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The Gennett Connection

Bruce Bastin and Kip Lornell

in The Melody Man: Joe Davis and the New York Music Scene, 1916-1978

This chapter focuses on Joe Davis’s collaboration with Gennett Records. It explains that when Gennett returned to disc production in September 1944, Davis was given complete charge of selecting the ... More

This chapter focuses on Joe Davis’s collaboration with Gennett Records. It explains that when Gennett returned to disc production in September 1944, Davis was given complete charge of selecting the talent and the songs to be recorded and listed, and would also be the exclusive selling and distribution agent for all records made by Gennett. During this time Davis also made several purchases of masters from various recording companies, and continued signing and nurturing new artists.Less

“Birmingham Jail”/“Six Months Ain’t Long”: Ezra Hill and Henry Johnson [Robinette and Moore]/Marlow and Young [Rutherford and Foster] Champion 15750

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Melvin Robinette, Byrd Moore, Leonard Rutherford, John Foster, “Birmingham Jail”, “Six Months Ain’t Long”, Gennett Records, old-time music

“Salvation Is for All”: Rev. Edward Boone Gennett 7248

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Rev. Edward Boone, “Salvation Is for All”, sacred songs, Nazarene Church, family bands, and Gennett Records

“Seneca Square Dance”/“Echoes of the Ozarks”: Fiddlin’ Sam Long of the Ozarks Gennett 3284

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Fiddlin’ Sam Long, “Seneca Square Dance,” “Echoes of the Ozarks,” old-time fiddling, Gennett Records, and fiddlers’ contests

That Ghastly Saxophone

Felix Harcourt

in Ku Klux Kulture: America and the Klan in the 1920s

This chapter looks at the Ku Klux Klan in the context of American music history, arguing that the idea of the 1920s as “Jazz Age” is a pernicious cultural myth. Many vocally hated jazz, with Klan ... More

This chapter looks at the Ku Klux Klan in the context of American music history, arguing that the idea of the 1920s as “Jazz Age” is a pernicious cultural myth. Many vocally hated jazz, with Klan members particularly highlighting both the white supremacism and anti-Semitism central to much of this criticism. Those same Klan members also engaged in widespread cultural appropriation, retooling popular songs – including jazz and blues ‘race records’ – into propaganda for the Klannish ideology. While Klan members recorded these songs at Gennett Records, similar ideas were being commercialized and incorporated into novelty songs from Tin Pan Alley. Klan members formed jazz bands even as they propelled the career of old-time fiddlers like John Carson and the development of the hillbilly music genre.Less

“Gray Eagle”/“Forked Deer”: Hill’s Virginia Mountaineers [Taylor’s Kentucky Boys] Silvertone 8183

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Taylor’s Kentucky Boys, “Grey Eagle” “Forked Deer”, stringband, old-time fiddling, racially mixed bands, Ku Klux Klan, and Gennett Records

“When Katie Comes Down to the Gate”/ “A Little White Rose”: Murphy Bros. Superior 2716

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Murphy Brothers, “When Katie Comes Down to the Gate”, “A Little White Rose”, old-time music, family bands, harmonica, and Gennett Records

“That’s My Rabbit—My Dog Caught It”: Walter Family Champion S-16653

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Walter Family, “That’s My Rabbit—My Dog Caught It”, stringband, old-time music, family bands, and Gennett Records

Mister Jelly

Samuel Charters

in A Trumpet around the Corner: The Story of New Orleans Jazz

The musicians who ventured out of New Orleans found jobs in various cities. These were the traveling days of New Orleans jazz, and many musicians recorded on the road. One of the early traveling ... More

The musicians who ventured out of New Orleans found jobs in various cities. These were the traveling days of New Orleans jazz, and many musicians recorded on the road. One of the early traveling musicians who managed to get into a recording studio was Jelly Roll Morton, who claimed later in life that he had invented jazz. Morton is known for his multi-sectioned, extended solo compositions that used the harmonic forms of classic ragtime: sixteen-bar strains, repeats, short bridging interludes, and a melodic central strain. Some of his most important compositions, both the piano solo versions and orchestrations, were published by Walter Melrose and his brother Lester. In 1923, Walter set up sessions with Gennett Records for solo piano versions of all of the major Morton compositions that he was publishing. Morton also made a handful of recordings with the Jelly Roll Morton’s Levee Band and Jelly Roll Morton’s Incomparables in 1924 and 1925.Less