DOCSLIB.ORG

The Rise & Fall of Paramount Records Volume I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Rise & Fall of Paramount Records Volume I ICLA icla.com The Rise & Fall of Paramount Records Volume I The Rise and Fall of Paramount Records Volume I GRAMMY WINNER 2014 - Best Boxed or Special Limited Edition Package How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in ‘The Rise and Fall of Paramount Records 1917-1932’, this epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, was a shared vision by Jack White’s Third Man Records and Dean Blackwood from Revenant Records, with ICLA tasked to produce and print the various complicated components. Volume One covers the label’s improbable rise from 1917-1927. The Rise and Fall of Paramount Records Volume I was a massive undertaking, requiring a team of 50 people to bring the collection to fruition. It is an extremely comprehensive collection, featuring an LP Folio that is fabricated from birch wood, decorated with laser-etched graphics and holds six 180-gram vinyl LP’s adorned with metallic gold embossed labels. A 256-page case bound book provides the history of Paramount Records and biographies of some of Paramount Records jazz titans; Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller, blues legends; Charley Patton, Blind Lemon Jefferson, Son House, Skip James and American divas; Ma Rainey, Alberta Hunter and Ethel Waters. The case bound book includes 200 restored original hand-drawn ads from the Chicago Defender, historic photographs, and images of Paramount’s many labels, sleeves, and jackets. Volume I also includes a 360-page smyth sewn field guide designed to look like an old record catalog, offers biographies of each artist and a list of their recordings. Two newsprint catalogs and a Vista Talking Machine brochure round out the printed offerings. A needle diaphragm replica flash drive holds 800 re-mastered original recordings and first of its kind proprietary software to handle and play the songs. These components are all housed in a hand-crafted oak case, modeled after those that carried phonographs in the 1920’s. The Rise and Fall of Paramount Records Volume I The handcrafted wood box, based on the iconic Victrola VV-50, is constructed from quarter sawn oak with a wood collar over MDF for structural integrity and decorated with a molded escutcheon on top, featuring the Paramount eagle over an LP record. The wood box is finished with metal corners, hinge, latch, handle, hinge prop and crank hole, all electroplated to match the original antique brass look. The interior lid of the box is decorated with a water transfer adorning the Wisconsin Chair Company logo and a metal plaque displaying the player model number. The metal plaque is also stamped with a sequential number to reflect the wood box’s unique number within the set of 5,000. The tray is fabricated from EVA foam and covered with a matching green period accurate velvet. All components in The Rise and Fall of Paramount Records Volume I were engineered to fit together seamlessly and create a multi-layered reveal as each component is removed. The Rise and Fall of Paramount Records Volume I won the Grammy for Best Boxed or Special Limited Edition Package in 2014. Response to this project is below: “Spectacular” – NY Times “An unprecedented anthology” – Rolling Stone “It’s a history lesson, a dance hall, a bandstand, and a smoky blues parlor, all tucked neatly into one sturdy box. This is the Cabinet of Wonder, indeed” – Pitchfork / Best New Reissue / 9.2 out of 10 “Its existence makes a difference in the life of American pop” – NPR “It’s an impressive object…with the heft of a hellhound. Few box sets bring the musical past to life in such a surprising and revealing way” – LA Times The Rise and Fall of Paramount Records Volume I.
Load more

Recommended publications
  • The Rise & Fall of Paramount Records Volume II
    ICLA icla.com The Rise & Fall of Paramount Records Volume II The Rise and Fall of Paramount Records Volume II GRAMMY WINNER 2016 - Best Boxed or Special Limited Edition Package The Rise and Fall of Paramount Records Volume II, a joint release by Third Man Records and Revenant Records and co-produced by leading Paramount scholar Alex van der Tuuk, stretches from 1928 until the label’s unceremonious end in the wake of the Great Depression in 1932, when the money ran out for music. Talent did not stop coming during that time of financial woe. Paramount continued to add creative geniuses to their roster, adding Charley Patton, Son House, Lottie Kimbrough, Clarence Williams, Blue Jay Singers, Dock Boggs, Lillie May “Geeshie” Wiley, Elvie Thomas, Skip James, Willie Brown, Thomas Dorsey and Emry Arthur, just to name a few. The Rise and Fall of Paramount Records Volume II document the roots of gospel and swing and the growth of blues and jazz through the efforts of some of American music’s most creative minds. There is even a hint of bluegrass and traces of rock n roll yet to come. Yet, despite all of Paramount’s great talents, record sales finally plummeted and the company died. Hailed by Wired as “the ultimate box set of iconic American music”, the Rise and Fall of Paramount Records Volume II is housed in a polished aluminum case, evoking the era’s high art deco styling and America’s own Machine Age take on modernist design. The Rise and Fall of Paramount Records Volume II is comprised of a multi-colored foil stamped 250-page large format case bound book with gilded edges that provides the continued history of Paramount Records and anecdotal stories about some of their many music artists.
    [Show full text]
  • Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
    Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937.
    [Show full text]
  • “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
    GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.
    [Show full text]
  • An Improvised World: Jazz and Community in Milwaukee, 1950-1970 Benjamin Barbera University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2012 An Improvised World: Jazz and Community in Milwaukee, 1950-1970 Benjamin Barbera University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the African American Studies Commons, History Commons, and the Music Commons Recommended Citation Barbera, Benjamin, "An Improvised World: Jazz and Community in Milwaukee, 1950-1970" (2012). Theses and Dissertations. 5. https://dc.uwm.edu/etd/5 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. AN IMPROVISED WORLD: JAZZ AND COMMUNITY IN MILWAUKEE, 1950 – 1970 by Benjamin A. Barbera A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in History at The University of Wisconsin-Milwaukee August 2012 ABSTRACT AN IMPROVISED WORLD: JAZZ AND COMMUNITY IN MILWAUKEE, 1950 – 1970 by Benjamin A. Barbera The University of Wisconsin-Milwaukee, 2012 Under the Supervision of Professor Robert Smith This study looks at the history of jazz in Milwaukee between 1950 and 1970. During this period Milwaukee experienced a series of shifts that included a large migration of African Americans, urban renewal and expressway projects, and the early stages of deindustrialization. These changes had an impact on the jazz musicians, audience, and venues in Milwaukee such that the history of jazz during this period reflects the social, economic, and physical landscape of the city in transition.
    [Show full text]
  • Lost Musical Treasure, Port Washington, Long Island
    Episode 11, 2006: Lost Musical Treasure, Port Washington, Long Island Tukufu: Our next story takes us on a hunt for some of the most sought-after blues recordings from the 1920s and ‘30s. 1917, a Midwestern chair-manufacturing company expands into the record business and takes a daring leap into a new market: records by black performers for black audiences. Over the next decade, Paramount Records discovers and records some of the most influential figures in the history of American music, including Blind Lemon Jefferson, Ma Rainey, Son House and Charlie Patton. But, in 1932, paramount records goes belly-up, a casualty of the great depression. For generations, the whereabouts of many of the original blues and jazz recordings from their Grafton, Wisconsin, recording studio have tantalized music historians. Nearly 75 years after Paramount’s demise, a man from the neighboring town of Port Washington has got his hands on some old master recordings. Dennis Klopp: They were the first masters I’ve seen in 30 years of looking for paramount material. I know that there were records and masters in the plant when it closed down, but it all seemed to just vanish. [Blues music plays] Tukufu: I’m Tukufu Zuberi. I’m on my way to meet Dennis Klopp. Blues is a passion of mine, and the artists who recorded on the Paramount label are some of the all-time greats. How you doing? Dennis: Hi. Tukufu: So what do you have here? Dennis: I have a couple of records and two metal masters which I know nothing about.
    [Show full text]
  • Dissertation Introduction
    Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project.
    [Show full text]
  • Angie Mack Reilly Grafton, WI • 262.309.4112• [email protected] ​ Public Speaker | Writer | Musician | Composer | Marketing Professional
    Angie Mack Reilly Grafton, WI • 262.309.4112• [email protected] ​ Public Speaker | Writer | Musician | Composer | Marketing Professional Innovative Public Speaker and natural leader with a passion for the arts community and issues effecting women and the mentally ill. Proven effective transforming environments to create lasting change using the arts and creativity. Background in marketing with success linking businesses with needed resources to provide mutually positive opportunities and revenue streams. Technical Proficiencies: Social Media, Music Production, WordPress, eCommerce, Sound Equipment, Recording Equipment, PC, Mac, Microsoft Office. Topics of Expertise Creating a Culture of Innovation and Teamwork Transforming Work Environments into Creative Hubs "Old Guys I've Met": The Importance of Business Mentors in the Arts Managing Teams "Theater Style" Moving Audiences and Tips from a Theater Director Public Speaking Engagements ∙ "2007 Walk of Fame Induction Ceremony", Grafton, WI as Chairperson about blues history ∙ "Giro d' Grafton Bike Race, 2007, Grafton, WI ∙ "Wisconsin Blues Connection" and PowerPoint Presentation, Wisconsin Historical Society, 2006 ∙ "At 10" Radio Interview, National Public Radio, 2006 ∙ "Paramount History" and PowerPoint Presentation, Port Washington Kiwanas Club, 2005 ∙ "Paramount History" and PowerPoint Presentation, MATC-Mequon Campus, 2004 ∙ "Passionate about Paramount and the Blues" Children's Educational Performance, Grafton Library 2006 ∙ "Paramount Blues Festival Panel Discussion", Cedarburg
    [Show full text]
  • The Milwaukee Repertory Theater Inside This Guide
    The Audience You can sit there and have a universal experi- The Milwaukee ence, of fear, of anger, of tears, of love, and I discovered that it’s the audience, really, that is Repertory Theater doing the acting. Marlon Brando Department of Education Theater is a collaborative art form. The suc- cess of a production relies upon every member Jenny Kostreva of the ensemble performing their role expertly, Education Director from the cast and crew to the administrative [email protected] staff to the audience themselves. Come pre- (414) 290-5370 pared to make your contribution as a member of the audience. You have an active role to Andy North play, and the performers are relying on you to be respectful and attentive. Months of prepa- Education Coordinator ration, weeks of rehearsal and hours upon [email protected] hours of effort have gone towards providing (414) 290-5393 the best possible performance for you. Your A study guide for students and educators participation is what makes this process worthwhile. Inside this guide This study guide was researched and designed by the Education Department at Milwaukee Repertory Synopsis / Theater, and is intended to prepare you for your Visiting The Rep … 2 About the Author visit. It contains information that will deepen your Milwaukee Repertory Theater is housed in the Milwaukee Center at the corner of understanding of, and appreciation for, the produc- Wells and Water Streets, downtown. Our building was formerly the home of the The Blues 3 tion. We’ve also included questions and activities Electric Railway & Light Company. This name is still carved on the wall outside.
    [Show full text]
  • November - December, 2012
    November - December, 2012 A.H. WHITE NEW BERNE, N.C. Editor: Marshall Clements FOHBC member 1 [email protected] club Bottle Talk Feature Of The Month The feature bottle for this issue of BOTTLE TALK comes from RBC member Joe Williams’ collection. This nice Hutchinson bottle with NEW BERNE embossed in the center slug plate is a great piece of N.C. history. Thanks Joe for sharing this nice bottle at “SHOW and TELL”. 2 The BLUES SHUFFLE If you missed the November meeting you really missed a treat. Pem Woodlief gave a presentation on old records and record players. Record players and records are a real passion of Pems. His collection of records has grown to nearly 20,000 and still growing. He has been collecting records since 1980. The way I figure it twenty thousand records acquired in 32 years comes to about 650 new additions a year. That is what you call a serious collector. One of Pam’s most prized possessions is a 1937 Robert Johnson blues record, something most record collectors would give an arm and a leg for. One record he is still searching for is known as “Black Patti”. It is a highly sought after blues record from 1927. Pem has a cracked “Black Patti” but is in a serious search for one in better condition. On page 5 you will find a more detailed story of the elusive “Black Patti”. Hearing these old records on the vintage record players was a real treat. If you think Pem enjoys collecting bottles you should see how he comes alive when the needle hits the grooves on one of those old Blues records.
    [Show full text]
  • The Complete Recordings--Robert Johnson
    “The Complete Recordings”--Robert Johnson (1936- 1937) Added to the National Registry: 2003 Essay by Ed Komara (guest post)* Robert Johnson Twenty-nine songs in 41 takes is a compact legacy of a bluesman’s complete career, two hours of music fitting in the palm of one hand. That was the power of the 1990 Sony/Columbia 2-CD set, Robert Johnson, “The Complete Recordings.” The genesis of that legacy began in the late 1920s, when Johnson (1911-1938) embarked on his career as a performing bluesman in the Mississippi Delta. For his models, he took the best musicians that he was hearing in the region, especially Charley Patton, Son House, and Willie Brown, along with the records being made by St. Louis musician Lonnie Johnson. But according to some accounts, Johnson wasn’t very good, and sometime around 1930-31, he spent a year or longer learning and woodshedding in Hazlehurst, Mississippi, with another guitarist, Ike Zimmerman. His musical growth was remarkable enough, upon his return to the Delta to cause wonder if he had not sold his soul to the devil during the meantime. What people speculated would have been of no concern to Johnson but what they were willing to pay to hear was. During the early to mid-1930s, he rapidly expanded his songbag, adding the artful if little-known blues of Nehemiah “Skip” James, the big-city piano blues of Leroy Carr, Peetie Wheatstraw and Jabo Williams, and additional songs by St. Louis-based Roosevelt Sykes, and even a hit by Memphis Minnie. Johnson’s first opportunity to make records came in 1936, at a time when the record industry was holding fewer sessions with southern blues musicians than it did seven or eight years before.
    [Show full text]
  • Chapter Overview
    CHAPTER FIVE: “ST. LOUIS BLUES”: RACE RECORDS AND HILLBILLY MUSIC Chapter Outline I. The Music Business: Race Records and Hillbilly Music Introduction 1. Many of the bestselling songs of the 1920s and 1930s were produced by the Tin Pan Alley establishment. 2. The music industry was more interested in guaranteeing profits than in encouraging musical diversity or experimentation. Musical diversification 3. Record companies targeted new audiences between World War I and World War II (1918–40) and recorded music derived from the folk traditions of the American South. 4. Encouraged by the migration of millions of people from rural communities to cities such as New York, Chicago, Detroit, Atlanta, and Nashville in the years following World War I 5. These migrants constituted an audience for music that reflected their rural origins and for new, distinctively urban styles of music derived from the older oral traditions. Race records and hillbilly music CHAPTER FIVE: “ST. LOUIS BLUES”: RACE RECORDS AND HILLBILLY MUSIC 6. Terms used by the American music industry from the early 1920s until the late 1940s to classify and advertise southern music 7. Race records a) Recordings of performances by African American musicians, produced mainly for sale to African American listeners 8. Hillbilly or old-time music was performed and marketed to southern whites. 9. Record companies usually advertised in racially segregated catalogs and brochures. Race records and hillbilly music: similarities 10. Rooted in long-standing folk music traditions in the American South 11. As they entered the mass marketplace, blended these older rural musical styles with aspects of national popular culture 12.
    [Show full text]
  • Selling the Sounds of the South: the Visual and Verbal Rhetoric of Race Records and Old Time Records Marketing, 1920-1929
    Selling the Sounds of the South: The visual and verbal rhetoric of Race Records and Old Time Records marketing, 1920-1929 Luke Horton Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy Dec, 2011 School of Historical and Philosophical Studies University of Melbourne Abstract In the early 1920s, the phonograph industry in America began producing two very distinct record catalogues of racially segregated Southern vernacular music, one called Race Records and the other called Old Time (or 'Old Time Tunes', 'Songs of the Hills and Plains', 'Familiar Tunes Old and New' and towards the end of the decade simply 'hillbilly' records). In the marketing for these new catalogues, two completely separate streams of Southern music were presented, one purely white and one purely black, a separation that denied any possibility or history of the intermingling of the races, a bifurcation of a shared tradition which became a revision of Southern history, and a segregation in keeping with the race policy of the Jim Crow era. ‘Selling the Sounds of the South’ argues that the verbal and visual rhetoric of the marketing for these new catalogues of music (contained not only in catalogues themselves, but in advertisements, window displays, and other promotional material), presented a unique utilisation of Southern images that offered a new definition of Southern black and white music. While heavily reliant on existing constructions of white and black musical culture, the creation of these catalogues involved the recasting of major cultural tropes and resulted in an intertextual construct that itself was something new.
    [Show full text]