[78-L] Columbia & Gennett - was: Triangle 11290

David Lennick dlennick at sympatico.ca.invalid
Wed Sep 6 12:16:57 PDT 2017

Simple..educational recordings were played on wind-ups and who'd really care? 
It would be Ginn keeping them in print until they were re-recorded (if they were).


On 9/6/2017 2:17 PM, Rodger J. Holtin wrote:
> Help me understand why in the name of Electrobeamic Vival-Tonalism why
> Columbia - or anyone else - would continue to press acoustic masters,
> especially of classical music, once the electrics came along; particularly
> masters from a second-string outfit like Gennett.
> There's gotta be a good story here somewhere.
> On Thu, Aug 31, 2017 at 10:19 PM, David Lennick <
> dlennick at sympatico.ca.invalid> wrote:
>> The only connection I can think of between Gennett and Columbia is the Ginn
>> Music Appreciation Series. Gennett did the acoustical original recordings
>> and
>> Columbia did the electricals, but Columbia re-pressed Gennetts that were
>> still
>> being kept in print.
>> dl
>> On 8/31/2017 11:16 PM, Mark Bardenwerper wrote:
>>> On 8/31/2017 11:52 AM, Malcolm wrote:
>>>> I cannot play it because all I have are the label scans.
>>>> I will have to dig out my hard copy of the Paramount master lists (c.
>>>> 1950 - Record Research associate Walter C. Allen) and check for what I
>>>> can find there, if anything. Still, I can't see Paramount cutting a deal
>>>> to release a Victor record on their label(s). But stranger things have
>>>> happened. I have seen evidence that Gennett contracted with Columbia to
>>>> release one or two of their masters, for reasons as yet unknown.
>>>> Maybe checking the UCSB Victor database might help?
>>>> Malcolm
>>> The record we are concerned with was obviously a moonlight job. The
>>> Victor was a ""gems" from the comedy opera and this one is of a lullaby
>>> (not the tune's name).
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