2427Re: under intellectualising was over-intellectualizing
- Apr 1, 2006To finish, if the Bolden cylinder survives in a private collection,
then most likely it would belong to the descendants of someone who
worked for Louisiana Phono and later moved away from the city. It may
even already exist in an institutional collection, but it might be
missing its box and/or slip, or the spoken introduction is audible, or
is claimed by mold, a problem we don't know how to fix just yet.
One thing that should be done is to identify the name of the band that
would have recorded it. It probably won't be obvious, like "Bolden's
Band," more likely a name like "The Eagle Band" or some such. I've
never seen a comprehensive listing of records from Louisiana
Phonograph, but if a printed catalogue could be found one could see
what types of band selections the company was producing and deduce the
most likely candidates. And as to the date, speculation about which is
all over the map, I would say 1895 seems most likely, certainly not
later than 1898, when North American broke up.
--- In RedHotJazz@yahoogroups.com, "David N. Lewis" <udtv@...> wrote:
> I did my own reconstruction of Bolden's music with my rock band
> Cointelpro, and some horn players and a banjo, at a show at the Jockey
> Club in Newport Ky in late 1983. We jammed on "If You don't Shake You
> Don't Get No Cake" and in the middle I delivered a throrougly
> long-winded and pretentious monologue about the Bolden legend. No one
> "got" it, but I think I have a tape around around here of the
> performance. It was not a "serious" reconstruction, just me delving
> into what would have then been a hopelessly obscure topic for a
> captive audience. If you know anything about my work as an entertainer
> it makes total sense. Anyway...
> I can't find the reference, but here someone speculated about the
> Bolden cylinder as though it might have been made by a hobbyist. That
> isn't likely - at all. Private ownership of phonographs capable of
> recording is something that doesn't really get underway until about
> 1900. Prior to that if you needed one (such as James Mooney's
> phonograph, purchase of which was underwritten by the Bureau of Indian
> affairs) you almost had to buy one from Thomas Edison himself. it was
> a problem of production - Edison products up to about 1908 (when the
> "Little Gem" was produced) were complex, heavy, had many moving parts
> and broke down a lot. That's why in the 90s the cylinder business was
> heavily invested in coin-operated machines placed in phonograph
> parlours or saloons, not to mention those used for business dictation.
> If they failed, which they did a lot, someone had to come out and fix
> it - if it was in a parlour then it could be fixed right away by the
> person on staff.
> The North American Phonograph Company, which was Edison's nationwide
> "trust" that controlled phonograph interests, divided the country into
> several regional districts. The New Orleans district was represented
> by the Louisiana Phonograph Company. The big studios in New York and
> Washington were equipped with enough phonographs to make 50 cylinders
> per performance - there was no mass duplication of cylinders in those
> days. The smaller, regional companies could only produce 5-6 cylinders
> per performance, and these locally made cylinders are rarer than hen's
> teeth - most went straight into a coin operated machine.
> I know of one surviving cylinder from the Louisiana Phonograph
> Company, and that is the Louis Vasnier performance used on the "Lost
> Sounds" compilation issued by Archeophone. So it is not altogether
> unrealistic that the Bolden cylinder, which may have been a march,
> could be found. But the climate in new Orleans is not kind to
> something like a wax cylinder - it is very moist and humid, conditions
> (along with mold) that are death to such fragile objects. North
> American went bankrupt in 1898, and while certain regional recrding
> companies re-organized and survived, most went under, some even before
> (Ohio Phonograph Company went into receivership before, in 1896.) Even
> by '96 it was getting to be impossible to get parts from Edison, and
> by that time you had to buy them outright.
> Gotta cut this short - wife is callin.
> Uncle Dave Lewis
> --- In RedHotJazz@yahoogroups.com, bongroika@ wrote:
> > aw there aint nothin intellectualizing
> > -------------- Original message --------------
> > From: "David Brown" <johnhaleysims@>
> > Pryor
> > The early histories of Jazz proposed -- and does anybody know the
> source of
> > this whimsy -- Howard ? --- the existence of an actual cylinder
> > of Buddy Bolden which achieved mythic status but which has never been
> > discovered.
> > I was implying that without such evidence nobody -- least of all the
> > ubiquitous and unctuous Marsalis -- can pontificate on his
> influence on
> > Louis or early jazz style. Speculation on his style is however
> possible and
> > valid and has been , over the years, attempted by various
> > variable success.
> > Patrice
> > Smileys man ? Now why did Jane Austen never think of that ? But the
> best I
> > can do is parenthesis ( THIS IS IRONY ! ) -- no, no I don't mean
> > is irony --or do I ? ( THIS IS IRONY ! ) ( AND SO WAS THAT
> PARENTHESIS !)
> > ( AND SO WAS THAT ! ) (ETC) however once irony has to be signposted
> it is
> > worthless and so I assume to be banished from this forum ?
> > Jp
> > The only value of the Burns was the archive footage well
> counterbalanced by
> > the spurious and simplistic 'history'.
> > [Non-text portions of this message have been removed]
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