The Indonesian Music record Inc. Historic Collections(Koleksi Sejarah Industri rekaman Musik DI iNDONESIA)

WELCOME COLLECTORS FROM ALL OVER THE WORLD

                          SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN

                                                AT DR IWAN CYBERMUSEUM

                                          DI MUSEUM DUNIA MAYA DR IWAN S.

_____________________________________________________________________

SPACE UNTUK IKLAN SPONSOR

_____________________________________________________________________

 *ill 001

                      *ill 001  LOGO MUSEUM DUNIA MAYA DR IWAN S.*ill 001

                                THE FIRST INDONESIAN CYBERMUSEUM

                           MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

                 DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

                                        PENDIRI DAN PENEMU IDE

                                                     THE FOUNDER

                                            Dr IWAN SUWANDY, MHA

                                                         

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                         WELCOME TO THE MAIN HALL OF FREEDOM               

                     SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA

SHOWCASE :

Pameran Koleksi Sejarah Industri rekaman Musik Plat  Di Indonesia

(The Indonesian’s music record Inc label  Historic collections) 

Frame One : Introduction

1. I have starting build the collections of  Gramophone plate since study in hish school at Padang city West Sumatra in 1960.

2. Until this day in 2011 I cannot found the complete informations about the Indonesian’s  gramophone plate History, that is why I have made reasech about this topic in order to give the young generations about the development of music gramophone technology in the world since found by Mr Thomas Alfa Edison and when first arrived in Indonesia during The Dutch East colionial Era.

3. I will show my collections with information from that very rare and amizing historic collections, very lucky I had found vintage book of gramophone and also many info fram google explorations,especially from wikipedia ,for that info thanks very much.

4. This exhibtion will divide into two parts, first before World War I and second Between WWI and WWII. all during Indonesia under Dutch east Indie Colonial time.

5.The earliest Gramophone’s Plate in 19Th Century produced by Addison inc with very thick plate almost 4 times then now circa 1 cm,then became half centimer and latest 0,2 cm more thin,please look the comperative picture below:

First the mechanic gramophone look the promotion picture of His Mater Voice company below:

and later electric gramophone, still used gramophone needle look the needle promotion label below :

6.In Indonesia during Colonial time , the gramophone’s plate sold by the chinese marchant ,many at Pasar Baru Market Batavia (Jakarta) please look the trader mark below :

7.I hope all the  collectors all over the world ,especially Indonesian Collectors plaes honor my copyright with donnot copy or tag this exhibitons without my permisssion,thanks.

Jakarta January 2011

Dr Iwan suwandy @ copyright 2011

Frame two :

Dr Iwan Collections

A. Before World War One

I.Early 20th century

1a.Betsy Lane Shapherd

1b.Thomas Chalmers

Thomas Chalmers

Thomas Chalmers

Thomas Chalmers (17 March 1780 – 31 May 1847), Scottish mathematician, political economist and a leader of the Free Church of Scotland, was born at Anstruther in Fife.

2.Final Trio(Consuelo Escobar de Castro

,Albert Lindquist and Virgilio Lazzari)

Albert Lindquest

[Trial 1916-10-18-01]	10/18/1916	Your tiny hand is frozen	Albert Lindquest	Male vocal solo, with piano
[Trial 1916-12-14-03]	12/14/1916	Your tiny hand is frozen	Albert Lindquest	Male vocal solo, with piano

Virgilio Lazzari

Audio

Year	Cast (Don Giovanni, Leporello, Donna Anna, Don Ottavio, Donna Elvira, Zerlina, Commendatore)	Conductor and orchestra	Label and number
1934	Ezio Pinza, Virgilio Lazzari, Rosa Ponselle, Tito Schipa, Maria Müller, Edita Fleischer, Emanuel List	Tullio Serafin, Metropolitan Opera (live performance)	CD: Andromeda Cat: ANDRCD 9026
1937	Ezio Pinza, Virgilio Lazzari, Elisabeth Rethberg, Dino Borgioli, Luise Helletsgruber, Margit Bokor, Herbert Alsen	Bruno Walter, Vienna Philharmonic (live performance)	CD: Andromeda Cat: ANDRCD 5126

3.Collins and Harlan

 

There was a time when, in American households, the expression “sung by Collins & Harlan” was instantly recognized, like an advertising jingle of the future such as “like a rock.” In the case of the popular vocal duo of the early 19th century, the comparison with a truck commercial serves a more literal purpose than simply pointing out how fleeting popular taste is or how quickly both stars and headlights can dim. Baritone Arthur Collins and tenor Byron Harlan were actually such large men that they were sometimes introduced as “the Half Ton Duo.” Collins was such a heavy piece of human machinery that when he accidentally stepped on a trap door backstage in 1921, the contraption gave way and the singer didn’t stop falling until he hit the basement. It took him two years to recover, but either member of the duo could be said to have earned a lengthy hiatus, not to take the accident lightly.

Collins is said to be the vocalist who made more recordings than any other artist of this period, some 200 sides for the Edison label alone. Partner Harlan sprinted just a bit behind on the discographical racetrack, cutting 130 slabs as a soloist, not to mention the duo’s prolific output of more than 100 Edison releases. With so much material pressed by these artists between 1902 and the late ’20s, it is not surprising that copies are still being found as well as bought and sold, although sellers sometimes feel a necessity to report on the relative presence of mold. In terms of content, some listeners may find some of the duo’s actual songs even more repulsive than any residue found on the record itself. Too often, the presence of a wide range of subject matter, from hating one’s wife (“My Wife Has Gone to the Country! Hurrah! Hurrah!”) to loving (“Alexander’s Ragtime Band”), is overlooked because of scandalous titles such as “Nigger Loves His Possum.” Both performers came up in the minstrel era, effectively inventing the concept of pop music once someone figured out how to make and sell recordings. Standing on the edge of some kind of controversial subject, be it minstrel themes or gangsta rap, seems to be part of the territory. Collins & Harlan can be said to be common currency in only one type of household in the 21st century, that being one that produces or distributes historic archival recordings. The duo is well-represented on such reissues, good news for any interested listeners with allergies to mold.

 

II.20th Century

1a.Peter Dawson

Peter Dawson (bass-baritone)

Peter Dawson
Background information
Birth name	Peter Smith Dawson
Also known as	J.P. McCall, Will Strong, Will Danby, Hector Grant, Arthur Walpole, Robert Woodville, Evelyn Byrd, Peter Allison, Denton Toms, Charles Weber, Arnold Flint, Gilbert Mundy, Geoffrey Baxter, Alison Miller
Born	31 January 1882(1882-01-31) Adelaide, South Australia, Australia
Died	27 September 1961(1961-09-27) (aged 79) Sydney, New South Wales, Australia
Genres	Opera, oratorio, song
Occupations	bass-baritone singer, songwriter
Years active	1899–1950s

Peter Smith Dawson (31 January 1882 – 27 September 1961) was an Australian bass-baritone and songwriter.^[1] Dawson gained worldwide renown through song recitals and many best-selling recordings of operatic arias, oratorio solos and rousing ballads during a career spanning almost 60 years.

Although Dawson’s repertoire embraced a great deal of now dated popular songs and light music, he possessed a remarkably fluent and technically adroit vocal technique which enabled him to excel in highly demanding classical pieces. His voice combined an attractive dark timbre with an ideal balance of diction and vocal placement. He also possessed a smooth legato, a strong but integrated ‘attack’ that eschewed intrusive aspirates, and a near-perfect ability to manage running passages and difficult musical ornaments such as roulades.

These skills probably derived from his studies with Sir Charles Santley, a virtuoso English baritone of the Victorian era. If Dawson’s interpretations were not profoundly penetrating, they were not shallow either; and in his chosen field of English concert pieces of the vigorous, manly, outdoors kind, he remains unequalled. The tremendously high technical finish of his Handelian singing sets an unmatched standard, too.

In 1984, Dawson was chosen by the Guinness Book of Recorded Sound as one of the top 10 singers on disc of all time, listed alongside such luminaries as Elvis Presley and the great operatic tenor Enrico Caruso

1b Malvina und Ancaster

1c.Enayat Hanem

2.Viena Bohemian Orchestra

Gustav Mahler

Gustav Mahler, photographed in 1907 at the end of his period as director of the Vienna Hofoper

Gustav Mahler (German pronunciation: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was a late-Romantic Austrian-Bohemian composer and one of the leading conductors of his generation. As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.

Born in humble circumstances, Mahler showed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York’s Metropolitan Opera and the New York Philharmonic.

Mahler’s œuvre is relatively small—for much of his life composing was a part-time activity, secondary to conducting—and is confined to the genres of symphony and song, except for one piano quartet. Most of his ten symphonies are very large-scale works, several of which employ soloists and choirs in addition to augmented orchestral forces. These works were often controversial when first performed, and were slow to receive critical and popular approval; an exception was the triumphant premiere of his Eighth Symphony in 1910. Mahler’s immediate musical successors were the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer’s life and work.

3.Arthur Rubienstien(1900-1919)

Arthur Rubinstein

  

Photographed by Carl Van Vechten, 1937

Arthur Rubinstein KBE^[1] (January 28, 1887 – December 20, 1982) was a Polish–American^[2] pianist.^[2] He received international acclaim for his performances of the music of a variety of composers (many regard him as the greatest Chopin interpreter of the century).^[3] He is widely considered one of the greatest pianists of the twentieth century.^[4]

Contents 1 Early life 2 Career 3 Personal life 4 On practice 5 Pupils 6 Death

//

Early life

Rubinstein grew-up on Piotrkowska street, Łódź, Poland

Rubinstein was born in Łódź, Poland on January 28, 1887, to a Polish-Jewish family.^[5] He was the youngest of 8 children.^[5] His father was a wealthy factory owner.^[6]

His birth name was Artur Rubinstein. In English-speaking countries he preferred to be known as Arthur Rubinstein. However, his United States impresario Sol Hurok insisted he be billed as Artur, and records were released in the West under both versions of his name.

At the age of two, he demonstrated perfect pitch and a fascination with the piano, watching his elder sister’s piano lessons. By the age of four, he was already recognised as a child prodigy. The great Hungarian violinist Joseph Joachim, on hearing the four-year-old child play, was greatly impressed and began to mentor the young prodigy. Rubinstein first studied piano in Warsaw. By the age of ten, he moved to Berlin to continue his studies. In 1900 at age 13, he made his debut with the Berlin Philharmonic, followed by appearances in Germany and Poland and further study with Karl Heinrich Barth (an associate of Liszt, von Bülow, Joachim and Brahms; Barth also taught Wilhelm Kempff). As a student of Barth, Rubinstein inherited a renowned pedagogical lineage: Barth was himself a pupil of Liszt, who had been taught by Czerny, who had in turn been a pupil of Beethoven.^[7]

 Career

In 1904, Rubinstein moved to Paris to launch his career in earnest. There he met the composers Maurice Ravel and Paul Dukas and the violinist Jacques Thibaud. He also played Camille Saint-Saëns‘ Piano Concerto No. 2 in the presence of the composer. Through the family of Juliusz Wertheim (to whose understanding of Chopin’s genius Rubinstein attributed his own inspiration in the works of that composer) he formed friendships with the violinist Paul Kochanski and composer Karol Szymanowski.^[8]

Rubinstein in 1906

Rubinstein made his New York debut at Carnegie Hall in 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son in François Reichenbach‘s film L’Amour de la vie (1969), however, he was not well received in the United States. By 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently he said that he felt “reborn” and endowed with an unconditional love of life. In 1912, he made his London debut, and found a home there in the Edith Grove, Chelsea musical salon of Paul and Muriel Draper, in company with Kochanski, Igor Stravinsky, Jacques Thibaud, Pablo Casals, Pierre Monteux and others.^[9]

Rubinstein stayed in London during World War I, giving recitals and accompanying the violinist Eugène Ysaÿe. In 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed a lifelong enthusiasm for the music of Enrique Granados, Isaac Albéniz, Manuel de Falla, and Heitor Villa-Lobos. He was the dedicatee of Villa-Lobos’s Rudepoêma and Stravinsky’s Trois mouvements de Petrouchka.

Rubinstein was disgusted by Germany’s conduct during the war, and never played there again. His last performance in Germany was in 1914.^[8][10]

In the fall of 1919 Rubinstein toured the English Provinces with soprano Emma Calvé and tenor Vladimir Rosing.^[11]

In 1921 he gave two American tours, travelling to New York with Paul Kochanski (they remained close friends until Kochanski’s death in 1934) and Karol Szymanowski. The autumn voyage was the occasion of Kochanski’s permanent migration to the USA.^[12]

In 1932, the pianist, who stated he neglected his technique in his early years, relying instead on natural talent, withdrew from concert life for several months of intensive study and practice.

During World War II, Rubinstein’s career became centered in the United States. He became a naturalized United States citizen in 1946.

A cast of the pianist’s hands, at the Lodz museum

Although best known as a recitalist and concerto soloist, Rubinstein was also considered an outstanding chamber musician, partnering with such luminaries as Henryk Szeryng, Jascha Heifetz, Pablo Casals, Gregor Piatigorsky, and the Guarneri Quartet. Rubinstein recorded much of the core piano repertoire, particularly that of the Romantic composers. At the time of his death, the New York Times in describing him wrote, “Chopin was his specialty … it was a Chopinist that he was considered by many without peer.”^[13] With the exception of the Études, he recorded most of the works of Chopin. ^[14] He was one of the earliest champions of the Spanish and South American composers and of French composers who, in the early 20th century, were still considered “modern” such as Debussy and Ravel. In addition, Rubinstein was the first champion of the music of his compatriot Karol Szymanowski. Rubinstein, in conversation with Alexander Scriabin, named Brahms as his favorite composer, a response that enraged Scriabin.^[15]

Rubinstein, who was fluent in eight languages,^[16] held much of the repertoire, not simply that of the piano, in his formidable memory.^[16] According to his memoirs, he learned César Franck’s Symphonic Variations while on a train en route to the concert, without the benefit of a piano, practicing passages in his lap. Rubinstein described his memory as photographic, to the extent that he would visualize an errant coffee stain while recalling a score.^[17]

Rubinstein also had exceptionally developed aural abilities, which allowed him to play whole symphonies in his mind. “At breakfast, I might pass a Brahms symphony in my head” he said. “Then I am called to the phone, and half an hour later I find it’s been going on all the time and I’m in the third movement.” This ability was often tested by Rubinstein’s friends, who would randomly pick extracts from opera and symphonic scores, and ask him to play them from memory.^[18]

By the mid-1970s, Rubinstein’s eyesight had begun to deteriorate. He retired from the stage at age 89 in May 1976, giving his last concert at London‘s Wigmore Hall, where he had first played nearly 70 years before.

Personal life

Rubinstein in 1963

Of his youth, Rubinstein once stated: “It is said of me that when I was young I divided my time impartially among wine, women and song. I deny this categorically. Ninety percent of my interests were women.”^[19] At the age of 45, in 1932, Rubinstein married Nela Młynarska, a 24 year old Polish ballerina (who had studied with Mary Wigman). Nela was the daughter of the Polish conductor Emil Młynarski, while her mother from a Lithuanian aristocratic family. Nela had first fallen in love with Rubinstein when she was 18, but when Rubinstein began an affair with an Italian princess, she married Mieczysław Munz.^[20][21] Nela subsequently divorced Munz, and three years later married Rubinstein.^[21] They had four children, including daughter Eva, who married William Sloane Coffin, and son John Rubinstein, a Tony Award-winning actor and father of actor Michael Weston.^[22] Nela subsequently wrote a book of Polish cookery, Nela’s Cookbook. ^[23]

Both before, and during, his marriage, Rubinstein carried on a series of affairs with many other women, including Irene Curzon. In 1977, at age 90, he left his wife for the young Annabelle Whitestone, though he and Nela never divorced. Rubinstein also fathered a daughter with a South American woman.^[24]

Throughout his life, Rubinstein was deeply attached to Poland. At the inauguration of the UN in 1945, Rubinstein showed his Polish patriotism at a concert for the delegates. He began the concert by stating his deep disappointment that the conference did not have a delegation from Poland. Rubinstein later described becoming overwhelmed by a blind fury and angrily pointing out to the public the absence of the Polish flag. He then sat down to the piano and played the Polish national anthem loudly and slowly, repeating the final part in a great thunderous forte. When he had finished, the public rose to their feet and gave him a great ovation.^[25]

On practice

Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young piano students should practice no more than 3 hours a day, at the most. “It is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of ‘Oh, I know this,’ you play without that little drop of fresh blood that is necessary -and the audience feels it.” Of his own practice methods he said, “At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It’s like making love. The act is always the same, but each time it’s different.”^[26]

Pupils

Arthur Rubinstein was reluctant to teach in his earlier life, refusing to accept William Kapell‘s request for lessons. It was not until the late 1950s that he accepted his first student Dubravka Tomšič Srebotnjak.^[27] Other students of Arthur Rubinstein include François-René Duchâble, Avi Schönfeld, Ann Schein Carlyss, Eugen Indjic, Dean Kramer, and Marc Laforêt. Rubinstein stated that his main goal in teaching was to help his pupils to find themselves and for them to become real musical personalities. Rubinstein also gave master classes towards the end of his life.^[28][29]

Death

“I have found that if you love life, life will love you back…””People are always setting conditions for happiness… I love life without condition.”

— Arthur Rubinstein[30]

Rubinstein died in Geneva, Switzerland, on December 20, 1982, at the age of 95, and his body was cremated. On the first anniversary of his death, an urn holding his ashes was buried in Jerusalem — as specified in his will — in a dedicated plot now dubbed “Rubinstein Forest” overlooking the Jerusalem Forest. This was arranged with the rabbis so that the main forest wouldn’t fall under religious laws governing cemeteries. Israel now has an Arthur Rubinstein International Music Society which holds the triennial Arthur Rubinstein International Piano Master Competition.^[31]

While he identified himself as an agnostic, Rubinstein was nevertheless proud of his Jewish heritage.^[32] He was a great friend of Israel,^[33] which he visited several times with his wife and children, giving concerts with the Israel Philharmonic Orchestra, recitals, and master classes at the Jerusalem Music Centre.

In October 2007, his family donated to the Juilliard School an extensive collection of original manuscripts, manuscript copies and published editions that had been seized by the Germans during World War II from his Paris residence. Seventy-one items were returned to his four children, marking the first time that Jewish property kept in the Berlin State Library was returned to the legal heirs.

B.Between WWI and WW II

 

1.The Hollies

The Hollies

The Hollies
Background information
Origin	Lancashire, England
Genres	Beat music, pop music, psychedelic rock, rock
Years active	1962–present
Labels	Parlophone, Epic (US), RCA, Polydor, EMI
Associated acts	Crosby, Stills, Nash, & Young Graham Gouldman
Website	hollies.co.uk
Members
Tony Hicks Bobby Elliott Ray Stiles Steve Lauri Ian Parker Peter Howarth
Past members
(see also List of band members) Graham Nash Allan Clarke Denis Haines Terry Sylvester Eric Haydock Allen Coates Vic Steele Don Rathbone Bernie Calvert Mikael Rickfors Carl Wayne

The Hollies are an English pop and rock group, formed in Manchester in the early 1960s, though most of the band members are from throughout East Lancashire. Known for their distinctive vocal harmony style, they became one of the leading British groups of the 1960s and 1970s. They enjoyed considerable popularity in many countries, although they did not achieve major US chart success until 1966. Along with The Rolling Stones and The Searchers, they are one of the few British pop groups of the early 1960s that have never officially broken up and that continue to record and perform. The Hollies were inducted to the Rock and Roll Hall of Fame in 2010.^[1]

2.Roy Black

Roy Black (singer)

Roy Black in Hilfe, ich liebe Zwillinge

Roy Black (January 25, 1943 – October 9, 1991) was a German schlager singer and actor, who appeared in several musical comedies and starred in the 1989 TV series, Ein Schloß am Wörthersee.

Born Gerhard Höllerich in Bobingen, Bavarian Swabia, Germany, Black attended the gymnasium in Augsburg and, aged 20, founded the rock and roll band Roy Black and His Cannons. His stage name derived from his black hair and his idol, Roy Orbison.

Roy Black and His Cannons achieved some local fame and were offered a recording contract with Polydor Records. However, his record producer Hans Bertram decided on a solo career for Black, and a switch to romantic songs for his protégé, a decision which soon led to nationwide fame. In 1966, his single “Ganz in Weiß” — a romantic song about marrying in white — sold in excess of one million copies by the end of 1967.^[1] His 1969 song “Dein schönstes Geschenk”, sold one million copies by May 1970, having spent nine weeks at number one in the German chart.^[1]

From 1967, Black also took on roles in several musical comedy films, for example in the 1969 movie Hilfe, ich liebe Zwillinge (Help, I Love Twins) opposite Uschi Glas.

In 1974 Black announced his engagement to model Silke Vagts (1945-2002), and the couple got married in Munich the same year. In 1976 their son Torsten was born. They divorced in 1985.

Six years later Black died of heart failure, in Heldenstein near Mühldorf am Inn, which was assumed to be a result of his addiction to alcohol and pharmaceuticals. The punk band Wizo wrote a song disparaging Black after his death, changing the lyrics of a children’s song to “Roy Black ist tot” (“Roy Black is dead”).

3.Raie Da costa and The Parlophone Girl

4.The Glenn Miller Orchestra

Glenn Miller

Glenn Miller
Background information
Birth name	Alton Glenn Miller
Born	March 1, 1904(1904-03-01) Clarinda, Iowa, U.S.
Origin	Glenn Miller Orchestra
Died	Missing December 15, 1944(1944-12-15) (aged 40) English Channel (presumably)
Genres	Swing music Big band
Occupations	Bandleader, Musician, Arranger, Composer
Instruments	Trombone
Years active	1923–1944

Alton Glenn Miller (March 1, 1904 – missing December 15, 1944) was an American jazz musician (trombone), arranger, composer, and bandleader in the swing era. He was one of the best-selling recording artists from 1939 to 1943, leading one of the best known “Big Bands”. Miller’s signature recordings include In the Mood, American Patrol, Chattanooga Choo Choo, A String of Pearls, Tuxedo Junction, Moonlight Serenade, Little Brown Jug and Pennsylvania 6-5000.^[1] While he was traveling to entertain U.S. troops in France during World War II, Miller’s plane disappeared in bad weather over the English Channel. His body has never been found.

 5.The Xavier Gugat and son

Xavier Cugat

Xavier Cugat
Xavier Cugat and his Orchestra 1952 Film featurette – Universal Studios
Born	Francesc d’Asís Xavier Cugat Mingall de Bru i Deulofeu January 1, 1900(1900-01-01) Girona, Spain
Died	October 27, 1990(1990-10-27) (aged 90) Barcelona, Spain
Occupation	singer, songwriter, actor, director. screenwriter
Years active	1925 – 1990
Spouse	Rita Montaner (1918-20) Carmen Castillo (1929-1946) Lorraine Allen (1947-1952) Abbe Lane (1952-1963) Charo (1966-1978)

Xavier Cugat
Photography by William P. Gottlieb

Xavier Cugat (Catalan pronunciation: [ʃəβiˈe kuˈɣat]) (1 January 1900 – 27 October 1990) was a Catalan-American bandleader who spent his formative years in Havana, Cuba. A trained violinist and arranger, he was a key personality in the spread of Latin music in United States popular music. He was also a cartoonist and a successful businessman. In New York, his was the resident orchestra at the Waldorf-Astoria before and after World War II.

Contents 1 Life and career 1.1 Marriages 1.2 Radio and films

//

 Life and career

Cugat was born as Francesc d’Asís Xavier Cugat Mingall de Bru i Deulofeu in Girona , Spain.^[1] His family emigrated to Cuba when Xavier was five. He was trained as a classical violinist and played with the Orchestra of the Teatro Nacional in Havana. On 6 July 1915, Cugat and his family arrived in New York as immigrant passengers on board the S.S. Havana.

 Marriages

Cugat was married five times. His first marriage was to Rita Montaner (1918–1920) ; this contradicts all authoritative biographical accounts of her; his second was to Carmen Castillo (1929–1944); his third to Lorraine Allen (1947–52); his fourth to singer Abbe Lane (1952–64); and his fifth to Spanish guitarist and comic actress Charo (1966–78). His last marriage was the first in Caesars Palace on the Las Vegas Strip.^{[citation needed]}

Entering the world of show business, he played with a band called The Gigolos during the tango craze.^[2] Later, he went to work for the Los Angeles Times as a cartoonist. Cugat’s caricatures were later nationally syndicated. His older brother, Francis, was an artist of some note, having painted the famous cover art for F. Scott Fitzgerald‘s novel, The Great Gatsby.^{[citation needed]}

Radio and films

In the late 1920s, as sound began to be used in films, he put together another tango band that had some success in early short musical films. By the early 1930s, he began appearing with his group in feature films. He took his band to New York for the 1931 opening of the Waldorf Astoria Hotel, and he eventually replaced Jack Denny as the leader of the hotel’s resident band. One of his trademarks was to hold a Chihuahua while he waved his baton with the other arm.^[3]

For 16 years Cugat helmed the Waldorf-Astoria Hotel‘s orchestra. He shuttled between New York and Los Angeles for most of the next 30 years, alternating hotel and radio dates with movie appearances in You Were Never Lovelier (1942), Bathing Beauty (1944), Week-End at the Waldorf (1945), On an Island with You (1948), and Neptune’s Daughter (1949), among others.^{[citation needed]}

Recordings

Cugat recorded on Columbia Records (1940’s and 1950s, also Columbia’s Epic label), RCA Victor (1930’s and 1950s), Mercury Records (1951–1952 and 1960s) and Decca Records (1960’s). Dinah Shore made her first recordings as a vocalist with Cugat in 1939 and 1940 (Victor Records). In 1940, his recording of “Perfidia” became a big hit. Cugat followed trends closely, making records for the conga, the mambo, the cha-cha-cha, and the twist when each was in fashion. Several of the songs he recorded, including “Perfidia“, were used in the Wong Kar-wai films Days of Being Wild and 2046. In 1943, “Brazil” was a big hit, reaching #17 in the Billboard Top 100.

Cugat did not lose sleep over artistic compromises:

“I would rather play Chiquita Banana and have my swimming pool than play Bach and starve.”

 

6.The Abe Lymans California Orchestra(1920-1940)

Abe Lyman

Abe Lyman’s Orchestra in 1922

Abe Lyman (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 Your Hit Parade.

His name at birth was Abraham Simon Lymon. Abe 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, Abe was regularly playing music with two other notable future big band leaders, Henry Halstead and Gus Arnheim in California.

In Los Angeles Mike opened the Sunset, a night club popular with such film stars as Mary Pickford, Norma Talmadge, Charlie Chaplin, Buster Keaton and Harold Lloyd. 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 The Ambassador Hotel 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.

After the band cut their first record under the local label Nordskog Records, they moved a year later to Brunswick Records where they made many recordings. The Lyman Orchestra toured Europe in 1929, appearing at the Kit Cat Club and the Palladium in London and at the Moulin Rouge and the Perroquet in Paris. Abe Lyman and his orchestra were featured in a number of early talkies, including Hold Everything (1930), Paramount on Parade (1930), Good News (1930) and Madam Satan (1930). In 1931, Abe Lyman and his orchestra recorded a number of soundtracks for the Merrie Melodies cartoon series.

Notable musicians in the Lyman Orchestra included Ray Lopez, Gussie Mueller, and Orlando “Slim” Martin.

During the 1930s, the Lyman Orchestra was heard regularly on such shows as Accordiana and Waltz Time. Lyman and his orchestra sat in for Phil Harris on the Jack Benny program in 1943 when Harris served in the Merchant Marines.

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

7.The Jack Hylton and his Orchestra(1923-1940)

Jack Hylton

Jack Hylton (born John Greenhalgh Hilton)
Also known as	Jack Elton
Born	2 July 1892(1892-07-02), Great Lever, Bolton, Lancashire, England, U.K.
Died	29 January 1965(1965-01-29) (aged 72) Marylebone, London, England, U.K.
Occupations	Band leader, impresario
Years active	1917–1965

Jack Hylton, ca. 1930

Jack Hylton (2 July 1892, Bolton, Lancashire – 29 January 1965, London) was a British band leader and impresario.

He was born John Greenhalgh Hilton in the Great Lever area of Bolton, Lancashire, the son of George Hilton, a cotton yarn twister. His father was an amateur singer at the local Labour Club and Jack learned piano to accompany him on the stage. Jack later sang to the customers when his father bought a pub in nearby Little Lever, becoming known as the “Singing Mill-Boy”. He also performed as a relief pianist for various bands.

His early career involved moving to London as a pianist in the 400 club and playing with the Stroud Haxton Band. During the first world war he moved to be a musical director of the band of the 20th Hussars and the Director of the Army Entertainment Division. After the war he went on to play with the Queen’s Dance Orchestra where he wrote arrangements of popular songs and had them recorded under the label ‘Directed by Jack Hylton’. He went on from here to form his own band, recording the new style of jazzy American dance music under the Jack Hylton name from 1923. Hylton became a respected band leader with a busy schedule; his band had developed into an orchestra and toured America and Europe into the 1940s until it disbanded due to the war. He became a director and major shareholder of the new Decca record label.

At this point in his career he became an impresario discovering new stars and managing radio, film and theatre productions from Ballets to Circuses. His productions dominated the London theatres with such productions as The Merry Widow, Kiss Me Kate and Kismet.

Contracted as Advisor of Light Entertainment to Associated-Rediffusion (A-R), winners of the London weekday franchise in the recently established ITV network, he founded Jack Hylton Television Productions Ltd in that same month to produce a range of light entertainment programming exclusively for that company. At the same time he was still producing stage shows, as well as taking a leading role in organising various Royal Command Performances, until his final stage production “Camelot” in 1965. He helped to develop the careers of many famous performers such as Shirley Bassey, Maurice Chevalier, Morecambe and Wise, Arthur Askey, the Crazy Gang, George Formby and Liberace.

In 1965 a televised tribute to Hylton, The Stars Shine for Jack, was held in London on Sunday 30 May at the Theatre Royal, Drury Lane with many artists including Arthur Askey, The Crazy Gang, Marlene Dietrich, Dickie Henderson, and Shirley Bassey.

He was married twice; firstly in 1922 to bandleader Ennis Parkes (they separated in 1929) and secondly, in Geneva in 1963, to Australian model and beauty queen Beverley Prowse (1932–2000).

He had a son, Jack (b.1947), by Pat Taylor, a singer and actress and two daughters, Frederika (b.1932) and Georgina (b.1938), by model Frederika Kogler (“Fifi”).

 Death

On 26 January 1965, complaining of chest and stomach pains, Hylton was admitted to the London Clinic. He died there three days later, on 29 January, from a heart attack, aged 72.

Hylton’s spending habits and generosity left his estate with £242,288 gross, despite the many millions which he earned during his illustrious career. With duty (taxes) of £83,484, this left £151,160 to be distributed among his heirs, with the first £30,000 reserved for his widow, Beverley. As Hylton said to his son during his latter years, “I won’t leave you much, but we’ll have a good laugh spending it while I’m here!”^[

8.The Los Paraguayos

Alberto y Los Trios Paraguayos

Alberto y Los Trios Paraguayos was a trio from Paraguay formed by Luis Alberto del Paraná, with Digno García and Agustín Barboza. They toured the UK in the late 1950s and early 1960s, and released a number of UK records in the 1960s. The band leader, del Paraná, died in England in 1974.

The comedy rock band, Alberto y Lost Trios Paranoias, from the 1970s took their name from a corrupted version of this band.

9.Mentovani and orchestra

Mantovani

Mantovani
Background information
Born	November 15, 1905(1905-11-15) Venice, Veneto, Italy
Died	March 29, 1980(1980-03-29) (aged 74) Tunbridge Wells, Kent, England
Occupations	Conductor

Annunzio Paolo Mantovani (November 15, 1905 – March 29, 1980), known by the mononym Mantovani, was an Anglo-Italian conductor and light orchestra-style entertainer with a cascading strings musical signature. He is more associated with the light orchestra genre than any other entertainer.

Contents 1 Biography

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Biography

Mantovani was born in Venice, Italy and his father, Bismarck, was the concertmaster of La Scala orchestra under Arturo Toscanini. His family moved to England in 1912, where he studied at Trinity College of Music in London. After graduation, he formed his own orchestra, which played in and around Birmingham. He married Winifred Moss in 1934, and they had two children: Kenneth (born July 12, 1935 ) and Paula Irene (born April 11, 1939). By the time World War II broke out, his orchestra was one of the most popular in England, both on the BBC and in live performances.

He was also musical director for a large number of musicals and other plays, including ones by Noel Coward. After the war, he concentrated on recording, and eventually gave up live performance altogether. He worked with arranger and composer Ronnie Binge, who developed the “cascading strings” sound (also known as the “Mantovani sound”).^{[citation needed]} His records were regulars in stores selling hi-fi stereo equipment, as they were produced and arranged for stereo reproduction. In 1952 Binge ceased to arrange for Mantovani, but his distinctive sound remained.

He recorded for Decca until the mid-1950s, and then London Records. He recorded over 50 albums on that label, many of which were top-40 hits. These included Song from Moulin Rouge and Cara Mia, which reached No. 1 in Britain in 1953 and 1954, respectively. The latter was also Mantovani’s first U.S. Top Ten hit.

In the United States, between 1955 and 1972, he released over 40 albums with 27 reaching the Top 40 and 11 the Top Ten. His biggest success was with the album Film Encores, which made it to No. 1 in 1957. Similarly, Mantovani Plays Music From ‘Exodus’ and Other Great Themes made it to No. 2 in 1961 and sold over one million albums.

In 1958 Mantovani and his family bought a holiday home in Bournemouth in Durley Chine Road, then in 1961 acquired a new property in Burton Road (now part of Poole). He moved, finally, to a new home in Martello Road in Poole.

In 1959, Mantovani starred in his own syndicated television series, Mantovani, which was produced in England and which aired in the United States. 39 episodes were filmed.^[1]

Mantovani made his last recordings in 1975.^{[citation needed]} He died at a care home in Tunbridge Wells, Kent, and buried in Bournemouth, in 1980. His wife preceded him in death, in 1977. He is survived by their children, and 5 grandchildren. His mother, Manfrin Iparia, had died in 1968. His father had died circa 1945.

10.Lonely Troubados

Frame four :

The Market Value of Record album and ascecories(google explorations)

 

1953 Columbia 45 RPM Record Set Arthur Godfrey Original $10.38

10 Little Wonder 78 RPM Record Collection Album $11.00

Learn GERMAN Language 33 1/2 RPM Vinyl Record Box Set $11.98

LITTLE TOOT PETER PAN RECORDS 78RPM $12.00

13 Vtg 78 RPM Record Paper Sleeves-Storage $12.00

78rpm Vintage Jazz Boogie+record collection-10 records $12.50

45 RPM SPINDLE ADAPTER For Voice of Music Record Player $12.95

Vintage 1950 Mr. Arithmetic 45 RPM by Tutor Records $12.99

Vintage Mr. Arithmetic 45 RPM by Tutor Records $12.99

Edison Record JR Thomas/Stephen Adams-Nancy Lee 78 RPM $12.99

Edison Record American Symphony Orch/Kiss Waltz 78 RPM $12.99

Edison Record Reed Miller/Betsy Lane Shepherd 78RPM $12.99

300 Medium Tone 78rpm Victrola Record Needles FREE SHIP $13.00

300 Medium Tone 78rpm Victrola Record Needles FREE SHIP $13.00

RARE, JOE LUTCHER 78RPM RECORD—– NEVER PLAYED!!!! $13.50

VINTAGE EAMES ERA 45 RPM RECORD HOLDER HOLDS 50 $14.95

Vintage 1950 Mr. Arithmetic 45 RPM by Tutor Records $14.99

1960 CONBRO 45 RPM SPINDLE BSR Record Changer MIB $14.99

7 Pc. Kenny Rogers LP 33 and 45 RPM Record Collections $15.99

RCA VICTOR 45 J-2 RPM RECORD PLAYER CASE – TOP & BOTTOM $15.99

78 rpm record: I Can’t Give You Anything But Love, Baby $17.00

Vintage Phonograph Record Player 78 RPM Speed O Strobe $18.95

ELBOW PHONOGRAPH 78 RPM RCA BRASS ANTIQUE RECORD PLAYER $19.97

PAPER RECORDS 78 Rpm Hit of Week 6 records $19.99

Rooney and Garland. Girl Crazy. Original 78 RPM Records $19.99

Vintage 45 RPM Record Storage Box 1960s Betty Betz Rare $19.99

Vintage Firestone 4-A-144 Record Player 45rpm Turntable $19.99

Vintage R.C.A. Victor Catalogue of 45 RPM Records pre52 $20.00

Vintage 33 1/3 RPM Record Storage 1960s Betty Betz Rare $21.99

Genuine NOS Victrola Phonograph 78rpm Record Needles #2 $21.99

Genuine NOS Victrola Phonograph 78rpm Record Needles #3 $21.99

78 RPM Multi-Play Steel Record Needles (300 – Variety) $23.99

TWO 78 RPM RECORDS RE THE WRIGHT BROTHERS AVIATION $24.99

Portable Electronic Phonograph Record 78 RPM, Elvis $25.00

45 rpm Records Six Box Sets 23 records Guy Lombardo $25.00

Vintage 45 RPM Record Carry / Storage Case 1950’s $30.00

78 RPM Album Collection (9 records) $36.00

the end @ copyright Dr Iwan Suwandy 2011