre-WWII recordings!
>
> Not really, Victor's holdings far exceeded ARC and Columbia.
>
>>> Also, the "legitimate" record industry had been doing little in the way 
>>> of
>>> reissuing noted jazz sides (and NOTHING for other music genres) prior
>>> to 1949;
>
> NOT TRUE.  Columbia had a whole series of jazz reissue albums, and both
> Victor and Decca were doing a lot of jazz reissue albums and singles.
> There were well over 50 reissue albums put out by the majors in the 40s,
> and they were starting to put them onto LPs in 1949 and 50.  As for the
> other music genres, what do you consider the gold label Victor Heritage
> Series of acoustical opera recordings.  Many of the classic electrical
> classical records were still in print and didn't need reissuing.
>
>>> my idea is that the appearance of "pirate" reissues forced
>>> them to realize there WAS a market for such records...?!
>>> Steven C. Barr
>
> That might be your idea, but that was not the truth as far as 1950 was
> concerned.  That IS the case in the 1930s, when they finally turned down
> a request for licensing (in 1939 or 40) by saying that they are going to
> start doing it themselves and they hired George Avakian and several
> other jazz record experts to find things of interest in their vaults.
>
> From: David Lennick <dlennick at sympatico.ca>
>> Note that no one has referred to the ;ate 40s 78 pirate reissues on 
>> Temple,
>> Sentry, British Jazz Society (or some such similar name).
>
> You didn't mention Jazz Panarama, Jazz Classics, Viking, EMM ESS, ZEE
> GEE, Jazz Time, Circle, Special Edition, Biltmore, Paradox, Swing
> Society, Rampart, Mouldie Fygge, Castle, Ragtime Jazzdisc, Kornet,
> Clambake, Jump, Jazz Record Corner, New Orleans, Shrdlu, Asterdisk,
> Decatur, BRS, Knickerbocker, Jazz Record, Century, Vinylite Jazz
> Reissue, and several others I see discussed but might not have been
> doing unauthorized reissues.  I don't have Geoffrey's books here or else
> I could probably name a bunch of other labels of that era.
>
>> Interesting dubs on those labels and some of them weren't half bad 
>> transfers.
>
> Many of them advertised that they were using or looking for new
> condition originals to dub from.
>
>> And some of them were atrocious, like Zulu's Ball.
>
> The ad on page 3 of the January 1950 Record Changer announcing the issue
> of this record says:
> "It is with a great deal of pride that Biltmore Records Announces To The
> Jazz Collecting World The release of the rarest of all Collectors Items.
> Biltmore 1028 King Oliver's Creole Jazz Band playing ZULU'S BALL /
> WORKINGMAN BLUES.
>
> "Here at last, for all to hear, is the almost legendary missing record
> from the great series of New Orleans classics waxed in 1923 by the
> greatest jazz band in history.  You've heard about it for years, but now
> you can hear it for yourself.  Contrary to our stated policy of
> releasing only from mint copies this record was pressed from a poor copy
> when dubbed.  But the music is clearly audible and in as much as another
> copy is not likely to show up we felt that this at least was better than
> nothing."
>
>> Mae West's "My Old Flame" turned up on two of these labels.
>
> Biltmore was doing some Fred Astaire, Ginger Rogers, Marlene Deitrich,
> Helen Morgan and Gertrude Niesen in late 1951 just before the end came.
>
> Mike Biel  mbiel at mbiel.com
>
>
>
>
>
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