All these are V+ at worst or I'd have pitched them. see below all BRUNSWICK
2517 Paul Ash & Granada V++ / V++ 2313 Isham Jones V++ / V++ 3919 Brunswick Hour orchestra E- / E- 3926 Harold Scrappy Lambert E- / E- 2754 Castlewood Marimba band V+ / V++ ec dnap 4231 Earl Burtnett Los angles hotel biltmore V+ / V+ 3792 Hal Kemp University of North carolina V+ / V+ 2690 Carl Fenton's V+ / V+ 3632 Abe Lyman's California E- / E- 3810 Herb Wiedoft V++ / E-




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WIKIPEDIA:

Usage of terminology is not uniform across the English-speaking world (see below). In more modern usage, the playback device is often called a "turntable", "record player", or "", although each of these terms denote categorically distinct items. When used in conjunction with a as part of a setup, turntables are often colloquially called "decks". In later electric phonographs (more often known since the 1940s as record players or turntables), the motions of the stylus are converted into an by a , then converted back into sound by a .

Close up of the mechanism of an Edison Amberola, circa 1915

The term phonograph ("sound writing") was derived from the words φωνή (phonē, 'sound' or 'voice') and γραφή (graphē, 'writing'). The similar related terms gramophone (from the Greek γράμμα gramma 'letter' and φωνή phōnē 'voice') and graphophone have similar root meanings.

In , "gramophone" may refer to any sound-reproducing machine using , which were introduced and popularized in the UK by the . Originally, "gramophone" was a proprietary of that company and any use of the name by competing makers of disc records was vigorously prosecuted in the courts, but in 1910 an English court decision decreed that it had become a generic term;

United States Early phonograph at Deaf Smith County Historical Museum in ,

In , "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to 's upstart Gramophone, a very different machine which played nonrecordable discs (although Edison's original Phonograph patent included the use of discs.)

Australia Wood engraving published in , depicting a public demonstration of new technology at the Royal Society of Victoria (Melbourne, Australia) on 8 August 1878.

In , "record player" was the term; "turntable" was a more technical term; "gramophone" was restricted to the old mechanical (i.e., wind-up) players; and "phonograph" was used as in . The "phonograph" was first demonstrated in Australia on 14 June 1878 to a meeting of the by the Society's Honorary Secretary, who published "The Sounds of the Consonants, as Indicated by the Phonograph" in the Society's journal in November that year. On 8 August 1878 the phonograph was publicly demonstrated at the Society's annual conversazione, along with a range of other new inventions, including the .

Early history Dictionary illustration of a . This version uses a barrel made of . Phonautograph Main article:

The phonautograph was invented on March 25, 1857 by Frenchman Édouard-Léon Scott de Martinville, an editor and typographer of manuscripts at a scientific publishing house in Paris. One day while editing Professor Longet's Traité de Physiologie, he happened upon that customer’s engraved illustration of the anatomy of the human ear, and conceived of "the imprudent idea of photographing the word." In 1853 or 1854 (Scott cited both years) he began working on "le problème de la parole s'écrivant elle-même" ("the problem of speech writing itself"), aiming to build a device that could replicate the function of the human ear.

Scott coated a plate of glass with a thin layer of . He then took an acoustic trumpet, and at its tapered end affixed a thin membrane that served as the analog to the . At the center of that membrane, he attached a rigid boar's bristle approximately a centimeter long, placed so that it just grazed the lampblack. As the glass plate was slid horizontally in a well formed groove at a speed of one meter per second, a person would speak into the trumpet, causing the membrane to vibrate and the stylus to trace figures that were scratched into the lampblack. On March 25, 1857, Scott received the French patent #17,897/31,470 for his device, which he called a phonautograph. The earliest known surviving recorded sound of a human voice was conducted on April 9, 1860 when Scott recorded someone singing the song "" ("By the Light of the Moon") on the device. However, the device was not designed to play back sounds, as Scott intended for people to read back the tracings, which he called phonautograms. This was not the first time someone had used a device to create direct tracings of the vibrations of sound-producing objects, as had been used in this way by English physicist in 1807. By late 1857, with support from the Société d'encouragement pour l'industrie nationale, Scott’s phonautograph was recording sounds with sufficient precision to be adopted by the scientific community, paving the way for the nascent science of acoustics.

The device’s true significance in the history of recorded sound was not fully realized prior to March 2008, when it was discovered and resurrected in a Paris patent office by First Sounds, an informal collaborative of American audio historians, recording engineers, and sound archivists founded to make the earliest sound recordings available to the public. The phonautograms were then digitally converted by scientists at the in California, who were able to play back the recorded sounds, something Scott had never conceived of. Prior to this point, the earliest known record of a human voice was thought to be an 1877 phonograph recording by . The phonautograph would play a role in the development of the , whose inventor, Emile Berliner, worked with the phonautograph in the course of developing his own device.

Paleophone

, a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction. On April 30, 1877, he deposited a sealed envelope containing a summary of his ideas with the , a standard procedure used by scientists and inventors to establish of unpublished ideas in the event of any later dispute.

An account of his invention was published on October 10, 1877, by which date Cros had devised a more direct procedure: the recording stylus could scribe its tracing through a thin coating of acid-resistant material on a metal surface and the surface could then be etched in an acid bath, producing the desired groove without the complication of an intermediate photographic procedure. The author of this article called the device a phonographe, but Cros himself favored the word paleophone, sometimes rendered in French as voix du passé ('voice of the past').[]

Cros was a poet of meager means, not in a position to pay a machinist to build a working model, and largely content to bequeath his ideas to the free of charge and let others reduce them to practice, but after the earliest reports of Edison's presumably independent invention crossed the Atlantic he had his sealed letter of April 30 opened and read at the December 3, 1877 meeting of the French Academy of Sciences, claiming due scientific credit for priority of conception.

Throughout the first decade (1890–1900) of commercial production of the earliest crude disc records, the direct acid-etch method first invented by Cros was used to create the metal master discs, but Cros was not around to claim any credit or to witness the humble beginnings of the eventually rich phonographic library he had foreseen. He had died in 1888 at the age of 45.

The early phonographs for Edison's phonograph, May 18, 1880

conceived the principle of recording and reproducing sound between May and July 1877 as a byproduct of his efforts to "play back" recorded messages and to automate speech sounds for transmission by . His first experiments were with waxed paper. He announced his invention of the first phonograph, a device for recording and replaying sound, on November 21, 1877 (early reports appear in and several newspapers in the beginning of November, and an even earlier announcement of Edison working on a 'talking-machine' can be found in the on May 9), and he demonstrated the device for the first time on November 29 (it was on February 19, 1878, as US Patent 200,521). "In December, 1877, a young man came into the office of the Scientific American, and placed before the editors a small, simple machine about which very few preliminary remarks were offered. The visitor without any ceremony whatever turned the crank, and to the astonishment of all present the machine said: 'Good morning. How do you do? How do you like the phonograph?' The machine thus spoke for itself, and made known the fact that it was the phonograph..."

The music critic attended an early demonstration (1881–2) of a similar machine. On the early phonograph's reproductive capabilities he writes "It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct."

newspaper from Melbourne, Australia, reported on an 1878 demonstration at the , writing "There was a large attendance of ladies and gentlemen, who appeared greatly interested in the various scientific instruments exhibited. Among these the most interesting, perhaps, was the trial made by Mr. Sutherland with the phonograph, which was most amusing. Several trials were made, and were all more or less successful. "Rule Britannia" was distinctly repeated, but great laughter was caused by the repetition of the convivial song of "He's a jolly good fellow," which sounded as if it was being sung by an old man of 80 with a very cracked voice."

Early machines Phonograph cabinet built with , 1912. The clockwork portion of the phonograph is concealed in the base beneath the statue; the amplifying horn is the shell behind the human figure.

Edison's early phonographs recorded onto a thin sheet of metal, normally , which was temporarily wrapped around a grooved mounted on a correspondingly supported by plain and threaded . While the cylinder was rotated and slowly progressed along its , the airborne vibrated a connected to a that indented the foil into the cylinder's groove, thereby recording the vibrations as "hill-and-dale" variations of the depth of the indentation.

Introduction of the disc record 2:24 This 1906 recording (with the character being voiced by ) enticed store customers with the wonders of the invention.
2 minutes, 23 seconds. Problems playing this file? See .

By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced -based process made it possible to simultaneously produce 90–150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star was obliged to perform his "The Laughing Song" (or the separate "The Whistling Coon") literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)[]

Oldest surviving recordings

's cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, although the evidence advanced for its early date is controversial. Wax recordings of 's choral music made on June 29, 1888, at in London were thought to be the oldest-known surviving musical recordings, until the recent playback by a group of American historians of a recording of made on April 9, 1860.

The 1860 phonautogram had not until then been played, as it was only a transcription of sound waves into graphic form on paper for visual study. Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact.

A recording made on a sheet of tinfoil at an 1878 demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis. A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U.S. President , but as of May 2014 they have not yet been scanned.[] These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them. Edison's 1877 tinfoil recording of Mary Had a Little Lamb, not preserved, has been called the first instance of .

On the occasion of the 50th anniversary of the phonograph, Edison recounted reciting Mary Had a Little Lamb to test his first machine. The 1927 event was filmed by an early camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original 1877 recording. Wax cylinder recordings made by 19th century media legends such as and Shakespearean actor are amongst the earliest verified recordings by the famous that have survived to the present.

Improvements at the Volta Laboratory Main article:

and his two associates took Edison's phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil. They began their work at Bell's in Washington, D. C., in 1879, and continued until they were granted basic patents in 1886 for recording in wax.

Although Edison had in 1877, the fame bestowed on him for this invention was not due to its efficiency. Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of . However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the system.

Volta's early challenge

Meanwhile, Bell, a and experimenter at heart, was looking for new worlds to conquer after having patented the . According to , it was through that Bell took up the phonograph challenge. Bell had married in 1879 while Hubbard was president of the Edison Speaking Phonograph Co., and his organization, which had purchased the Edison patent, was financially troubled because people did not want to buy a machine which seldom worked well and proved difficult for the average person to operate.

Volta Graphophone See also: A 'G' (Graham Bell) model Graphophone being played back by a typist after its cylinder had recorded dictation.

The sound vibrations had been indented in the wax which had been applied to the Edison phonograph. The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy. I am a Graphophone and my mother was a phonograph." Most of the disc machines designed at the Volta Lab had their disc mounted on vertical turntables. The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads. Later, when the complete models were built, most of them featured vertical turntables.

One interesting exception was a horizontal seven inch turntable. The machine, although made in 1886, was a duplicate of one made earlier but taken to Europe by . Tainter was granted on July 10, 1888. The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position. While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording 150 grooves to the inch.

The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of 1886 was the method of recording. Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus.

Graphophone commercialization A later-model Columbia Graphophone of 1901 3:52 Edison-Phonograph playing: Iola by the Edison Military Band (video, 3 min 51 s)

In 1885, when the Volta Associates were sure that they had a number of practical inventions, they filed applications and began to seek out investors. The of Alexandria, Virginia, was created on January 6, 1886, and incorporated on February 3, 1886. It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first .

After the Volta Associates gave several demonstrations in the City of Washington, businessmen from created the on March 28, 1887, in order to produce and sell the machines for the budding phonograph marketplace. The Volta Graphophone Company then merged with American Graphophone, which itself later evolved into .

A coin-operated version of the Graphophone, , was developed by Tainter in 1893 to compete with nickel-in-the-slot entertainment phonograph demonstrated in 1889 by Louis T. Glass, manager of the Pacific Phonograph Company.

The work of the Volta Associates laid the foundation for the successful use of in business, because their wax recording process was practical and their machines were durable. But it would take several more years and the renewed efforts of Edison and the further improvements of and many others, before the became a major factor in .

Disc vs. cylinder as a recording medium

Discs (that aren't re-recordable) are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped, and the matrixes to stamp disc can be shipped to other printing plants for a global distribution of recordings; cylinders could not be stamped until 1901–1902, when the gold moulding process was introduced by Edison.

A Victor V phonograph, circa 1907 an (August 4, 1897 – October 23, 1957) was a popular bandleader from the 1920s to the 1940s. He made recordings, appeared in films and provided the music for numerous radio shows, including .

His name at birth was Abraham Simon. He and his brother, Mike, changed their last name to Lyman because they both thought it sounded better. Abe learned to play the drums when he was young, and at the age of 14 he had a job as a drummer in a Chicago café. Around 1919, he was regularly playing music with two other notable future big band leaders, and , in California.

In Los Angeles Mike Lyman opened the Sunset, a night club popular with such film stars as , , , , and . When Abe's nine-piece band first played at the Sunset, it was a success, but the club closed after celebrities signed contracts stating they were not to be seen at clubs.

For an engagement at the Cocoanut Grove in on April 1, 1922, Abe added a violinist and saxophonist. Opening night drew a large crowd of 1500 guests in the Cocoanut Grove, plus another 500 more outside.

Lyman appeared on radio as early as 1922. His orchestra was broadcast from by late March on KOG.

After the band cut their first record under the local label , they moved a year later to in the summer of 1923. There they made many recordings and were one of Brunswick's leading orchestras through 1935, when Lyman signed to . In late 1937, Lyman signed with where he was assigned their Bluebird label. He recorded prolifically for them through 1942. The Lyman Orchestra toured Europe in 1929, appearing at the Kit Cat Club and the in London and at the and the Perroquet in Paris. Lyman and his orchestra were featured in a number of early talkies, including (1930), (1930), (1930) and (1930). In 1931, Abe Lyman and his orchestra recorded a number of soundtracks for the cartoon series. Notable musicians in the Lyman Orchestra included Ray Lopez, , and Orlando "Slim" Martin. Charlie Chaplin guest-conducted the band in two occasions: in 1923 and 1926, in both cases recording songs written by Chaplin himself.

During the 1930s, the Lyman Orchestra was heard regularly on such shows as and Waltz Time every Friday evening and on NBC, Coast to Coast. Under the name "Rose Blane" Lyman's wife was vocalist with the band during this period. Lyman and his orchestra sat in for Phil Harris on the Jack Benny program in 1943 when Harris served in the Merchant Marines. After the end of the recording ban, Lyman briefly switched to Columbia in 1945, making his final records for that label.

When Lyman was 50 years old, he left the music industry and went into the restaurant management business. He died in at the age of 60

Personal tools

ones was born in , United States, to a musical and mining family. His father, Richard Isham Jones (1865–1945), was a violinist. The family moved to , where Jones grew up and started his first ensemble for church concerts. In 1911 one of Jones's earliest compositions "On the Alamo" was published by Tell Taylor Inc. ( had formed a publishing company the year before when his song "Down by the Old Mill Stream" became a hit.)

In 1915 Jones moved to , . He performed at the Green Mill Gardens, then began playing at Fred Mann's Rainbo Gardens. Chicago remained his home until 1932, when he settled in . He also toured England with his orchestra in 1925.

Isham Jones in 1922

In 1917, he composed the tune "We're In The Army Now" (also known as "") when the United States entered World War I. The same tune was popular during World War II and it is played by the U.S. Army Band.

The Isham Jones band made a series of popular for throughout the 1920s. His first 26 sides, made at Rainbo Gardens, were credited to "Isham Jones' Rainbo Orchestra". By the end of 1920, the name was simply "Isham Jones' Orchestra".

He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, "" written by and , was recorded in 1921. This million-seller stayed for twelve weeks in the U.S. charts, six at No. 1. It was awarded a by the . Noted musicians who played in Jones's band included , (although no records were made during the short time he was there), , , and . Reed virtuoso appeared briefly with Jones in 1933, taking part in a record date October 3.

From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.[]

From 1929 to 1932, his Brunswick recordings became even more sophisticated with offbeat arrangements by and others; Jones was his own arranger early on, but cultivated others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, and Arthur Jarrett. In 1932, he added Joe Martin, another of the band's violinists, as a frequent vocalist. In April that year, young recorded two sessions with Jones's group which included "". Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "" style.[]

In August 1932, Jones signed with , and these records are considered among the best arranged and performed commercial dance band records of the era. Victor's recording technique was suited to Jones' band. In October 1932, he teamed up with the in New York who had just departed from CBS radio. They recorded "experimental" songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded "Where? (I Wonder Where?)" and "What Would Happen to Me If Something Happened to You." His Victor releases had an almost symphonic sound, often with a strong use of tuba. During his Victor period, he recorded two long playing "Program Transcription" records as part of Victor's unsuccessful 33 1/3 RPM series. He stayed with Victor until July 1934, when he signed with . Jones's recordings during this period rivaled , , and other dance orchestras as examples of the most popular dance music of the era.[]

Jones' Decca recordings are often unfavorably compared to his Victor recordings, due to Decca's recording techniques, Decca's insisting that Jones re-record many of his Victor recordings, and the apparent smaller size of his orchestra. After he left Decca in 1936, he again retired and his orchestra was taken over by band member . Jones started a new band in 1937–38 and recorded a handful of sessions under the labels: , and .[]

In the 1940s, Jones resided on his poultry farm in , which he occasionally left for short tours with pickup bands. He later resided in . He moved to in 1955, and died there of cancer in 1956. (He is interred at in , and perhaps for that reason is often erroneously listed as having died in Hollywood, California.)[]

His great-nephew was the now-deceased jazz drummer .[]

Compositions

Isham Jones was the leader of one of America's most popular dance bands in the first half of the 20th century, between the two World Wars. His remarkable string of chart-topping compositions between 1922 and 1925, in collaboration with lyricist , and later with Charles Newman, included eight number 1 records, an unequaled body of work for a full-time band leader. Each of the following selections peaked in the top ten, according to Joel Whitburn's Pop Memories 1890-1954.

The following songs were composed by Jones:

"Broken Hearted Melody" 1922; lyrics, "Feeling That Way" 1930 "I Can't Believe It's True" 1932; lyrics, Charles Newman & "I'll Never Have to Dream Again" 1932; lyrics, Charles Newman ""; lyrics, Gus Kahn; #1 for seven weeks, Number 2 single for year 1925 "I'm Tired of Everything but You" 1925 ""; lyrics, Gus Kahn; #1 for five weeks, Number 4 single for year 1924 "My Castle In Spain" 1926 "Never Again" 1924"; lyrics, Gus Kahn "" ; lyrics, Gus Kahn; #1 for four weeks, Number 7 single for year 1922 "" 1924; lyrics, Gus Kahn Herb Wiedoeft From Wikipedia, the free encyclopedia Herb Wiedoeft Herb Wiedoeft Band Background informationBorn22 November 1886
GermanyDied12 May 1928 (aged 41)
, United StatesGenres

Herbert Arthur Wiedoeft (22 November 1886 – 12 May 1928) was a German-American band leader in in the 1920s.

Career

Wiedoeft was born in Germany and came to the United States with his parents as a child. Wiedoeft came from a family of gifted musicians and was encouraged by his father. His brothers Gerhardt and Adolph (nicknamed "Gay" and "Ad" respectively) played as sidemen in his band, Gerhardt on and Adolph on and . Another brother, was a player during the late and early jazz era. Their sister, Erica, was a pianist. Herbert himself played the .

Wiedoeft started his first orchestra before 1915. His band played for several years at the Cinderella Roof Ballroom at Sixth and Olive in downtown . The band's theme song "Cinderella Blues" came from the name of this venue. The band recorded four songs for the label in 1922. The band gained a recording contract with , toured in Chicago and New York and earned a national reputation. Their first record for Brunswick was "Cinderella Blues"/ "", the latter being the first recording of the song that had 's revised lyrics. , who went on to form his own popular band in the 1930s and 1940s, started out as a singer and trombonist in the Herb Wiedoeft orchestra.

Wiedoeft died in a car accident in , on 12 May 1928, when his car skidded off the Medford-Klamath Falls highway. The trombonist Jesse Stafford took over the band, and released another 13 sides on Brunswick records under the name of the Jesse Stafford Orchestra.