(dubbed from earlier recorded Parts No. 1, 2 and 3 (Matrixes #11119, 11120 and 11121, all Take A) made on July 23, 1926)
(dubbed from earlier recorded Parts No. 1, 2 and 3 (Matrixes #11135(A), 11136(A) and 11137(B) made on July 29, 1926)
|
|
| Carmen - Selections | Aida - Selections |
| American Concert Orchestra (Cesare Sodero, conductor) | American Concert Orchestra (Cesare Sodero, conductor) |
| Edison 10001-R | Edison 10001-L |
| Matrix# 12002-L1-4[11-1] | Matrix# 12003-L-1-4 |
| Mastered on September 1, 1926 (dubbed from earlier recorded Parts No. 1, 2 and 3 (Matrixes #11119, 11120 and 11121, all Take A) made on July 23, 1926) |
Mastered on September 17, 1926 (dubbed from earlier recorded Parts No. 1, 2 and 3 (Matrixes #11135(A), 11136(A) and 11137(B) made on July 29, 1926) |
| New York, New York (for the originals but unconfirmed for LP mastering) | New York, New York (for the originals but unconfirmed for LP mastering) |
| Note: Disc changes at 4:57 and 9:01. | Note: Disc changes at 4:00 (difficult to hear) and 8:39. |
 |
 |
| I Vespri Siciliani: Overture - Parts 1 & 2 Boabdil: Malaguena |
Manon: Selections - Parts 1 & 2 Coppelia: Festival Dance & Valse of the Hours |
| American Concert Orchestra (Cesare Sodero, conductor) | American Concert Orchestra (Cesare Sodero, conductor) |
| Edison 10003-R | Edison 10003-L |
| Matrix# 12006-F-1-2-[1-1] | Matrix# 12007 B-2-5 |
| Mastered on September 16, 1926 (dubbed from earlier recordings (Matrixes #11095(Take C), 11096(A) made on July 9, 1926 and #11103(A) made on July 16, 1926) |
Mastered on August 9, 1926 (dubbed from earlier recordings (Matrixes #11051(Take B), 11052(A) made on June 18, 1926 and #11104(C) made on July 16, 1926) |
| New York, New York (for the originals but unconfirmed for LP mastering) | New York, New York (for the originals but unconfirmed for LP mastering) |
| Note: Minor water/moisture damage. Edge photo. Cause of skipping on R-side. |
|
| Note: Skipping from 0:46-1:00 (pictured above) with a few more nearby. First disc change imperceptible, second at 7:53 with final note still ringing and third disc starting at 7:58. | Note: Disc changes imperceptible. |
 |
 |
| Lucky Dog Blues | Satanic Blues |
| Synco Jazz Band (Joseph Samuels) | Synco Jazz Band (Joseph Samuels) |
| Pathé 020558-A | Pathé 020558-B |
| Matrix# TL-69186-2 | Matrix# TL-69187-1 |
| ca. April-May 1921 | ca. April-May 1921 |
| Note: Speaking afterwards. |
 |
 |
| Kitten on the Keys | Cho-Piano |
| Henry Lange | Henry Lange |
| Pathé 020671-A | Pathé 020671-B |
| Matrix# TL-69439 | Matrix# TL-69440-2 |
| ca. October 1921 | ca. October 1921 |
| Note: Played at 78 RPM. | Note: Played at 78 RPM. |
 |
 |
| Maybe (She'll Write Me - She'll Phone Me) | Funiculi-Funicula |
| Max Terr and His Orchestra | Casino Dance Orchestra (unidentified pseudonym) |
| Pathé 036034-A | Pathé 036034-B |
| Matrix# N-105065 [2] | Matrix# N-105088 [2] |
| January 1924 | January 1924 |
| New York, New York | New York, New York |
| Note: Better photo of dealer sticker Here. |
 |
| Melody in "F" |
| Frederic Voelker |
| Oxford 535 |
| (Zonophone) Matrix# 6396 |
| before September 1906 |
| New York, New York |
| Note: Played at 82 RPM. |
 |
 |
| Marche des Mousquetaires | (Blank) |
| La Garde Republicaine de Paris (The National Band of France) | |
| Zon-O-Phone 2 | |
| Matrix# 3794, Take ? | |
| Before December 1904 | |
| New York, New York | |
| Note: Played at 76 RPM. |
 |
 |
| Rubinstein Melodie Op. 3, No. 1 | (Chiaffarelli's) Polonaise |
| Vladimir Dubinsky | Albert Chiaffarelli |
| OKeh 1104-A | OKeh 1104-B |
| Matrix# 195B 4, Take B | Matrix# 302D 7, Take D |
| ca. June 1918 | ca. August 1918 |
| New York, New York | New York, New York |
 |
 |
| Tosca - "E lucevan le stelle" (The Stars Were Shining) | Faust - "Dio possente" (Even Bravest Heart) |
| George Lambert | Filippo Antonio |
| OKeh 7006-A | OKeh 7006-B |
| Matrix# 357C 16, Take C | Matrix# 354B 7, Take B |
| ca. September 1918 | ca. September 1918 |
| New York, New York | New York, New York |
| Note: Perhaps more pleasant with a 125 Hz turnover applied Here. | Note: Perhaps more pleasant with a 125 Hz turnover applied Here. |
 |
 |
| Nobody Knows (And Nobody Seems To Care) | Goodnight Angeline |
| Jack Kaufman | Peerless Quartette |
| OKeh 4028-A | OKeh 4028-B |
| Matrix# S-7013-B g 36, Take B | Matrix# S-7026-B S(backwards) 24, Take B |
| ca. September 1919 | ca. September 1919 |
| New York, New York | New York, New York |
| Note: Worn at end. | Note: Worn. Pressing blister 0:24-0:37. |
 |
 |
| William Tell Overture (Part 1) (At Dawn) |
William Tell Overture (Part 2) (The Storm) |
| Conway's Band | Conway's Band |
| OKeh 4205-A | OKeh 4205-B |
| Matrix# S-7420-B E 2, Take B | Matrix# S-7418-B 4(reversed) 3, Take B |
| May 1920 | May 1920 |
| New York, New York | New York, New York |
 |
 |
| William Tell Overture (Part 3) (The Calm) |
William Tell Overture (Part 4) (Finale) |
| Conway's Band | Conway's Band |
| OKeh 4206-A | OKeh 4206-B |
| Matrix# S-7419-B 1(upside down) 3, Take B | Matrix# S-7583-B 2(reversed) 1, Take B |
| May 1920 | September 1920 |
| New York, New York | New York, New York |
| Note: Studio sounds before start. | |
| To listen to all parts consecutively, click HERE. | |
 |
 |
| Nobody Lied | The Sneak |
| Markels' Orchestra | Markels' Orchestra |
| OKeh 4648-A | OKeh 4648-B |
| Matrix# S-70722-C F 1, Take C | Matrix# S-70712-B A 12, Take B |
| June 26, 1922 | June 1922 |
| New York, New York | New York, New York |
| Note: Worn. |
 |
 |
| Houston Blues | Hot Lips |
| Joseph Samuels Jazz Band | Tampa Blue Jazz Band (Instrumental conversation by Joe (clarinet) and Jewels (cornet)) |
| OKeh 4663-A | OKeh 4663-B |
| Matrix# S-70772-B D 3, Take B | Matrix# S-70773-C C 3, Take C |
| August 10, 1922 | August 10, 1922 |
| New York, New York | New York, New York |
 |
 |
| 'Tain't Nobody's Bus'ness If I Do | Achin' Hearted Blues |
| Clarence Williams' Blue Five | Clarence Williams' Blue Five |
| OKeh 4966-A | OKeh 4966-B |
| Matrix# S-71-928-B D 1, Take B | Matrix# S-71-797-a A 3, Take A |
| October 1923 | August 1923 |
| New York, New York | New York, New York |
| Note: Extremely worn. Some stripped threads. | Note: Extremely worn. Some stripped threads. |
 |
 |
| Tie Me To Your Apron Strings Again | I Love My Baby (My Baby Loves Me) |
| Nathan Glantz and His Orchestra | The Blue Kittens |
| Puritan 11434-A | Puritan 11434-B |
| Matrix# 2406^1, Take 1 | Matrix# 2391^1, Take 1 |
| January 1926 | January 1926 |
| New York, New York | New York, New York |
| Note: Played at 80 RPM. | Note: Played at 78 RPM. |
 |
 |
| When You and I Were Seventeen | Eliza |
| Nathan Glantz and His Orchestra | Bar Harbor Society Orchestra (Ben Selvin, manager) |
| Everybodys 1029-A | Everybodys 1029-B |
| Matrix# 3518-1 (Emerson Matrix# 42779), Take 1 | Matrix# 3513-1 (Emerson Matrix# 42773), Take 1 |
| released January 1925 | released January 1925 |
| New York, New York | New York, New York |
| Note: Played at 78 RPM. | Note: Played at 80 RPM. |
 |
| Ave Maria |
| Charles D'Almaine (with piano accompaniment) |
| Leeds 4041 |
| Matrix# (4041) |
| between late 1903 and 1904 |
| New York, New York |
| Note: Played at 76 RPM. Extremely worn. |
 |
| The Prince of Pilsen |
| likely Leeds & Catlin House Band |
| Leeds 4142 |
| Matrix# (4142) |
| between late 1903 and 1904 |
| New York, New York |
| Note: Played at 76 RPM. Very worn. |
 |
| Mefistofele - Prologo "Ave Signor!" (Hail, Sovereign Lord!) |
| Marcel Journet |
| Victor 64126 |
| Matrix# B-8550, Take 1 |
| January 13, 1910 |
| Camden, New Jersey |
| Note: Studio cue before start. |
 |
| Dixie |
| Mabel Garrison and Victor Male Quartet |
| Victor 64637 |
| Matrix# B-18971, Take 1 |
| January 8, 1917 |
| Camden, New Jersey |
| Note: Studio cue before start. Needle run 1:42-end. |
 |
| The Last Rose of Summer |
| Lucy Marsh |
| Victor 60126 |
| Matrix# B-15236, Take 2 |
| October 1, 1914 |
| Camden, New Jersey |
| Note: In-studio start cue audible. |
 |
| Belle of New York, and Anti-Cigarette Society |
| Columbia Band |
| Columbia 786 |
| Matrix# 786-3, Take 3 |
| 1902-October 1905 |
| New York, New York |
| Note: Very worn. |
 |
 |
| America (Chimes) | (Blank) |
| Steve Porter | |
| Columbia 442 | |
| Matrix# 442-3A AA 3, Take 3 | |
| ca. 1901-1908 | |
| New York, New York |
 |
 |
| Serenade "An meine Mutter" (To My Mother) | (Blank) |
| Biederman, Lufsky and Prince | |
| Columbia 3506 | |
| Matrix# 3506-1-1 ((N?)-1184-1), Take 1 | |
| January-November 1906 | |
| New York, New York |
 |
 |
| To The Evening Star (From "Tannhauser") | (Blank) |
| Hans Kronold | |
| Columbia 3585 | |
| Matrix# 3585-3-4 (N-1330-3), Take 3 | |
| late 1906-February 1907 | |
| New York, New York | |
| Note: Signature in wax. |
 |
 |
| Ballet No. 1, Tempo di Valse "Faust" | Ballet No. 2, Adagio "Faust" |
| Columbia Band | Columbia Band |
| Columbia 946 | Columbia 948 |
| Matrix# 946-4B, Take 4 | Matrix# 948-4D, Take 4 |
| 1902-July 1904 | 1902-July 1904 |
| New York, New York | New York, New York |
| issued August 1904. | |
| Note: Very worn with needle digs. Announced by Harry Spencer. | Note: Very worn with needle digs. Speed problems on master. Some stripped grooves. Announced by Harry Spencer. Played at 82.5 RPM. |
 |
 |
| Turkey in the Straw | Why Don't You Write When You Don't Need Money |
| Billy Golden | Bob Roberts |
| Columbia A295 | Columbia A295 |
| Matrix# 1101-10-54, Take 10 | Matrix# 3520-2-22, Take 2 |
| 1903-1908 | January-November 1906 |
| New York, New York | New York, New York |
| Note: No-EQ version (less harsh) |
 |
 |
| Woodman, Spare That Tree | I Certainly Was Going Some |
| Bert Williams | Bert Williams |
| Columbia A1321 | Columbia A1321 |
| Matrix# 88539-5 2, Take 5 | Matrix# 88576-1 4, Take 1 |
| January 7, 1913 | January 21, 1913 |
| New York, New York | New York, New York |
| Note: Studio sounds after end. |
 |
 |
| Purpostus | Never Mo' |
| Bert Williams | Bert Williams |
| Columbia A1853 | Columbia A1853 |
| Matrix# 46004 1-C-24, Take 1 | Matrix# 46005 2-A-20, Take 2 |
| September 9, 1915 | September 9, 1915 |
| New York, New York | New York, New York |
| Note: In-studio bump berfore start. |
 |
 |
| Laughing Water | (Blank) |
| Columbia Band | |
| Lakeside 70143 | |
| (Columbia) Matrix# 1571-2 2, Take 2 | |
| 1903-1908 | |
| New York, New York |
 |
 |
| Lead Kindly Light | (Blank) |
| Steve Porter(?) | |
| Lakeside 70257 | |
| (Columbia) Matrix# 446-(4-22?), Take 4? | |
| 1901-1910 | |
| New York, New York | |
| Note: Worn. "Play" spoken before start? |
 |
 |
| Blind Man Blues | Sing 'Em For Momma, Play 'Em For Me |
| Katie Crippen with Henderson's Novelty Orchestra | Katie Crippen with Henderson's Novelty Orchestra |
| Black Swan 2003-A | Black Swan 2003-B |
| Matrix# P2003^2 | Matrix# P2004^2 |
| First known mention in "The Black Dispatch": May 6, 1921 | |
| New York, New York | New York, New York |
| Note: Fletcher Henderson's first release! Labels affixed backwards. | |
 |
 |
| Fate | Can You Forget |
| Harold Leonard and His Red Jackets | Harold Leonard and His Red Jackets |
| Gennett 5024-A | Gennett 5024-B |
| Matrix# 11262B A D 1 8 | Matrix# 11263 B o 1 8 |
| December 11, 1922 | December 11, 1922 |
| Richmond, Indiana | Richmond, Indiana |
 |
 |
| To listen to all parts consecutively, click HERE. | |
 |
 |
| Appassionata Sonata: Part 1: Allegro assai (commencement) | Appassionata Sonata: Part 2: Allegro assai (continuation) |
| William Murdoch | William Murdoch |
| Columbia 67290-D | Columbia 67290-D |
| Matrix# RAX2367 4-A-5, Take 4 | Matrix# RAX2368 2-A-5, Take 2 |
| January 19, 1927 | January 19, 1927 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Appassionata Sonata: Part 3: Allegro assai (completion) | Appassionata Sonata: Part 4: Andante con moto (first part) |
| William Murdoch | William Murdoch |
| Columbia 67291-D | Columbia 67291-D |
| Matrix# RAX2369 4-A-4, Take 4 | Matrix# RAX2374 1-A-7, Take 1 |
| January 19, 1927 | January 20, 1927 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Appassionata Sonata: Part 5: (a) Andante con moto (completion) (b) Allegro ma non troppo (first part) | Appassionata Sonata: Part 6: Allegro ma non troppo (completion) |
| William Murdoch | William Murdoch |
| Columbia 67292-D | Columbia 67292-D |
| Matrix# RAX2375 1-A-1, Take 1 | Matrix# RAX2376 1-A-1, Take 1 |
| January 20, 1927 | January 20, 1927 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| William Tell Overture (Part I - At Dawn) |
William Tell Overture (Part II - The Storm) |
| Arthur Pryor's Band | Arthur Pryor's Band |
| Victor 16380-A | Victor 16380-B |
| Matrix# B-1275, Take 4 | Matrix# B-1276, Take 9 |
| September 24, 1909 | May 4, 1909 |
| Camden, New Jersey (?) | Camden, New Jersey (?) |
 |
 |
| William Tell Overture (Part III - The Calm) |
William Tell Overture (Part IV - Finale) |
| Arthur Pryor's Band | Arthur Pryor's Band |
| Victor 16381-A | Victor 16381-B |
| Matrix# B-1277, Take 9 | Matrix# B-1278, Take 8 |
| September 24, 1909 | May 4, 1909 |
| Camden, New Jersey (?) | Camden, New Jersey (?) |
| To listen to all parts consecutively, click HERE. | |
 |
 |
| An Operatic Nightmare A Pianistic Distortion of "The Miserere; Mendelssohn's "Wedding March"; Lohengrin "Wedding March"; "Soldiers' Chorus"; Tales of Hoffmann, Barcarolle; Aida March; arias from Tannhäuser, Samson, Faust and Pagliacci; and the Rigoletto Quartet |
Nola |
| Felix Arndt | Felix Arndt |
| Victor 18056-A | Victor 18056-B |
| Matrix# B-17400, Take 9 | Matrix# B-17399, Take 2 |
| May 9, 1916 | March 30, 1916 |
| New York, New York | New York, New York |
 |
 |
| Make Believe | Some Little Bird |
| Paul Whiteman and His Orchestra | Paul Whiteman and His Orchestra |
| Victor 18742-A | Victor 18742-B |
| Matrix# B-24893, Take 10 | Matrix# B-24895, Take 3 |
| March 4, 1921 | March 2, 1921 |
| New York, New York | New York, New York |
 |
 |
| Homesick | All Over Nothing at All |
| Paul Whiteman and His Orchestra | The Great White Way Orchestra |
| Victor 18963-A | Victor 18963-B |
| Matrix# B-26905, Take 2 | Matrix# B-26922, Take 4 |
| September 28, 1922 | October 4, 1922 |
| New York, New York | New York, New York |
| Note: Stressed loud passages. | |
 |
 |
| Shake Your Feet | Swanee River Blues |
| Paul Whiteman and His Orchestra | Paul Whiteman and His Orchestra |
| Victor 19185-A | Victor 19185-B |
| Matrix# B-28790, Take 3 | Matrix# B-28793, Take 4 |
| October 29, 1923 | October 30, 1923 |
| New York, New York | New York, New York |
 |
 |
| Salon Suite No. 1 - Part 1 To a Wild Rose (MacDowell) Gavotte (Gossec) A Little Love, a Little Kiss (Silesu) Black Eyes (Russian folk song) |
Salon Suite No. 1 - Part 2 Vilia - I Love You So (from "The Merry Widow") (Lehar) Minuet in G (Beethoven) Lullaby (Brahms) Two Guitars (Russian folk song) |
| Victor Salon Orchestra (Direction of Nathaniel Shilkret) | Victor Salon Orchestra (Direction of Nathaniel Shilkret) |
| Victor L-24000-A | Victor L-24000-B |
| Matrix# LBRC-69642, Take 2 | Matrix# LBRC-69643, Take 1 |
| May 21, 1931 Victor ledgers: "First special date for long playing records 33 1/3 rpm." |
May 21, 1931 Victor ledgers: "First special date for long playing records 33 1/3 rpm." |
| New York, New York. Studio 2. | New York, New York. Studio 2. |
 |
 |
| Gems from "The Mikado" - Part 3 Braid the Raven Hair - Ladies' Chorus The Moon and I - Hizi Koyke Miyasama - Chorus Daughter-in-law Elect - Vera Ross, Frank Moulan and Chorus My Object All Sublime - Frank Moulan and Chorus The Flowers That Bloom in the Spring - Hizi Koyke, Vera Ross, Howard Marsh and Frank Moulan |
Gems from "The Mikado" - Part 4 Hearts Do Not Break - Vera Ross Willow, Tit-Willow - Frank Moulan For He's Gone and Married Yum, Yum - Ethel Clarke, Frank Moulan and Chorus With Joyous Shout - Chorus |
| Civic Light Opera Company with orchestra (under the direction of Lewis Kroll) | Civic Light Opera Company with orchestra (under the direction of Lewis Kroll) |
| Victor L-24006-A | Victor L-24006-B |
| Matrix# LBRC-71214, Take 1 | Matrix# LBRC-71215, Take 1 |
| January 5, 1932 | January 5, 1932 |
| New York, New York. Studio 1. | New York, New York. Studio 1. |
 |
 |
| Saw Ye My Savior | Enough To Know |
| Maynard Ray Tournier Accompanied by John R. Hawkins |
Maynard Ray Tournier Accompanied by John R. Hawkins |
| Autograph | Autograph |
| Matrix# 471 | Matrix# 472 |
| ca. February 1924 | ca. February 1924 |
| Chicago, Illinois | Chicago, Illinois |
 |
 |
| Kitten on the Keys | Poor Buttermilk |
| Zez Confrey | Zez Confrey |
| Silvertone 2664-A | Silvertone 2664-B |
| (Emerson) Matrix# 41996-2 = 5, Take 2 | (Emerson) Matrix# 41997-1 = 3, Take 1 |
| probably recorded October 1921 released February 1922 |
probably recorded October 1921 released February 1922 |
| New York, New York | New York, New York |
| Note: First name misspelt as "Zey". | |
 |
 |
| Uncle Josh Has His Photo Taken | Uncle Josh At The Skating Rink |
| Cal Stewart | Cal Stewart |
| Silvertone 3198-A | Silvertone 3198-B |
| (Columbia) Matrix# 78453 4-E-4, Take 4 | (Columbia) Matrix# 78479 2-K-128, Take 2 |
| July 8, 1919 | June 11, 1919 |
| New York, New York | New York, New York |
 |
 |
| Stumbling | On The Alamo |
| Golden Gate Dance Orchestra (California Ramblers) | Golden Gate Dance Orchestra (California Ramblers) |
| Cameo 227-A | Cameo 227-B |
| Matrix# 168E 1 7 | Matrix# 169A 1 8 |
| April 24, 1922 | April 24, 1922 |
| New York, New York | New York, New York |
 |
 |
| Holdin' the Sack | Doodle-Doo-Doo |
| Salt and Pepper (Jack Culley and Frank Curtz) | Salt and Pepper (Jack Culley and Frank Curtz) |
| Cameo 609-A | Cameo 609-B |
| Matrix# 1151C3 7 | Matrix# 1156B3 9 |
| September 18, 1924 | September 18, 1924 |
| New York, New York | New York, New York |
| Note: Worn. | Note: Worn. |
 |
 |
| Immortellen Waltz | Las Hijas de Eva |
| Prince's Orchestra | Curti's Orchestra |
| Harmony A676 | Harmony A676 |
| Matrix# 4041-3-1, Take 3 | Matrix# 5415, (Take 1?) |
| between January and May 1909 | 1904 or 1905 |
| New York, New York | Mexico City, Mexico |
| Note: Very worn. | Note: Very worn. |
 |
 |
| Two Giddy Goats | The Belle of Brittany - Waltz |
| Frank C. Stanley and Elise Stevenson | Prince's Orchestra |
| Harmony A802 | Harmony A802 |
| Matrix# 4325-3-6, Take 3 | Matrix# 4332-2-4, Take 2 |
| between 1909 and March 1910 | between 1909 and March 1910 |
| New York, New York | New York, New York |
| Note: Worn. | Note: Worn. |
 |
 |
| In a Hundred Fathoms Deep | Asleep in the Deep |
| William McDonald | William McDonald |
| Harmony A986 | Harmony A986 |
| Matrix# 4843-(?), (Take ?) | Matrix# 4844-1-18, Take 1 |
| approximately 1910 | approximately 1910 |
| New York, New York | New York, New York |
 |
 |
| The Picadore March | The Gladiator March |
| American Regimental Band | American Regimental Band |
| Pathé 20503-A | Pathé 20503-B |
| Matrix# 69123-1 B 3 | Matrix# 69121-1 A 3 |
| March 1921 | March 1921 |
 |
 |
| Sweetheart | I'll Keep On Loving You |
| Casino Dance Orchestra | Casino Dance Orchestra |
| Pathé 20539-A | Pathé 20539-B |
| Matrix# 69162-1 A 2 | Matrix# 69163-1 15 |
| March-April 1921 | March-April 1921 |
| Note: Worn. |
 |
 |
| Crooning | Good As Gold |
| Casino Dance Orchestra | Casino Dance Orchestra |
| Pathé 20559-A | Pathé 20559-B |
| Matrix# 69189-1 A 6 | Matrix# 69191-1 (?) 18 |
| April-May 1921 | April-May 1921 |
 |
 |
| I've Got The Joys | Mandy 'N Me |
| Lanin's Southern Serenaders | Lanin's Southern Serenaders |
| Pathé 20649-A | Pathé 20649-B |
| Matrix# 69392-1 (B?) 5 | Matrix# 69393-1 (B?) 6 |
| September 1921 | September 1921 |
| Note: Worn. |
 |
 |
| Are You Playing Fair? | Parade of The Wooden Soldiers |
| Casino Dance Orchestra | Nathan Glantz and His Orchestra |
| Pathé 20780-A | Pathé 20780-B |
| Matrix# 69744-1 A 2 | Matrix# 69722-1 B 3 |
| June 1922 | May-June 1922 |
| Note: Very worn. Rumble filtered. |
 |
 |
| The Sneak | Just Because You're You - That's Why I Love You |
| Nicholas Orlando and His Orchestra | Nicholas Orlando and His Orchestra (suspected) |
| Pathé 20800-A | Pathé 20800-B |
| Matrix# 69775-1 6 | Matrix# 69776-1 A |
| July 1922 | July 1922 |
| Note: In-studio bump at 1:51. |
 |
 |
| Truly | Murmuring |
| Max Terr and His Orchestra | Max Terr and His Orchestra |
| Pathé 20810-A | Pathé 20810-B |
| Matrix# 69810-1 B 5 | Matrix# 69808-1 A 2 |
| August 1922 | August 1922 |
| Note: Worn. | Note: Worn. |
 |
 |
| Blue | I Wish I Knew |
| California Ramblers | Joseph Samuels' Orchestra |
| Pathé 20814-A | Pathé 20814-B |
| Matrix# 69759-1 A | Matrix# 69807-1 A |
| July 6, 1922 | August 1922 |
 |
 |
| You Remind Me of My Mother | Japanese Moon |
| Joseph Samuels' Orchestra | Nathan Glantz and His Orchestra |
| Pathé 20829-A | Pathé 20829-B |
| Matrix# 69843-1 A | Matrix# 69820-1 A 3 |
| September 1922 | August 1922 |
| Note: Extremely Worn. | Note: Extremely Worn. |
 |
 |
| Marcelle | Dolls |
| George Jessel | George Jessel |
| Pathé 22418-A | Pathé 22418-B |
| Matrix# 68587-1G 15 | Matrix# 68588-1C 17 |
| ca. July 1920 | ca. July 1920 |
| Note: Stripped groove at 0:02-0:03. |
 |
 |
| The Old Town Pump | Sweet Child |
| Handy's Orchestra of Memphis | Handy's Orchestra of Memphis |
| Columbia A2417 | Columbia A2417 |
| Matrix# 77368 2-A-63, Take 2 | Matrix# 77376 3-A-19, Take 3 |
| September 22, 1917 | September 24, 1917 |
| New York, New York | New York, New York |
 |
 |
| No Place Like Home | Twenty Years |
| Bert Williams | Bert Williams |
| Columbia A2438 | Columbia A2438 |
| Matrix# 77341 2-D-64, Take 2 | Matrix# 77344 1-B-70, Take 1 |
| September 14, 1917 | September 14, 1917 |
| New York, New York | New York, New York |
| Note: Crackle. | Note: Crackle. |
 |
 |
| Siren of a Southern Sea | Day Dreams |
| Art Hickman's Orchestra | Art Hickman's Orchestra |
| Columbia A3387 | Columbia A3387 |
| Matrix# 79666 2-A(R?)-130 (small "2" below first dash), Take 2 | Matrix# 79675 3-AAK-188 (small "2" below first dash), Take 3 |
| February 1921 | February 1921 |
| San Francisco, California | San Francisco, California |
| Note: Played at 78 RPM. Worn. Low EQ version. | Note: Played at 78 RPM. Worn. Low EQ version. |
 |
 |
| Bleeding Hearted Blues | Midnight Blues |
| Bessie Smith (Fletcher Henderson at the Piano) | Bessie Smith (Fletcher Henderson at the Piano) |
| Columbia A3936 | Columbia A3936 |
| Matrix# 81075 3-105, Take 3 | Matrix# 81080 3-113, Take 3 |
| June 14, 1923 | June 15, 1923 |
| New York, New York | New York, New York |
| Note: Worn. | Note: Very worn. |
 |
 |
| Under the Moon | Charmaine! |
| Guy Lombardo and His Royal Canadians | Guy Lombardo and His Royal Canadians |
| Columbia 1048-D | Columbia 1048-D |
| Matrix# 144322 2-C-19, Take 2 | Matrix# 144324 3-B-1, Take 3 |
| June 13, 1927 | June 13, 1927 |
| Chicago, Illinois | Chicago, Illinois |
| Note: Worn. |
 |
 |
| There's Danger in Your Eyes, Cherie! | With You |
| Guy Lombardo and His Royal Canadians | Guy Lombardo and His Royal Canadians |
| Columbia 2107-D | Columbia 2107-D |
| Matrix# 149778 5-E-8, Take 5 | Matrix# 149779 4-B-6, Take 4 |
| January 24, 1930 | January 24, 1930 |
| New York, New York | New York, New York |
| Note: Studio sounds before and after. |
 |
 |
| Demonstration Record - Exhibiting superiority of tone of Pathé recording | The Owl and The Pussy Cat |
| Russell Hunting | Male Quartet (Big City Four?) |
| Pathé 2-A | Pathé 2-B |
| Matrix# (G?)66373-3A, 42 | Matrix# E66727-1C, 41 |
| ca. 1917 | ca. 1918 |
| New York, New York | New York, New York |
 |
| I Pagliacci - "Vesti la giubba" (On with the Play) |
| Lucien Muratore |
| Pathé 54012 |
| Matrix# E65916-2B, 47 |
| January 1919 |
| New York, New York |
 |
 |
| I Pagliacci - "Vesti La Giubba" (On With The Play) | Sigurd - "Esprits Gardiens (Guardian Spirits) |
| Charles Fontaine | Charles Fontaine |
| Pathé 59084-A | Pathé 59084-B |
| Matrix# 1890X, 1C | Matrix# 2107.X., 1E 5 |
| ca. 1920 | ca. 1920 |
| Paris, France | Paris, France |
 |
 |
| Carmen, "Habanera" | Il Trovatore, "Fierce Flames Are Soaring" |
| Margarethe Ober | Margarethe Ober |
| Pathé 60020-A | Pathé 60020-B |
| Matrix# A54531, 1A 6(?) | Matrix# A54530, 1A |
| ca. 1916 | ca. 1916 |
| Berlin, Germany | Berlin, Germany |
 |
 |
| I Pagliacci - Prologue, Part I | I Pagliacci - Prologue, Part II |
| Luigi Montesanto | Luigi Montesanto |
| Pathé 62008-A | Pathé 62008-B |
| Matrix# A84159, 1A | Matrix# A84160, 1A 2 |
| ca. 1916 | ca. 1916 |
| Milan, Italy | Milan, Italy |
 |
 |
| Idle Dreams | Scandal Walk |
| Isham Jones Rainbo Orchestra | Isham Jones Rainbo Orchestra |
| Brunswick 5013-A | Brunswick 5013-B |
| Matrix# 3798 | Matrix# 3799 (3799 listed as an "Idle Dreams" take in DAHR with 3801 being this song) |
| ca. June 1920 | ca. June 1920 |
| New York, New York. 16 West 36th Street | New York, New York. 16 West 36th Street |
| Note: In-studio bump at 1:33. |
 |
 |
| Avalon | Wishing |
| Isham Jones Rainbo Orchestra | Isham Jones Rainbo Orchestra |
| Brunswick 5027-A | Brunswick 5027-B |
| Matrix# 4250 | Matrix# 4227 |
| ca. October 1920 | ca. October 1920 |
| New York, New York. 16 West 36th Street | New York, New York. 16 West 36th Street |
 |
 |
| No, No, Nora | Cut Yourself a Piece of Cake |
| Lyman's California Ambassador Orchestra | Lyman's California Ambassador Orchestra |
| Brunswick 2476-A | Brunswick 2476-B |
| Matrix# 11134 | Matrix# 11114 |
| August 3, 1923 | August 2, 1923 |
| Los Angeles, California | Los Angeles, California |
 |
 |
| Honest and Truly | Doo Wacka Doo |
| Isham Jones Orchestra | Isham Jones Orchestra |
| Brunswick 2767-A | Brunswick 2767-B |
| Matrix# 14330-14332 | Matrix# 14333-14335 |
| November 21, 1924 | November 21, 1924 |
| Chicago, Illinois | Chicago, Illinois |
 |
 |
| Chinese Blues | 'Tain't Cold |
| The Original Memphis Five | The Original Memphis Five |
| Brunswick 3039-A | Brunswick 3039-B |
| Matrix# E17612-E17615 | Matrix# E17656-E17659 (E2202-E2205) |
| January 21, 1926, PM session | January 23, 1926, AM session |
| New York, New York. 799 Seventh Avenue, Room no. 3 | New York, New York. 799 Seventh Avenue, Room no. 1 |
 |
 |
| Tamborin Chinois | Meditation from Thais |
| Alberto Bachmann | Alberto Bachmann |
| Emerson 782 | Emerson 782 |
| Matrix# 2132-1-13, Take 1 | Matrix# 2159-1-14, Take 1 |
| released November 1916 | released November 1916 |
| New York, New York | New York, New York |
| Note: Surface damage from some kind of solvent. | Note: Surface damage from some kind of solvent. Swish. |
 |
 |
| I'm Missin' Mammy's Kissin' (And I Know She's Missin' Mine) | Somebody Knows |
| Charles Foster | Frank Hennigs |
| Melodisc 778 | Melodisc 778 |
| Matrix# 21719-1, Take 1 | Matrix# 21726-2, Take 2 |
| 1920-1922 | 1920-1922 |
| New York, New York | New York, New York |
| Note: Pressing ridge 0:00-0:28, filtered. |
 |
 |
| Cherie | Gingham Girl |
| Gotham's Favorites | Melodisc Novelty Orchestra |
| Melodisc 791 | Melodisc 791 |
| Matrix# 21730-2, Take 2 | Matrix# 21731-2, Take 2 |
| 1920-1922 | 1920-1922 |
| New York, New York | New York, New York |
 |
 |
| It's Not Your Nationality | Put On Your Slippers and Fill Up Your Pipe |
| Arthur Fields | M. J. O'Connell |
| Columbia A2163 | Columbia A2163 |
| Matrix# 47165 5-AB-8, Take 5 | Matrix# 47174 2-H-2, Take 2 |
| December 4, 1916 | November 17, 1916 |
| New York, New York | New York, New York |
 |
 |
| Darktown Strutters' Ball | Indiana |
| Original Dixieland Jass Band | Original Dixieland Jass Band |
| Columbia A2297 | Columbia A2297 |
| Matrix# 77086 4-C-74, Take 4 | Matrix# 77087 2-C-83, Take 2 |
| May 31, 1917 | May 31, 1917 |
| New York, New York | New York, New York |
 |
 |
| When Yankee Doodle Sails Upon The Good Ship Home, Sweet Home | How'Ya Gonna Keep 'Em Down On The Farm? (After They've Seen Paree) |
| Nora Bayes | Nora Bayes |
| Columbia A2687 | Columbia A2687 |
| Matrix# 78202 2-U-198, Take 2 | Matrix# 78218 1-J-145, Take 1 |
| December 13, 1918 | December 20, 1918 |
| New York, New York | New York, New York |
| Note: Lots of hiss. | Note: Lots of hiss. |
 |
 |
| Heart-Breaking Baby Doll | Frenchy Come to Yankee Land |
| Billy Murray | Arthur Fields |
| Columbia A2727 | Columbia A2727 |
| Matrix# 78350 2-?-102, Take 2 | Matrix# 78358 3-H-22, Take 3 |
| March 15, 1919 | March 18, 1919 |
| New York, New York | New York, New York |
 |
| Stump Speech on Love |
| Harry Spencer |
| Harvard 34 |
| (Columbia) Matrix# 34-9-2, Take 9 |
| 1901-October 1905 |
| New York, New York |
| Note: Worn, surface discoloration, gouged grooves at end. |
 |
 |
| Sangre Mexicana | Sevilla |
| Unknown Band | Prince's Band |
| United C13 | United C13 |
| (Columbia) Matrix# 5545-1-6, Take 1 | (Columbia) Matrix# 5608-1-22, Take 1 |
| 1903-1908 | 1903-1908 |
| Mexico City, Mexico; or Madrid, Spain; or New York, New York | New York, New York (?) |
 |
 |
| El Miserere | The Last Rose of Summer |
| Bohumir Kryl and Leroy Haines | Bohumir Kryl |
| United A187 | United A187 |
| (Columbia) Matrix# 1094-3-44, Take 3 | (Columbia) Matrix# 1199-5-38, Take 5 |
| 1902-1904 | 1903-1904 |
| New York, New York | New York, New York |
| Note: Introductory Columbia announcement machined off. | Note: Introductory Columbia announcement machined off. |
 |
 |
| Dreaming | Flanagan at the Vocal Teacher's |
| Albert Campbell | Steve Porter |
| United A477 | United A477 |
| (Columbia) Matrix# 3701-2-27, Take 2 | (Columbia) Matrix# 3705-2-18, Take 2 |
| January-September 1907 | 1907-1908 |
| New York, New York | New York, New York |
 |
 |
| Congressman Filkin's Home-Coming | The Old-Time Street Fakir |
| Byron G. Harlan | Harlan and Porter |
| United A1036 | United A1036 |
| (Columbia) Matrix# 19236-2-10, Take 2 | (Columbia) Matrix# 19303-3-12, Take 3 |
| February 10, 1911 | April 20, 1911 |
| New York, New York | New York, New York |
| Note: Played at 77 RPM. |
 |
 |
| Hard Times Come Again No More | Chiming Bells of Long Ago |
| Frank Coombs and The Brunswick Quartette | Frank Coombs |
| United A1052 | United A1052 |
| (Columbia) Matrix# 19155-2-9, Take 2 | (Columbia) Matrix# 19431-1-13, Take 1 |
| December 8, 1910 | June 22, 1911 |
| New York, New York | New York, New York |
 |
 |
| To listen to all parts consecutively, click HERE. | |
 |
 |
| Kreutzer Sonata: Part 1: Adagio sostenuto; Presto (commencement) | Kreutzer Sonata: Part 2: Presto (continuation) |
| Albert Sammons (Violin), William Murdoch (Piano) | Albert Sammons (Violin), William Murdoch (Piano) |
| Columbia 67261-D | Columbia 67261-D |
| Matrix# RAX2288 1-A-1, Take 1 | Matrix# RAX2289 2-A-2, Take 2 |
| December 15, 1926 | December 15, 1926 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Kreutzer Sonata: Part 3: Presto (continuation) | Kreutzer Sonata: Part 4: Presto (completion) |
| Albert Sammons (Violin), William Murdoch (Piano) | Albert Sammons (Violin), William Murdoch (Piano) |
| Columbia 67262-D | Columbia 67262-D |
| Matrix# RAX2290 2-A-1, Take 2 | Matrix# RAX2291 2-A-1, Take 2 |
| December 15, 1926 | December 15, 1926 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Kreutzer Sonata: Part 5: Andante con variazioni (commencement) | Kreutzer Sonata: Part 6: Andante con variazioni (continuation) |
| Albert Sammons (Violin), William Murdoch (Piano) | Albert Sammons (Violin), William Murdoch (Piano) |
| Columbia 67263-D | Columbia 67263-D |
| Matrix# RAX2292 2-A-3, Take 2 | Matrix# RAX2293 2-A-C-4, Take 2 |
| December 15, 1926 | December 15, 1926 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Kreutzer Sonata: Part 7: Andante con variazioni (continuation) | Kreutzer Sonata: Part 8: Andante con variazioni (completion) |
| Albert Sammons (Violin), William Murdoch (Piano) | Albert Sammons (Violin), William Murdoch (Piano) |
| Columbia 67264-D | Columbia 67264-D |
| Matrix# RAX2294 2-A-2, Take 2 | Matrix# RAX2295 2-A-1, Take 2 |
| December 15, 1926 | December 15, 1926 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Kreutzer Sonata: Part 9: Presto (first half) | Kreutzer Sonata: Part 10: Presto (completion) |
| Albert Sammons (Violin), William Murdoch (Piano) | Albert Sammons (Violin), William Murdoch (Piano) |
| Columbia 67265-D | Columbia 67265-D |
| Matrix# RAX2296 1-A-2, Take 1 | Matrix# RAX2297 1-A-4, Take 1 |
| December 15, 1926 | December 15, 1926 |
| Wigmore Hall, London | Wigmore Hall, London |
 |
 |
| Preachin' the Blues | Back Water Blues |
| Bessie Smith (James P. Johnson on piano) | Bessie Smith (James P. Johnson on piano) |
| Columbia 14195-D | Columbia 14195-D |
| Matrix# 143490, 2-D-22, Take 2 | Matrix# 143491, 1-D-19, Take 1 |
| February 17, 1927 | February 17, 1927 |
| New York, New York | New York, New York |
| Note: Worn. | Note: Worn, especially at start. |
 |
 |
| The Waltz That Carried Me To My Grave (La valce qui ma portin d ma fose) | Lafayette (Allon a Luafette) |
| Joseph F. Falcon | Joseph F. Falcon |
| Columbia 15275-D | Columbia 15275-D |
| Matrix# 146216, 2-A-1, Take 2 | Matrix# 146217, 2-A-3, Take 2 |
| April 27, 1928 | April 27, 1928 |
| New Orleans, Louisiana. Godchaux Building. | New Orleans, Louisiana. Godchaux Building. |
| Note: Very worn. | Note: Extremely worn. |
 |
 |
| Sawmill Blues | Barrel House Man |
| Elzadie Robinson (Will Ezell on piano) | Elzadie Robinson (Will Ezell on piano) |
| Paramount 12417-A | Paramount 12417-B |
| Matrix# 3054-1 (399), Take 1 | Matrix# 3053-2 (400), Take 2 |
| ca. October 1926 | ca. October 1926 |
| Chicago, Illinois | Chicago, Illinois |
| Note: Extremely worn. | Note: Extremely worn. Stripped groove at start. |
 |
 |
| Ash Tray Blues | No Need Of Knockin' On The Blind |
| Papa Charlie Jackson | Papa Charlie Jackson |
| Paramount 12660-A | Paramount 12660-B |
| Matrix# 20604-2, Take 2 | Matrix# 20605-2, Take 2 |
| ca. May 1928 | ca. May 1928 |
| Chicago, Illinois | Chicago, Illinois |
| Note: Very worn. | Note: Very worn. |
 |
 |
 |
|
| Di Quella Pira (Verdi's "Il Trovatore") | (Blank) |
| Francesco Tamagno | |
| Victor 95006 (Serial #3740) | |
| (Gramophone Co.) Matrix# 3013b, Take 1 | |
| February 1903 | |
| Ospedaletti, Italy | |
| Note: Very worn. Talking after selection is over. | |
 |
 |
 |
|
| Corriam Corriamo (Rossini's "William Tell") | (Blank) |
| Francesco Tamagno | |
| Victor 95010 (Serial #1377) | |
| (Gramophone Co.) Matrix# 3026b, Take 1 | |
| February 1903 | |
| Ospedaletti, Italy | |
| Note: played at 77 RPM. Talking before and after selection. | |
 |
 |
| Chant du Chasseur - Meyerbeer's Dinorah (Le pardon de Ploermel) |
(Blank) |
| Pol Plancon | |
| Victor 81065 | |
| Matrix# B-2338, Take 1 | |
| February 25, 1905 | |
| New York, New York | |
| Note: played at 78 RPM. |
 |
 |
| Il Trovatore (Verdi) Act III. No 11 Squilli e cheggi la tromba (Soldiers' Chorus) |
(Blank) |
| The New York Grand Opera Chorus | |
| Victor 64050 | |
| Matrix# B-3451, Take 3 | |
| June 11, 1906 | |
| Philadelphia, Pennsylvania (?) |
 |
| Merchant of Venice - Mercy Speech (Act IV) (Shakespeare) |
| Ellen Terry |
| Victor 64194 |
| Matrix# B-9988, Take 3 |
| February 28, 1911 |
| Camden, New Jersey |
| Note: Commercially released. Horn bump at 0:15. |
 |
| Boheme - Vecchia zimarra (Dear Old Coat!) |
| Marcel Journet |
| Victor 64035 |
| Matrix# B-3162, Take 3 |
| January 16, 1912 |
| New York, New York |
| Note: played at 79 RPM. |
 |
| Croon, Croon, Underneat' de Moon (A Southern Love Song) |
| Sophie Braslau |
| Victor 64799 |
| Matrix# B-22281, Take 1 |
| October 9, 1918 |
| Camden, New Jersey |
 |
 |
| Japanese Sandman | Sweetie O'Mine |
| Crescent Trio | Sam Ash |
| Vocalion A14102 | Vocalion B14102 |
| Matrix# 6162 | Matrix# 6135 |
| released November 1920 | released November 1920 |
| New York, New York | New York, New York |
| Note: Scratches towards end. |
 |
 |
| One Kiss | Canadian Capers |
| Max Fischer's Dance Orchestra | Ben Selvin's Dance Orchestra |
| Vocalion A14217 | Vocalion B14217 |
| Matrix# 7670 | Matrix# 7809 |
| released September 1921 | released September 1921 |
| New York, New York | New York, New York |
| Note: Poorly recorded, volume blasting and variation. |
 |
 |
| My Buddy | Flower of Araby |
| Ben Bernie and His Orchestra | Ben Bernie and His Orchestra |
| Vocalion A14494 | Vocalion B14494 |
| Matrix# 10554 | Matrix# 10552 |
| released March 1923 | released March 1923 |
| New York, New York | New York, New York |
 |
 |
| Way Down Yonder in New Orleans | You've Got to See Mamma Ev'ry Night (or you can't see mamma at all) |
| Gene Fosdick's Hoosiers | Gene Fosdick's Hoosiers |
| Vocalion A14496 | Vocalion B14496 |
| Matrix# 10636 | Matrix# 10525 |
| released March 1923 | released March 1923 |
| New York, New York | New York, New York |
 |
 |
| Peggy Dear | Apple Sauce |
| Gene Fosdick's Hoosiers | Gene Fosdick's Hoosiers |
| Vocalion A14503 | Vocalion B14503 |
| Matrix# 10635 | Matrix# 10641 |
| released April 1923 | released April 1923 |
| New York, New York | New York, New York |
 |
 |
| Loose Feet | The Great White Way Blues |
| The Original Memphis Five | The Original Memphis Five |
| Vocalion A14527 | Vocalion B14527 |
| Matrix# 10746 | Matrix# 10750 |
| released May 1923 | released May 1923 |
| New York, New York | New York, New York |
 |
 |
| Wonder (If She's Lonely Too) | Mad ('Cause You Treat Me This Way) |
| Ben Bernie and His Orchestra | Ben Bernie and His Orchestra |
| Vocalion A14599 | Vocalion B14599 |
| Matrix# 11540 | Matrix# 11537 |
| released August 1923 | released August 1923 |
| New York, New York | New York, New York |
 |
 |
| Somebody Loves Me | Put Away A Little Ray Of Golden Sunshine For A Rainy Day |
| Ben Bernie and His Hotel Roosevelt Orchestra | Ben Bernie and His Hotel Roosevelt Orchestra |
| Vocalion A14854 | Vocalion B14854 |
| Matrix# 13405 or 13406 | Matrix# 13403 |
| ca. July 22, 1924 released October 1924 |
ca. July 22, 1924 released October 1924 |
| New York, New York | New York, New York |
 |
 |
| Oh Katharina! | Titina |
| Ben Bernie and His Hotel Roosevelt Orchestra | Ben Bernie and His Hotel Roosevelt Orchestra |
| Vocalion A14979 | Vocalion B14979 |
| Matrix# 338W or 340W | Matrix# 357W |
| February 6, 1925 released May 1925 |
February 13, 1925 released May 1925 |
| New York, New York | New York, New York |
| Note: played at 78 RPM |
 |
 |
| Carolina Mammy | Swinging Down the Lane |
| Dan Gregory and His Orchestra | Dan Gregory and His Orchestra |
| Olympic 1440-A | Olympic 1440-B |
| Matrix# ? | Matrix# ? |
| 1923 | 1923 |
| Long Island City, New York | Long Island City, New York |
 |
 |
| When You Walked Out Someone Else Walked Right In | Two-Time Dan |
| Original Indiana Five | Original Indiana Five |
| Olympic 1443-A | Olympic 1443-B |
| Matrix# ? | Matrix# ? |
| ca. May 1923 | ca. May 1923 |
| Long Island City, New York | Long Island City, New York |
| Note: Worn start, swish until 0:16. |
 |
| Oh! How That German Could Love |
| Irving Berlin |
| Oxford 4333 |
| (Columbia) Matrix# 4333 3-17, Take 3 |
| ca. 1909-March 1910 |
| New York, New York |
| Note: Played at 76 RPM. |
 |
 |
| Ev'ry Little Bit, Added to What You've Got, Makes Just a Little Bit More | (Blank) |
| Collins and Harlan | |
| Standard 3678 | |
| Matrix# 3678-2-2 (M-1566-2-2), Take 2 | |
| ca. January-August 1907 | |
| New York, New York | |
| Note: Tight lamination crack halfway in, not audible. |
 |
 |
| The Kiss Waltz | Die Fledermaus "Mein Herr Marquis" (Most Noble Marquis) |
| Guido Gialdini | Guido Gialdini |
| Standard A997 | Standard A997 |
| Matrix# 19199-1-34, Take 1 | Matrix# 19200-2-39, Take 2 |
| January 12, 1911 | January 12, 1911 |
| New York, New York | New York, New York |
 |
 |
| Irish Hearts | Pearl of the Harem |
| Fred Van Eps | Fred Van Eps |
| Standard A1063 | Standard A1063 |
| Matrix# 19470-2-9, Take 2 | Matrix# 19471-1-14, Take 1 |
| July 26, 1911 | July 26, 1911 |
| New York, New York | New York, New York |
 |
 |
| On a Beautiful Night With a Beautiful Girl | Good-bye, Everybody |
| Harmony Male Quartette (Peerless Quartet) | Henry Burr |
| Harmony A1240 | Harmony A1240 |
| Matrix# 38323-2-25, Take 2 | Matrix# 38324-2-26, Take 2 |
| October 10, 1912 | October 10, 1912 |
| New York, New York | New York, New York |
 |
 |
| Carneval Overture | Fairy Tales - Folk Dance Slavonic Dance No. 8 in G Minor (Not "No. 1" as the label says) |
| Chicago Symphony Orchestra (Conducted by Frederick Stock) | Chicago Symphony Orchestra (Conducted by Frederick Stock) |
| Victor L-1004-A | Victor L-1004-B |
| Matrix# LBVE-69773, Take 1 | Matrix# LBVE-69774, Take 1 |
| December 19, 1925 | December 22, 1926 |
| Chicago, Illinois. Orchestra Hall. | Chicago, Illinois. Orchestra Hall. |
| Note: Dubbed to LP on August 27, 1931 with CVE-34049, Take 4 and CVE-34050, Take 2. | Note: Dubbed to LP on August 27, 1931 with CVE-34069, Take 2 and CVE-37284, Take 2. |
 |
 |
| La Veeda | Railroad Blues |
| Arto Dance Orchestra | Arto Dance Orchestra |
| Arto 9029-A | Arto 9029-B |
| Matrix# 41068 | Matrix# 41067 |
| September 1920 | September 1920 |
| New York, New York | New York, New York |
 |
 |
| Sweet Siamese | He's Had No Lovin' for a Long, Long Time |
| Frantzen's Society Orchestra | Frantzen's Society Orchestra |
| Victor 18546-A | Victor 18546-B |
| Matrix# B-22730, Take 6 | Matrix# B-22729, Take 5 |
| March 19, 1919 | March 19, 1919 |
| New York, New York | New York, New York |
 |
 |
| Old Fashioned Love | Charleston |
| Arthur Gibbs and His Gang | Arthur Gibbs and His Gang |
| Victor 19165-A | Victor 19165-B |
| Matrix# B-28730, Take 3 | Matrix# B-28729, Take 2 |
| October 10, 1923 | October 10, 1923 |
| New York, New York | New York, New York |
 |
 |
| Bring Back Those Rock-a-Bye Baby Days | If You Don't Tell Me (How Am I "Gonna" Know) |
| Dick Long's Nankin Cafe Orchestra | Dick Long's Nankin Cafe Orchestra |
| Victor 19543-A | Victor 19543-B |
| Matrix# B-31203, Take 2 | Matrix# B-31201, Take 4 |
| November 22, 1924 | November 21, 1924 |
| Minneapolis, Minnesota | Minneapolis, Minnesota |
 |
 |
| Saw Mill River Road | Farewell Blues |
| Isham Jones Orchestra | Isham Jones Orchestra |
| Brunswick 2406-A | Brunswick 2406-B |
| Matrix# 9794, Take 1 | Matrix# 9768, Take 2 |
| approximately January 1923 | approximately January 1923 |
| New York, New York | New York, New York |
| Note: Worn. Base drum, barely audible! | Note: Worn. Base drum audible! |
 |
 |
| Just Hot | Shufflin' Mose |
| The Cotton Pickers | The Cotton Pickers |
| Brunswick 2507-A | Brunswick 2507-B |
| Matrix# 11431, Take 4 | Matrix# 11434, Take 3 |
| September 26, 1923 (AM session) | September 26, 1923 (AM session) |
| New York, New York | New York, New York |
 |
 |
| Out Where The Moonbeams Are Born | Baby - Oh Where Can You Be? |
| Ben Bernie and His Hotel Roosevelt Orchestra | Ben Bernie and His Hotel Roosevelt Orchestra |
| Brunswick 4438-A | Brunswick 4438-B |
| Matrix# E30294, Take Unknown | Matrix# E30295, Take Unknown |
| July 1929 | July 1929 |
| New York, New York | New York, New York |
 |
| Yankee Doodle |
| Mr. Thomas Clark |
| Berliner 239W |
| Take 3 (of 3, previous two 1/12/1897 and 8/24/1897 with other artists) |
| October 20, 1898 |
| Recording Location Unknown (New York, Philadelphia, or Washington D. C.) |
| Note: Very worn at start. |
 |
 |
| Cavalleria Rusticana: Part 1: Prelude and Siciliana (Oh Lola, Fair as the Flowers) | Cavalleria Rusticana: Part 2: Prelude (completion) |
| Milan Symphony Orchestra with Antonio Melandri, conducted by Cav. Lorenzo Molajoli | Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67880-D | Columbia 67880-D |
| Matrix# BX760 4-D-2, Take 4 | Matrix# BX767 2-D-1, Take 2 |
| January 9, 1930 | January 11, 1930 |
| Milan, Italy | Milan, Italy |
 |
 |
| Cavalleria Rusticana: Part 3: Gli aranci olezzano (The Air with Scent of Orange Blossoms) | Cavalleria Rusticana: Part 4: Cessin le rustiche opre (Ended Is Rustic Labor) |
| La Scala Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | La Scala Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67881-D | Columbia 67881-D |
| Matrix# BX763 2-D-2, Take 2 | Matrix# BX766 1-B-1, Take 1 |
| January 9, 1930 | January 10, 1930 |
| Milan, Italy | Milan, Italy |
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| Cavalleria Rusticana: Part 5: Dite, mamma Lucia (Tell Me, Mamma Lucia) | Cavalleria Rusticana: Part 6: Il cavallo scalpita (Proudly Steps the Sturdy Steed) |
| Giannina Arangi Lombardi and Ida Mannarini with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Gino Lulli and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67882-D | Columbia 67882-D |
| Matrix# BX749 2-D-1, Take 2 | Matrix# BX762 2-D-1, Take 2 |
| January 4, 1930 | January 9, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Volume problems on master 0:31-0:35. |
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| Cavalleria Rusticana: Part 7: Beato voi compar Alfio (You Are Much Favored, Friend Alfio) | Cavalleria Rusticana: Part 8: Inneggiam: il Signore e risorto (Let Us Sing of the Lord Ever Living) |
| Giannina Arangi Lombardi, Gino Lulli, Ida Mannarini and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Giannina Arangi Lombardi, Ida Mannarini and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67883-D | Columbia 67883-D |
| Matrix# BX755 2-D-2, Take 2 | Matrix# BX761 3-E-B-2, Take 3 |
| January 7, 1930 | January 9, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Stressed loud passages. |
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| Cavalleria Rusticana: Part 9: Perche mi hai fatto cenno di tacere (Why Signal Me for Silence?) | Cavalleria Rusticana: Part 10: Andate o mamma (Go Pray for Me, Good Mother) |
| Giannina Arangi Lombardi, Ida Mannarini and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Giannina Arangi Lombardi, Antonio Melandri and Ida Mannarini with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67884-D | Columbia 67884-D |
| Matrix# BX752 1-D-1, Take 1 | Matrix# BX754 2-D-B-1, Take 2 |
| January 4, 1930 | January 6, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Volume problems from 3:20-3:22. | Note: Hairline cracks near end, not audible. |
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| Cavalleria Rusticana: Part 11: Quella cattiva femmina (That Accursed Woman!) | Cavalleria Rusticana: Part 12: Ah! lo vedi...... (What Foolish Words) |
| Giannina Arangi Lombardi, Antonio Melandri and Maria Castagna with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Giannina Arangi Lombardi and Antonio Melandri with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67885-D | Columbia 67885-D |
| Matrix# BX750 1-D-1, Take 1 | Matrix# BX751 2-D-1, Take 2 |
| January 4, 1930 | January 4, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Swish at end. |
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| Cavalleria Rusticana: Part 13: La tua Santuzza (Santuzza Implores Thee) | Cavalleria Rusticana: Part 14: Turiddu mi tolse l'onore (Forsaken Am I) |
| Giannina Arangi Lombardi, Antonio Melandri and Gino Lulli with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Giannina Arangi Lombardi and Gino Lulli with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67886-D | Columbia 67886-D |
| Matrix# BX758 2-D-1, Take 2 | Matrix# BX759 (2-D-1)?, Take 2? |
| January 8, 1930 | January 8, 1930 |
| Milan, Italy | Milan, Italy |
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| Cavalleria Rusticana: Part 15: Intermezzo | Cavalleria Rusticana: Part 16: A casa, a casa, amici..... (Homeward Now We Go) |
| Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Antonio Melandri, Maria Castagna and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67887-D | Columbia 67887-D |
| Matrix# BX768 1-E-1 13259, Take 1 | Matrix# BX757 2-D-1, Take 2 |
| January 11, 1930 | January 7, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Swish/Surface noise. |
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| Cavalleria Rusticana: Part 17: Brindisi - Intanto amici qua.... (Now Gather Round Me, Friends - "Drinking Song") | Cavalleria Rusticana: Part 18: A voi tutti salute (Greeting to All) |
| Antonio Melandri, Maria Castagna and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Antonio Melandri, Gino Lulli, Maria Castagna and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67888-D | Columbia 67888-D |
| Matrix# BX765 2-D-1, Take 2 | Matrix# BX764 1-D-2, Take 1 |
| January 10, 1930 | January 10, 1930 |
| Milan, Italy | Milan, Italy |
| Note: Stressed loud passages. |
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| Cavalleria Rusticana: Part 19: Mamma, quel vino e generoso.... (The Wine Is Strong, Good Mother) | Cavalleria Rusticana: Part 20: Turiddu! Che vuoi dire? (Turiddu, What Are You Saying!) |
| Antonio Melandri and Ida Mannarini with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli | Giannina Arangi Lombardi, Ida Mannarini and Chorus with Milan Symphony Orchestra, conducted by Cav. Lorenzo Molajoli |
| Columbia 67889-D | Columbia 67889-D |
| Matrix# BX753 1-D-2, Take 1 | Matrix# BX756 2-D-1, Take 2 |
| January 6, 1930 | January 7, 1930 |
| Milan, Italy | Milan, Italy |
 Larger Pic |
 Larger Pic |
| Havanola | Bob |
| Lyric Dance Orchestra | Lyric Dance Orchestra |
| Lyric 4102 | Lyric 4102 |
| Matrix# 6039 | Matrix# 6062-1- |
| 1917 | 1917 |
| New York, New York | New York, New York |
 Larger Pic |
 Larger Pic |
| Some Jazz Blues | Valse Boston |
| Lyric Dance Band | Lyric Dance Orchestra |
| Lyric 4140-A | Lyric 4140-B |
| Matrix# 9106A (1127-T) | Matrix# J-07156 |
| ca. March 1918 | ca. March 1918 |
| New York, New York | New York, New York |
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| Overture to Poet and Peasant | (Blank) |
| Zon-o-phone Concert Band | |
| Zon-O-Phone 304 | |
| Matrix# 5326, Take ? | |
| Before December 1905 | |
| New York, New York | |
| Note: Very worn, especially at start. |
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| I Like You (Because You Have Such Loving Ways) | Why Did You Make A Plaything of Me |
| Eddie Gray with Henderson's Novelty Orchestra | Eddie Gray with Henderson's Novelty Orchestra |
| Black Swan 2011-A | Black Swan 2011-B |
| Matrix# P119^2 | Matrix# P118^1 |
| ca. April 1921 | ca. April 1921 |
| New York, New York | New York, New York |
| Note: Very worn, especially at start. | Note: Edge chip into the first nine playing grooves, so first few seconds omitted. Very worn. |
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| Stumbling | Do It Again |
| Joseph Samuels' Music Masters | Lanin's Roseland Orchestra |
| Federal 5186-A | Federal 5186-B |
| Matrix# 3-1363 | Matrix# 2-1375 |
| April 1922 | 1922 |
| New York, New York | New York, New York |
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| Mr. Jelly Lord | Clarinet Marmalade |
| New Orleans Rhythm Kings (with Jelly Roll Morton at piano) | New Orleans Rhythm Kings (with Jelly Roll Morton at piano) |
| Gennett 5220-A | Gennett 5220-B |
| Matrix# 11541a, Take 1 | Matrix# 11540a, Take 1 |
| July 17, 1923 | July 17, 1923 |
| Richmond, Indiana | Richmond, Indiana |
| Note: Worn. | Note: Worn. |
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| Waters of Venice | Good-Bye Alexander |
| Bernie and Baker | Bernie and Baker |
| Victor 18499-A | Victor 18499-B |
| Matrix# B-22072, Take 2 | Matrix# B-22071, Take 3 |
| July 26, 1918 | July 26, 1918 |
| New York, New York | New York, New York |
| Note: Ben Bernie (violin) and Phil Baker (accordion) | |
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| No Man's Mamma | Shake That Thing |
| Ethel Waters and Her Ebony Four | Ethel Waters (Pearl Wright on piano) |
| Columbia 14116-D | Columbia 14116-D |
| Matrix# 141207, 2-E-3, Take 2 | Matrix# 141429, 1-B-82, Take 1 |
| October 28, 1925 | December 23, 1925 |
| New York, New York | New York, New York |
| Note: Worn. |
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| It All Depends on You | What Does It Matter |
| Harry Richman | Harry Richman |
| Brunswick 3501-A | Brunswick 3501-B |
| Matrix# E21882, Take 1 | Matrix# E21881½, Take 4 |
| March 15, 1927 (AM session) | March 15, 1927 (AM session) |
| New York, New York. 799 Seventh Avenue, Room no. 1. | New York, New York. 799 Seventh Avenue, Room no. 1. |
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| Gunga Din (Kipling) |
| Clifton Crawford |
| Victor 70028 |
| Matrix# C-9569, Take 1 |
| October 21, 1910 |
| Camden, New Jersey |
| Note: Played at 72 RPM. |
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| Rhapsody in Blue - Part 1 | Rhapsody in Blue - Part 2 |
| Paul Whiteman and His Concert Orchestra (George Gershwin at piano) | Paul Whiteman and His Concert Orchestra (George Gershwin at piano) |
| Victor 55225-A | Victor 55225-B |
| Matrix# C-30174, Take 1 | Matrix# C-30173, Take 2 |
| June 10, 1924 | June 10, 1924 |
| New York, New York | New York, New York |
| Click Here to listen to both sides together. | |
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| A Suite of Serenades - Part 1 No. 1 - Spanish No. 2 - Chinese |
A Suite of Serenades - Part 2 No. 3 - Cuban No. 4 - Oriental |
| Paul Whiteman and His Concert Orchestra | Paul Whiteman and His Concert Orchestra |
| Victor 55226-A | Victor 55226-B |
| Matrix# C-30181, Take 1 | Matrix# C-30180, Take 3 |
| June 12, 1924 | June 12, 1924 |
| New York, New York | New York, New York |
| Note: Worn at start. Talking between first and second track? | Note: Worn at start. |
| Click Here to listen to both sides together. | |
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| Peer Gynt Suite - Part I (The Morning) | Peer Gynt Suite - Part II (Ase's Death) |
| Columbia Symphony Orchestra (Charles A. Prince, Director) | Columbia Symphony Orchestra (Charles A. Prince, Director) |
| Columbia A6109 | Columbia A6109 |
| Matrix# 48534 10-(C?)-66, Take 10 | Matrix# 48535 9-B-7, Take 9 |
| January 8, 1919 | ca. 1916-January 1919 |
| New York, New York | New York, New York |
| Note: Dusty spot after 3:27, mostly filtered. |
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| I Pagliacci: Part 1: Prologue: Si pu�? (A Word Allow Me!) | I Pagliacci: Part 2: Prologue: Un nido di memorie (A Song of Tender Memories) |
| Apollo Granforte, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Apollo Granforte, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9655-A | Victor 9655-B |
| Matrix# 58239 (CM 807(delta) IIA), Take 2 | Matrix# 58240 (CM 816(delta) IIA), Take 2 |
| April 11, 1929 | April 15, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 3: Act 1: Son qu� (They Come!) | I Pagliacci: Part 4: Act 1: Via di l�! (Un tal gioco, Credetemi) (Get Away!-Such A Game, Believe Me, Friends) |
| Alessandro Valente-Nello Palai, with Members of Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Alessandro Valente-Adelaide Saraceni-Apollo Granforte-Nello Palai-Menni, with Members of Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9656-A | Victor 9656-B |
| Matrix# 58241 (CM 805(delta) I), Take 1 | Matrix# 58242 (CM 820(delta) III, 2_054310), Take 3 |
| April 10, 1929 | September 24, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 5: Act 1: I zampognari! Coro delle campanelle (Hark! 'Tis The Bagpipes) | I Pagliacci: Part 6: Act 1: Qual fiamma avea nel guardo! (How Fierce He Looked) |
| Alessandro Valente, with Members of Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Adelaide Saraceni, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9657-A | Victor 9657-B |
| Matrix# 58243 (CM 804(delta) IA), Take 1 | Matrix# 58244 (CM 806(delta) I), Take 1 |
| April 10, 1929 | April 10, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 7: Act 1: Sei l�? (So, ben che difforme) (What! Thou?-I Know That You Hate Me) | I Pagliacci: Part 8: Act 1: Nedda! Silvio! A quest'ora che imprudenza (Nedda! Silvio! At This Hour) |
| Adelaide Saraceni-Apollo Granforte, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Adelaide Saraceni-Leonildo Basi, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9658-A | Victor 9658-B |
| Matrix# 58245 (CM 815(delta) IIIA), Take 3 | Matrix# 58246 (CM 825(delta) IIA), Take 2 |
| April 15, 1929 | April 19, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 9: Act 1: No! Pi� non m'ami! (No! You Do Not Love Me!) | I Pagliacci: Part 10: Act 1: Cammina adagio e li sorprenderai! (Tread Lightly) |
| Adelaide Saraceni-Apollo Granforte-Leonildo Basi, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Alessandro Valente-Adelaide Saraceni-Apollo Granforte-Nello Palai-Leonildo Basi, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9659-A | Victor 9659-B |
| Matrix# 58247 (CM 826(delta) IV), Take 4 | Matrix# 58248 (CM 829(delta) II), Take 2 |
| April 22, 1929 | April 22, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 11: Act 1: Recitar! (Vesti la giubba) (To Act! With My Heart Maddened With Sorrow) | I Pagliacci: Part 12: Act 2: Intermezzo to Act 2 |
| Alessandro Valente, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9660-A | Victor 9660-B |
| Matrix# 58249 (CM 802(delta) II), Take 2 | Matrix# 58250 (CM 801(delta) IA), Take 1 |
| April 10, 1929 | April 10, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 13: Act 2: Presto, affrettiamoci (Quickly, Sweet Gossip) | I Pagliacci: Part 14: Act 2: Pagliaccio, mio marito (My Husband, Punchinello) |
| Adelaide Saraceni-Apollo Granforte-Nello Palai-Leonildo Basi, with Members of the Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Adelaide Saraceni-Nello Palai, with Members of the Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9661-A | Victor 9661-B |
| Matrix# 58251 (CM 821(delta) II), Take 2 | Matrix# 58252 (CM 814(delta) IIIA), Take 3 |
| April 18, 1929 | April 15, 1929 |
| Milan, Italy | Milan, Italy |
| Note: Source overmodulated. |
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| I Pagliacci: Part 15: Act 2: E dessa! Dei, com' � bella! (Behold Her! Ah, How Surpassing Fair!) | I Pagliacci: Part 16: Act 2: Arlecchin!-Colombina! (Dear Harlequin!-My Colombine!) |
| Adelaide Saraceni-Apollo Granforte-Nello Palai, with Members of the Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Alessandro Valente-Adelaide Saraceni-Apollo Granforte-Nello Palai, with Members of the Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9662-A | Victor 9662-B |
| Matrix# 58253 (CM 817(delta) IA), Take 1 | Matrix# 58254 (CM 818(delta) IIA), Take 2 |
| April 16, 1929 | April 16, 1929 |
| Milan, Italy | Milan, Italy |
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| I Pagliacci: Part 17: Act 2: No, Pagliaccio non son! (No Punchinello No More) | I Pagliacci: Part 18: Act 2: Suvvia, cos� terribile davver non ti credeo! (I Never Knew, My Dear) |
| Alessandro Valente-Adelaide Saraceni-Leonildo Basi, with Members of the Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno | Alessandro Valente-Adelaide Saraceni-Apollo Granforte-Nello Palai-Leonildo Basi, with Members of the Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno |
| Victor 9663-A | Victor 9663-B |
| Matrix# 58255 (CM 810(delta) X), Take 10 | Matrix# 58256 (CM 811(delta) I), Take 1 |
| January 3, 1930 | April 12, 1929 |
| Milan, Italy | Milan, Italy |
