1930, Burma Girl, Paul Howard's Quality Serenaders, HD 78rpm
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- Опубліковано 26 тра 2022
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"Burma Girl" 1930 Paul Howard's Quality Serenaders
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All posting on this channel conforms to the United States Code: Article 107., Chapter 1., Title 17., “Fair Use” Act of 1976 which supersedes all copyright. The material herein is of a strictly non-commercial intent, and is created for the sole purpose of nonprofit education, research, information, and social comment. As presented in the UA-cam forum, this video in no way violates actual copyright ownership for which I make no claim. All soundtracks use my own vintage original 78rpm recordings. Copying of any portion of these videos is prohibited without permission of the author. Ref: www.copyright.gov/fls/fl102.html
Exceptionally clean work for 1930 by Victor - each soloist is really clear and up-front. The piano is mic'd especially well (whereas a lot of work from this period had the instrument at the back of the hall).
Extraordinary very nowadays and modern playing. Please forgive my aproximative english language. Merci beaucoup from Paris France 👍 👍 👍.
At 1:49, the tenor plays a phrase that’s the antecedent of a Monk tune, Bye-Ya.
Love that LA sound
When I was a kid in the 1960s I went to a place called Disneyland. There was a band there I listened to and the piano player was Harvey Brooks who recorded with Paul Howard’s Quality Serenaders. I had some of the Paul Howard Victor 78’s and talked with him about the band.He said the band appeared in a MGM silent film and he had a picture of the band outside the bungalows at MGM studios. He loaned me the picture and let me make a negative of it. Later in the 1980’s I met Lionel Hampton at a concert at USC university and I talked with him too about when he recorded with Paul Howard and he played drums. He told me a funny story about how they served drinks with something called a setup at the club the band was playing at. I also had one of the Hollywood label 78’s by Harvey Brooks Quality Four and that is how I knew Harvey Brooks name.
This is super star FANTASTIC!
You are AWESOME My friend! Your uploads are like a wild wonderful dream! I LOVE these,!
....thank you, Bobby!
....unfortunately, during the onset of the great depression, there were few opportunities for Black bands to make recordings on the west coast. Paul Howard is the best known, and although his output is meager, it rivals anything made in New York. The sessions were done at Victor's Hollywood studios and at the Hal Roach, Culver City facility. The audio has the typical claustrophobic acoustic that we hear on so many other Victor L.A. records. Of course, the Roach recording room had to be quiet and "dead" for their movie soundtrack music, and so all of the record sessions had the same characteristic. It seems they over-padded the Hollywood room as well.
"Burma Girl" was one of the casualties of limited releases -- it was never issued as a commercial 78rpm record. The vinyl test pressing used for my transfer really demonstrates the compression and clipped range that Victor's west coast equipment had. I have to wonder if the thrifty RCA "suits" were trying to cut costs by recycling older recording hardware -- maybe they thought the hayseed Californians wouldn't notice. Well, 92 years later, we do notice!
DAVID HARVEY wrote: .... Articulation and resonance are always at odds sonically. Acoustic instruments have means of both. The violin strings provide articulation, the violin body provides resonance. In a similar sense, indoors spaces for acoustic music performance and audience listening are ideally acoustically resonant. The hall, church, or theater is like a part of the instruments, a vital extension of the instruments themselves, just like the hollow body of the violin is an extension of the violin strings. If a performance venue is acoustically dry, the instruments sound articulate but thin, lacking resonance. There is nothing a musician can do to sound better in that situation. That would be like a violinist playing a violin with only the strings and body top with no body. That is how difficult it is for an acoustic musician to project sound in a dry or dead space. Conversely, in a highly reverberant venue the instrumentalist can project tone to every region of that space. However, the articulation will be blurry, and there is very little a performer can do about that to make the instrument speak clearly. Therefore, an ideal acoustical venue is about balance: not a dead space but not an echo chamber either. Recording studios for acoustic music should have this acoustical balance. Living rooms are not designed for acoustic music projection and articulation. Their purpose is comfortable seating and casual conversation, not facilitating musical tone. Of course, living rooms are where acoustic phonographs and many pianos have traditionally been heard. However, that is like playing a soccer match in a closet. Some acoustic Edison Diamond Discs exhibit amazing balance of very live resonance that is still clearly articulate, though obviously lacking both extremes of the sonic spectrum in terms of bass and upper partials. Columbia Viva Tonals provided greater frequency range and volume with a fairly decent balance of resonance, but somewhat wet sounding. Every live performance, recording studio, and playback session has its own parameters, but a balance of resonance and articulation, a full frequency spectrum, and projection at all volume levels; these are the qualities that are ideal, though elusive.
Roger Robles
Author
....Mr. Harvey, thank you for the brilliant and articulate explanation of musical acoustics. Apparently, you are the only person in the room who understood what I was talking about in my summary. I wasn't talking about reverb or echo -- just room ambiance!
@@Prozoot Yes! Compare to the McKinney's Cotton Picker's Sides !
I can't say that I know much of anything of music from this period or even Jazz, but I do know a good toe tapper when I hear it. Thanks for the upload.
Thank you very much for that astonishing record!! Another artist to discover with great pleasure!!
I never heard of this before, and I love it! Thanks, as usual. Also found your own comments, and the reply to your comment, fascinating and informative. Finally, listening to this the third time, it struck me that I bet the Boswell Sisters would have loved performing with this band. There is a similar swing or feeling-don’t know how else to put it. It just sounds to me like they would have liked each other.
A good example of early swing with excellent solo work, thanks
Great band and a wonderful transfer as always, thanks…
Not heard of this band before but I’m sure that there are loads of great 1930s bands that I’ve not heard of.
Great toon. Thanks.
I had never heard of them before until I managed to come across a couple pressings here in the midwest, of all places. I'm especially partial to "Quality Shout".
👍👍👍👍👍👍👍👍👍
My dear friend, your transfer is running somewhat sharp. The key should be F Major, then Ab. Please, could you possibly re-transfer it?