DOCSLIB.ORG

Election of Tone Control Parameters-See Page MAR(H 1953

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Election of Tone Control Parameters-See Page MAR(H 1953 Selection of Tone Control Parameters-See Page MAR(H 1953 E !\i G 1 I%l E E IR 1%l G çianre+fl ^ Str;pe www.americanradiohistory.com / here are the 30 BEST SELLING RECORDS OF 1952* ... and over 43% used adiotapr' for the original sound! Like Audiodiscs and Audiotape, this record speaks Made from Audiodisc for itself. Record, Artist S Label Master Of the thirty top hit records of the year, all but BLUE TANGO (Leroy Anderson- Deeea) WHEEL OF FORTUNE (Kay Starr-Capitol) Y. one were made from Audiodisc masters! And that CRY (Johnnie R y -Okeh) Y. one - a London Record - was made abroad. YOU BELONG TO ME (Jo Stafford -Columbia) AUF WIEDERSEH'N, SWEETHEART (Vera Lynn -London) It is significant, too, that the original recordings I WENT TO YOUR WEDDING (Patti Page- Mercury) HALF AS MUCH ( Rosemary Clooney- Columbia) for over 43 per cent of these records were first made WISH YOU WERE HERE (Eddie Fisher - DugO II'in tech alter- Victor) on Audiotape, then transferred to the master discs. HERE IN MY HEART (.41 Martino -BBS) This marks a growing trend toward the use of DELICADO (Percy Faith -Columbia) Audiotape for the original sound in the manufac- KISS OF FIRE (Georgia Gibbs - Mercury) ANY TIME (Eddie Fisher -Hugo Wiaterhalter- Victor) ture of fine phonograph records. TELL ME WHY (Four Aces -Decca) BLACKSMITH BLUES (Ella Mae Morse- Capitol) Yes - Audiodiscs and Audiotape are truly a IAMBALAYA (Jo Stafford- Columbia) record- making BOTCHAME (Rosemary Clooney- Columbia) combination -in a field where there GUY IS A GUY (Doris Day -Columbia) can be no compromise with Quality! LITTLE WHITE CLOUD THAT CRIED (Johnnie Ray- Okeh1 Trade Mark HIGH NOON (F'rankie Laine- Columbia) t I'M YOURS (Eddie Fisher -Hugo Winterhalter- Victor) GLOW WORM (.Mille Brothers -Decca) IT'S IN THE BOOK (Johnny Standley- Capitol) SLOW POKE (Pre ITS' Ki,ny- Victor) WALKIN' MY BABY BACK HOME (Johnnie Ray -Columbia) MEET MR. CALLAGHAN (Les l'aul- Capitol) I'M YOURS (Don Cornell- Coral) I'LL WALK ALONE (Don Cornea - Coral) TELL ME WHY (Eddie Fisher-Hugo Winterhalter- Victor) TRYING (llilltoppers -Dot) PLEASE, MR. SUN (Johnnie Ray - Columbia) AUDIO DEVICES, INC. l r turning to Retail Sales, as listed in THE BILLBOARD. 444 MADISON AVE., NEW YORK 22, N. Y Export Dept.: 11 East 40th St., New York 14, N. Y., Cables "ARLAS's Audiodiscs are manufactured in the U.S.A. under esderiys license from PYRAL, S.A.R.L., Parir www.americanradiohistory.com Successor to 1917 1 ,7c7 -Established AUDIO INCLUDING > PHYSICISTS EPVGIIIEERING; AND ENGINEERS C. G. McProud, Editor and Publisher Harrie K. Richardson, Associate Editor Ec gar M. Villchur, Contributing Editor ATTENDING THE Eve Drolet, Product on Manager Henry A. Schober, Business Manager Edgar E. Newman, Circulation Promotion S. L. Cahn, Advertising Director Elizabeth Beebee, C rculation Manager H. N. Reizes, Advertising Manager Editorial Advisory Bcard Representatives CONVENTION H. Thorpe Covington Special Representative NEW YORK CITY Howard A. Chinn 677 N. Michigan Ave.. Chicago 11, Ill. z3 lohn D. Calvin Sanford R. Cowan, Mid -West Representative MARCH -26... 67 W. 44th St., New York 18, N. Y. C. I. LeBel I. P. Maxfield West Coast lames C. Calloway J. W. Harbison Inquiries are George M. Nixon 816 W. 5th St., Los Angeles 17, Calif. invited regarding CONTENTS MARCH, 1953 Vol. 37, No. 3 openings Audio Patents -Richard H. Dorf 2 on our Staff Letters 8 Employment Register 10 RADAR LABORATORIES New Literature 12 GUIDED MISSILE LABORATORIES Audio Photographer's Checklist -Eugene F. Coricil 14 ADVANCED ELECTRONIC LABORATORIES Effect of Load Impedance on Magnetic Pickup Response -Norman Pickering 19 ELECTRON TUBE LABORATORIES A Power Tubé Figure of Merit -Warren G. Bender 21 FIELD ENGINEERING DEPARTMENT The Selection of Tone -Control Parameters -Edgar M. l'illchur 22 Audio in the Year 1693 -Allen H. Fry 25 For the convenience of Auxiliary or Emergency Broadcast Control Room- Harold Reed 26 > those attending the I. R.E. The Columbia "360"-Peter C. Goldmark 28 meetings and Radio Engineering Theater in Sound A Small Package -Part 2- Thomas R. Hughes 30 Show, members of the Handbook of Sound Reproduction-Chapter 10 -Edgar M. I'illehur 32 Laboratory Ste will be available 1953 Radio Engineering Show 38 for interviews at the First Inventor Under the 1952 Patent Law- Albert If'oodruff Gray 40 Convention hotel. For appointment telephone Hughes New York Audio Fair -Los Angeles Rated Huge Success 42 office, LAckawanna 4 -935o. Equipment Report- Pilottnler and Pilotone Amplifier 44 Record Revue- Er:yard Taman Canby 46 New Products 54 Errata 55 Industry People 71 Advertising Index 72 HUGHES COVER Recording voice on previously made film by means of magnetic sound track is becoming increasingly important in radio and TV. Reeves Soundcraft's Magnestripe process is being demonstrated RESEARCH AND by Georgia Landeau, DEVELOPMENT LABORATORIES NBC -TV featured actress. At the left is shown the RCA Model 400 projector which reproduces both optical and magnetic Scientific and sound tracks, and which incorporates a recording Engineering Staff amplifier for use with the Magnestripe process. CULVER CITY, LOS ANGELES COUNTY, CALIFORNIA RADIO MAGAZINES, INC., P. 0. BOX 629, MINEOLA, N. Y. Assurance is reàuired that relocation AUDIO ENGINEERING (title registered of the applicant will not cause disruption II. S. Pat. OIT.) is published monthly at 10 McGovern Avenue, Lancaster, Pa. by Radio Magazines. Henry Inc.. A. Schober, President; C. B. McProud, Secretary. Executive and Editorial Offices: of an urgent military project. 204 Front St., Mineola. N. Y. Subscription rates -United States, U. S. Possessions and Canada. $3.00 for 1 year, $5.00 for 2 years; elsewhere $9.00 per year. Single copies 35c. Printed in U. S. A. All rights reserved. Entire contents copyright 1953 by Radio Magazines, Inc. Entered as Second Class Matter Februay 9, 1950. at the Post Once. Lan- caster, Pa. under the Act of March 3, 1879 AUDIO ENGINEERING MARCH, 1953 1 www.americanradiohistory.com ISS umitez RICHARD H. DORF I SEEMS that it is time once again to really good thinking and problem repeat a definition given a long time ago solving. This column is a review rather ::f the purpose of these monthly patent than a normal article, selecting as many articles. The thought arises because among interesting (to the writer, anyway) patents your letters sometimes appears one pointing as space allows and turning the abstruse out that for this and that technical reason patent -specification language into technical SONOCRAFT one of the patents described here is not English. We make every effort to either all it is cracked up to be, as far as per- reject or plainly label patent ideas that are FM TUNER formance is concerned. truly unworkable, but -paraphrasing the Now, don't get me wrong : such letters common radio parlance-the opinions ex- America's Most Advanced Tuner are as welcome as other mail. They show pressed are almost entirely those of the knowledge and astuteness on the part of the inventors. COMPARED ... by engineers and writers, and they often give additional While on the subject of mail, here is an critical music - lovers for audio-quality. food for thought. But sometimes they say answer for those who would like circuit and technical advancements. Consen- in effect (often between rather than on the component values in all the schematics. sus of comment: "Amazing tonal qual- lines) that since the deficiency is present Whenever the patent furnishes them, we ity" ... "True fidelity of reproduc- we ought not to describe the patent. And put them there in plain sight. If we haven't tion" ... "Live programs really sound there's the point of disagreement. done so, they aren't available. live!" These articles are different from most And now, on to this month's review. and found con- others. They don't purport to give ab- M sistently e ective for fringe-area re- solutely reliable information right from the Distortion ement ception at distances from 40 to 80 writer's or other engineer's mouth ; they Owen E. DeLange's patent No. 2,618,686 miles from New York City ... New, don't mean to imply that the inventions de- shows a visual method of distortion meas- super- sensitive circuit assures perfect scribed are either good or bad; they don't urement using the outphasing principle. signal pick up with sufficient quieting even indicate that the inventions will The purpose (probably used in wideband for excellent reception even in remote positively work. What they try to do is amplifiers-the patent is assigned to Bell locations. Automatic Frequency Con- present ideas that seem interesting for any Labs) is to check distortion in terms of trol (AFC) prevents station drift. of dozens of reasons -because the approach compression or expansion- nonlinearity- to a problem is new or ingenious (or both), rather than in terms of harmonic produc- . because of its because there is an idea that could be de- superior per ormance, its compact tion, though the two are, of course, rigidly veloped further, because the invention shows related. The method is simple, requiring no dimensions for easy mounting into a somewhat different- though not neces- any enclosure, its new type precision equipment, and is shown in block almost sarily better -way of doing a common tuning indicator (simpler to use) and form in Fig. 1. thing, because, although the object of the The principle is to generate a wave of many other exclusive features .. invention may be unnecessary or impracti- definite form, such as a sawtooth, and feed * * * cal, somebody did put together a weird it through the system under test. The wave SPECIFICATIONS: New black -out tun- brainstorm of a circuit, parts of which is simultaneously fed through a "balancing ing indicator; 3 gang inductive tun- might give someone an idea that would be branch." The waves from the two branches ing; dual limiter; all coils slug -tuned; practical, and so on.
Load more

Recommended publications
  • BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S
    IN THIS ISSUE: ir An interview with KAY STARR, Pt. 2 ir Reviews of BOOKS AND RECORDS to consider BIG ☆ A new KEY RECORDINGS BAND SINGER BIG BAND TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about HARRY JAMES, ANITA O’DAY, MICHEL NEWSLETTER LEGRAND, PBS STATIONS and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID A£hnta,GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME 94 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2004 INTERVIEW WITH KAY STARR (Part Two) The Background In the last issue, we had Kay Starr’s comments about her early start in the singing business; her penchant for singing at age nine for the neighbors and her family. At first, Kay’s mother was hesitant, but her aunt had a business sense and saw that there was a future for Kay, insisting that she enter a number of amateur contests, leading to her performances at radio stations in Dallas and Memphis and finally being hired by famous violin­ ist and bandleader Joe Venuti whose guidance helped her achieve fame. She told us about her work with the Bob Crosby Band, her one week stint subbing for Marion Hutton with Glenn Miller at Glen Island Casino and her years with the Charlie Barnet Band, where she recalled pressing Kay Starr Capitol CD cover the band ’ s uniforms as well as being a featured vocalist. Jimmy Dorsey’s band. That why they didn’t have her. The Scene But they had every other girl singer. A girl singer they did not need.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Was Ist Der FRH? HHTW001 FRH 001 - Was Ist Der FRH? HHTW001
    FRH 001 - Was ist der FRH? HHTW001 FRH 001 - Was ist der FRH? HHTW001 Nr Titel Label MasterNr. Jahr Nr Titel Jahr CW RB USA GB BRD 03 HELLO STRANGER (BARBARA LEWIS) ATLANTIC 2148 1963 03 HELLO STRANGER (BARBARA LEWIS) 1963- 1 3 - - 05 A QUIET PLACE (GARNETT MIMMS & THE ENCHANTERS) UA 715 1964 05 A QUIET PLACE (GARNETT MIMMS & THE ENCHANTERS) 1964- 78 78 - - C 07 ON BROADWAY (DRIFTERS) ATLANTIC 2182 1963 07 ON BROADWAY (DRIFTERS) 1963- 7 9 - - D 08 STAND BY ME (N) (SPYDER TURNER) MGM 13617 1967 08 STAND BY ME (N) (SPYDER TURNER) 1967- 3 12 - - 10 HELLO (MIT JINGLE)* (PAUL WILLIAMS) CAPITOL 3205 1955 10 HELLO (MIT JINGLE)* (PAUL WILLIAMS) 1955- - - - - - 11 CRAZY CRAZY PARTY (CUES) PREP 104 1957 11 CRAZY CRAZY PARTY (CUES) 1957- - - - - L 13 TIPPETY TOP (RAYS) CHESS 1613 1956 13 TIPPETY TOP (RAYS) 1956- - - - - a 15 HEY BOY HEY GIRL (OSCAR MC LOLLIE & JEANETTE BAKER CLASS 228 1958 15 HEY BOY HEY GIRL (OSCAR MC LOLLIE & JEANETTE BAKER) 1958- - - - - y 17 WHEN I FOUND YOU (JERRY REED) CAPITOL 3429 1956 17 WHEN I FOUND YOU (JERRY REED) 1956- - - - - o 18 THREE ALLEY CATS (ROY HALL) DECCA 30060 1956 18 THREE ALLEY CATS (ROY HALL) 1956- - - - - u 20 TEENAGE QUEEN (LONNIE BARRON) SAGE 45-230 1956 20 TEENAGE QUEEN (LONNIE BARRON) 1956- - - - - t 21 SAY YEAH (SAMMY SALVO) RCA 47-7097 1958 21 SAY YEAH (SAMMY SALVO) 1958- - - - - 23 DEEP SEA BALL (CLYDE MC PHATTER) ATLANTIC 2060 1958 23 DEEP SEA BALL (CLYDE MC PHATTER) 1958- - - - - - 24 SHE LOVES TO ROCK (FLAIRS) ABC-PARAM.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • Gilbert BEREAU Gilbert Nous Propose Les Meilleures Chansons Des Temps Passés Dans Son Émission '' the Musical Choice of Gi
    Gilbert BEREAU Gilbert nous propose les meilleures chansons des temps passés dans son émission ‘’ The Musical Choice of Gilbert: Remember’’. Il en sera ainsi de toute la saison estivale. Vous retrouverez les sorties d’albums 1er et 2ème trimestre 2017 dés la rentrée de septembre. Roy Hogsed – "Cocaïne Blues" (2:37) 1948_ single chez Capitol/ une compil chez Bear Family en 2001 Bien sûr vous avez tous agité vos petits petons sur la sublime version de Johnny Cash … mais c'était une reprise. Le papa du titre était T. J."Red"Arnall et le premier interprète d'importance fut Roy Hogsed dès 1948. Ce dernier avait un des sons les plus originaux de la country d'après-guerre qui préfigurait Rockabilly et R' n' R'. Son groupe, 'The Rainbow Riders Trio', combinait guitare, accordéon et contrebasse 'slapante' pour nous offrir une version bien originale. Ella Mae Morse & Tennessee Ernie Ford – "False Hearted Girl" (2:12) 1952_chez Capitol / Ella Mae avait connu ses premiers succès avant-guerre avec l'orchestre de l'excellent pianiste Freddie Slack et grâce aux belles compositions de Don Raye. Elle n'était pas une chanteuse de musique country mais elle en a chanté ! Ernie est classifié chanteur country mais plutôt tendance crooner; il a d'ailleurs fait une version solo de ce titre tout à fait différente. Composition des Delmore Brothers qui en avait enregistré une version bluegrass avant-guerre, j'aime beaucoup cet arrangement. Sonny James – "A Mighty Loveable Man" (2:00) 1957_Capitol n° F 3840 / quelques compils, dont 'Bear Family'[Déjà un titre de ce même EP dans un programme précédent] On ne présente pas Sonny, décédé en 2016 et qui était sur les planches depuis le tout début des 50's.
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Ella Mae Morse TITLE Rocks LABEL Bear Family Records CATALOG # BCD 16672 PRICE-CODE AR EAN-CODE ÆxAKABMRy166722z ISBN-CODE 978-3-89916-489-3 FORMAT 1 CD digipac with 52-page booklet GENRE Rock’n’Roll / R&B TRACKS 34 PLAYING TIME 84:33 INFORMATION "What is my type of song?" Ella Mae Morse once asked her mentor, the songwriter, singer and record label owner Johnny Mer- cer when he told her that a certain song didn't fit her style. He wasn't alone in pigeonholing her. "Cliffie Stone said, 'You're a country singer.' And Benny Carter said, 'You're a jazz singer.' T-Bone Walker said, 'You're a rock'n'roll, blues black singer – that's what you are.” They were all right – and her versatility was both Morse's greatest asset and her biggest problem. Morse came of age in the Swing Era and her own tastes tended toward blues-tinged swing jazz and torchy ballads, but her breakthrough hit from 1942, the jivey, bluesy novelty Cow Cow Boogie aside, she has ironically been less remembered for her early forays in these styles than for her 1950s stabs at R&B, rock'n'roll and hillbilly boogie. This collection gathers many of Morse's most rocking and hard-swinging sides, as compiled by the noted music historian Bill Mil- lar. It runs the gamut, from the song that made Morse a star, Cow Cow Boogie, to covers of classic early '50s R&B and early rock 'n'roll like Money Honey, Have Mercy Baby and Ain't That A Shame.
    [Show full text]
  • Our Best to You Capitol Star Line (S)T-1801 Various Artists Released November, 1962
    Capitol Albums, 1801 to 1900 Our Best to You Capitol Star Line (S)T-1801 Various Artists Released November, 1962. Gold label Hits of Ella Mae Morse & Freddie Slack Capitol Star Line T-1802 Ella Mae Morse and Freddie Slack Released November, 1962. Gold label The All-Time Hits of Red Nichols Capitol Star Line (S)T-1803 Red Nichols and the Five Pennies Released November, 1962. Gold label An Evening with Romberg Capitol (S)W-1804 Carmen Dragon (Hollywood Bowl Pops Orchestra) Released November, 1962. An Evening with Cole Porter Capitol (S)W-1805 Carmen Dragon (Hollywood Bowl Pops Orchestra) Released November, 1962. The Soul of Country and Western Strings Capitol (S)T-1806 Billy Liebert Released November, 1962. Clair de Lune Capitol (S)W-1807 Stokowski, Pennario, Leinsdorf, Almeida, Dragon Released November, 1962. Capitol released this album in conjunction with a hardback book from Random House. Surfin’ Safari Capitol (D)T-1808 The Beach Boys Released October, 1962. Some early and later copies of this LP have a stereo front slick, although the LP is in Duophonic and the back slicks clearly state so. The New Frontier Capitol (S)T-1809 The Kingston Trio Released November, 1962. Big Bluegrass Special Capitol (S)T-1810 The Green River Boys & Glen Campbell Released November, 1962. My Baby Loves to Swing Capitol (S)T-1811 Vic Damone Released December, 1962. Themes of the Great Bands Capitol (S)T-1812 Glen Gray and the Casa Loma Orchestra Released January, 1963. Sounds of the Great Bands, Vol. 6 Memories Are Made of These Capitol (S)T-1813 George Chakiris Released December, 1962.
    [Show full text]
  • Jazzletter 93023 March 1987 Vol
    P.O. Box 240 Ojai, Calif. Jazzletter 93023 March 1987 Vol. 6 N0. 3 LfiflfifS It deals not so much with society (or does one call this sociology now?) as with “mother earth”, the soil, food, public-milking Before getting into records and radio as a conductor, I did schemes due to government promotion of pseudo-foods and some arranging for motion pictures, and got to spend some pseudo-drugs from irradiated grains to fluoridated water. The time with two famous songwriters. The Bob Crosby band was A bsolute Sound is the third pillar of integrity and wisdom among hired to do some off-camera recording for Holiday Inn, and I theperiodicals. It deals with music and art and engineering, not arranged most of Fred Astaire’s dance numbers as well as duets nuclear or war engineering, but engineering for thejoy of it, aural with Astaire and Bing Crosby. In doing so, l spent some o . unforgettable moments with Irving Berlin. Victor Young told J ilfthe Jazzletter were to fold, only two magazines would be left me then, “Stay away from the motion Picture busines5, it’lI to hold up the spirit and we, mankind, would be much closer to . break your heart.” extinction. But the most interesting day was spent with Jerome Kern Maybe we need to go, however. The earth’s spirit may need or after I received a call to arrange a number for Cover Girl, for want to clean house. Who knows? which Kern was writing the songs. Kern, Gene Kelly, Morris Frank Uhlig, Auburn, Alabama Stoloff — then music head of Columbia Pictures — and I were in a meeting.
    [Show full text]
  • Artist with Title Writer Label Cat Year Genre
    Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G.
    [Show full text]
  • Introduction to Speedy West and Jimmy Bryant (Excerpts from Richie Unterberger, All Music Guide)
    Introduction to Speedy West and Jimmy Bryant (Excerpts from Richie Unterberger, All Music Guide) Speedy West One of the greatest virtuosos that country music has ever produced, Speedy West bridged the western swing and rockabilly eras with eye-popping steel guitar. Besides contributing to literally thousands of country sessions, West cut many of his own instrumentals, as a solo act and with his guitarist partner Jimmy Bryant. Adept at boogie, blues, and Hawaiian ballads, West played with an infectious joy and daring improvisation that, at its most adventurous, could be downright experimental. It's doubtful whether anyone could collect all of Speedy's solos under one roof, but it was his sessions of the 1950s and early '60s -- especially those with Jimmy Bryant -- that found his genius at its most freewheeling and dazzling. Jimmy Bryant With steel guitar wizard Speedy West, guitarist Jimmy Bryant formed half of the hottest country guitar duo of the 1950s. With lightning speed and a jazz-fueled taste for improvisation and adventure, Bryant's boogies, polkas, and Western swing -- recorded with West and as a solo artist -- remain among the most exciting instrumental country recordings of all time. Bryant also waxed major contributions to the early recordings of singers like Tennessee Ernie Ford, Merrill Moore, Kay Starr, Billy May, and Ella Mae Morse, and has influenced country guitarists like Buck Owens, James Burton, and Albert Lee. While he enjoyed a career that spanned several decades, it was his sessions with Capitol Records in the early '50s that allowed him his fullest freedom to strut his stuff.
    [Show full text]
  • Alvino Ite J New Capitol Disc Artist
    j ■ ■ ■ ■ ■ ■ ■ ■ ■ i ■ vo l. 4, NO. 3 ' 52 MARCH, 1946 Alvino Ite j New Capitol Disc Artist Capitol Records, f o llo w in g its policy of signing the best in modern entertainment, has in k e d A lvino Rey’s new band to an exclusive re­ cording contract. Bandleader re­ cently came out of service to build a I crew that has been arousing plenty of attention out here with its “double ie li­ brass” section. Idea behind th e new es section work involves open horns play­ ing against muted ones to produce un­ er usual and b eautiful e ffects. to Rey, who has already cut wax for Capitol and will have his first “ Hits From Hollywood” disc on the market this month, played his first major date IT’S WELCOMF NEWS to a great here recently at Casino Cardens. He’ ll Harry James Ork many swing fans that Alvino Rey is continue to work the west coast for a back in business again with a new short time, then travel east with his Has New Chirp band . and an unusual one at band fo r a May opening a t th e Hotel that, boasting a “ double-brass” sec­ Astor in NYC. Cal singer with the ork is Harry James, whose band w ill tion. Even b e tte r news is th e fa c t Joanne Ryan. Rey expects to add a continue at the Meadowbrook here that Alvino and his guitar and band vocal group shortly. until March 21 when Gene Krupa will be featured exclusively on Capi­ tol records.
    [Show full text]
  • Benny Carter
    Benny Carter Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz alto saxophonist, trumpeter, composer, arranger, and bandleader. He was a major figure in jazz from the 1930s to the 1990s, and was recognised as such by other jazz musicians who called him King. As a youth, Carter lived in Harlem around the corner from Bubber Miley who was Duke Ellington's star trumpeter. Carter was inspired by Miley and bought a trumpet, but when he found he couldn't play like Miley he traded the trumpet in for a saxophone. Carter began playing professionally at 15. He first recorded in 1928 and formed his first big band the following year. He played with Fletcher Henderson in 1930 and 1931, then briefly led McKinney's Cotton Pickers before returning to lead his own band in 1932. He also arranged for Henderson and Duke Ellington during these years and wrote two hits, "Blues in My Heart" and "When Lights are Low." By the early 1930s he and Johnny Hodges were considered the leading alto players of the day. Carter also quickly became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. In 1935 he moved to Europe, where he became staff arranger for the British Broadcasting Corporation dance orchestra and made several records. He returned to the United States in 1938 and led a big band and sextet before moving to Los Angeles in 1943 to write for movie studios. Carter continued writing and performing into his 90s. He arranged for Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, and Sarah Vaughan, among many others.
    [Show full text]