Monday, April 14, 2014

Rio, Choro, Jazz - A Contemporary Tribute To Ernesto Nazareth

2013 was the 150th Anniversary of the famous Brazilian composer and pianist Ernesto Nazareth, who is considered one of the fundamental sources of Choro - a genuine Brazilian musical artform. The 150th Jubilee of Ernesto Nazareth was celebrated all over Brazil through various events, festivals and new recordings. A renewed interest in the works of Ernesto Nazareth has also resulted in an amazing resource website (- in Portuguese language only), directed and produced by the tireless researcher and pianist Alexandre Dias in co-operation with Instituto Moreira Salles in Rio de Janeiro, to be reached clicking here

Ernesto Júlio Nazareth (1863 - 1934) was born in Rio de Janeiro and learned to play the piano as a child with his mother. After her passing away in 1873, Ernesto continued his piano studies and began composing. His first piece, the polka "Você Bem Sabe" was written and published when he was just 14 years of age. He had and open ear for the popular music beeing played in the streets and favoured by choro musicians, his own works for piano were influenced by maxixe, lundu, habañera and choro. Nonetheless, as a classical musician he would not allow such popular denominations into his own music, instead he would classify his pieces as i.e. 'Brazilian tangos'. - Nazareth worked as a pianist at the prestigious movie theater Odeon of Rio de Jainero, where he wrote one of his most famous compositions, "Odeon". Many musicians would go to the Odeon theater just to see and hear Nazareth play. Later he got a job at a music shop to support his living and growing family, there he was hired to play the sheets asked for by customers. Among the music sheets were his own compositions and according to some sources he was very demanding towards people, who themselves would try to play his pieces, frequently telling the possible buyer to interrupt the performance! - By the late 1920'ies Nazareth began facing hearing problems that worsened towards the end of his life. A depression following the passing away of his daughter and wife intesified the decay of his mental health - he was hospitalizied in 1933 and died the following year. - Ernesto Nazareth left a legacy of compositions favoured by both classical and popular musicians. His first composition labeled 'choro' is "Apanhei-te Cavaquinho", other well-known pieces are "Brejeiro", "Ameno Resedá", "Bambino", "Dengoso", "Travesso", "Fon Fon" and "Tenebroso". Nazareth's popular works remain a core repertoire of Brazilian choro, performed by numerous artists in various settings to this day. His extensive work is composed of more than 200 pieces.

CD cover: Rio, Choro, Jazz ... AAM Music, 2014
A new CD by the Brazilian pianist, composer, arranger and producer Antonio Adolfo is a tribute to the music of Ernesto Nazareth recorded last year and released a couple of weeks ago at Adolfo's own label, AAM Music. The CD has ten tracks, nine of them are compositions by Nazareth and the title track is a new composition by Antonio Adolfo, a contemporary interpretation of the different musical influences that are the inspiration of this project: choro and jazz. The musicians taking part in the recorded ten tracks are: Antonio Adolfo (piano, arranger), Claudio Spiewak (guitars), Jorge Helder (bass), Marcelo Martins (flute, soprano saxophone), Rafael Barata (drums, percussion) and Marcos Suzano (percussion). - The nine featured compositions by Nazareth are "Feitiço" (1897), "Brejeiro" (1893), "Fon-fon" (1913), "Tenebroso" (1913), "Não caio noutra" (1881), "Coração que sente" (1903), "Cuéra" (1912), "Nenê" (1895) and "Odeon" (1909) - the audio of the last mentioned in Antonio Adolfo's new arrangement has been uploaded at YouTube

What caracterizes Adolfo's interpretations of Nazareth's music is the freedom of improvisation, an element exposed in both choro and jazz, here in a contemporary form that may be considered a hybrid between the two genres. The result is neither traditional jazz nor choro, but a mixture that blows fresh air into Nazareth's musical themes through be bop inspired improvisation - in the liner notes Adolfo mentions Bill Evans as an inspiration working with the arrangements featured on the disc.

Antonio Adolfo
Antonio Adolfo (b 1947) grew up in a musical family in Rio de Janeiro and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and Nadia Boulanger. During the 60's he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released several albums. In 1985 he created his own school of music in Rio de Janeiro. Currently he is conducting a music school in Hollywood and teaches Brazilian music and jazz. More info on Antonio Adolfo's career at his official website, here 

Antonio Adolfo, photo by Paul Constantinides
The new arrangements of Nazareth's music by Antonio Adolfo continue and extend a longtime fascination with the founders of Brazilian Choro music, Adolfo released another CD featuring music by Nazareth and Chiquinha Gonzaga in 1991 and he has participated in other choro and jazz projects in Brazil as well. To end this small review of the new CD, here's another audio take from the CD uploaded at YouTube, Nazareth's "Fon-Fon"


The new CD by Antonio Adolfo, renowned Brazilian pianist, composoer, arranger, producer and educator, sets focus on 
the music of initial Brazilian Choro composer Ernesto Nazareth. The ten tracks feature nine pieces composed by Nazareth in new arrangements by Antonio Adolfo leaving space for improvisation that draws inspiration from both choro and modern jazz, the tittle track reflects the mixture of both choro and jazz in a contemporary concept of the hallmarks of both musical genres. The CD is produced by Antonio Adolfo and released at his own label, AAM Music and is available for purchase at Amazon and other online retailers, recommended.

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Tuesday, April 8, 2014

Way Down Yonder in New Orleans

1922 sheet music cover with a photo of singer Blossom Seeley
Way Down Yonder in New Orleans is a popular song with music by John Turner Layton, Jr. and lyrics by Henry Creamer. First published in 1922, it was advertised by Creamer and Layton as "A Southern Song, without A Mammy, A Mule, Or A Moon", a dig at some of the Tin Pan Alley clichés of the era.- It was performed at The Winter Garden Theater in New York in Act 2 of the Broadway musical production Spice of 1922.The original 1922 sheet music featured a drawing of a girl on a spice bottle on the front cover, referring to the musical in which the song eventually made its public debut. [excerpt of Wikipedia article]

The Peerless Quartet, c.1923
L-R: John H. Meyer, Henry Burr, Frank Croxton, Albert Campbell

The song has been recorded numerous times from the early 1920s up till now. One of the first recordings of the song was made by Henry Burr and the Peerless Quartet in 1922

Layton & Johnstone — 1927
The composer Turner Layton recorded the song as part of the duo Layton & Johnstone in 1927

Frankie Trumbauer & His Orch, OKeh, 40843
Way Down Yonder in New Orleans was soon recorded by various jazz groups, one of the most famous recordings from the 1920s was made by Frankie Trumbauer and His Orchestra featuring Bix Beiderbecke (co), in 1927

As said, Way Down Yonder in New Orleans has been recorded by numerous artists and the song may be considered a part of the jazz standard repertoire, but it has also been treated by r&b, rock'n'roll and pop artists. I found a wonderful example of the fact that the song still inspires a new generation of jazz musicians to show off their best. - From a live performance at the Kids in Jazz, Norway 2013 Polina Tarasenko (Ukraine) is featured on trombone accompanied by Risa Takahashi (Japan), bass guitar, Trym Karlsen (Norway), drums, Odd Andre Elveland (Norway), piano - enjoy!


The popular song Way Down Yonder In New Orleans was composed in 1922 by John Turner Layton, Jr. with lyrics by Henry Creamer. The song had its debut in the Broadway musical production Spice of 1922 and was soon recorded by numerous artists. Both popular and jazz artist have made the song a part of the standard American repertoire. Way Down Yonder In New Orleans keeps inspiring - even young people - to show off their talents

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Monday, March 31, 2014

Django à la Créole, Live!

Frémaux & Associés, lejazzetal, CD FA 8501

It's generally known that New Orleans was the cradle of Jazz in the early 1900s and Paris, France, was the European center of Le Jazz Hot in the 1930s and 1940s. What would happen, if these two aspects of jazz - the New Orleans Creole tradition and the Gypsy approach of Django Reinhardt and Le Quintette du Hot Club de France - were mixed and put together in a contemporary jazzensemble taking advantage of the hallmarks of both traditions? The new CD by clarinetist Evan Christopher's quartet Django à la Créole gives a convincing answer to that question showing off a repertoire of essential music with roots in both traditions, here recorded live during the quartet's tour of Great Britain, October 2012.

(Evan Christopher, Photo by McGuire)
Evan Christopher is an excellent clarinetist from California, who moved to New Orleans in 1994 to take part in the city's rich jazz scene concentrating on his instrument's strong Creole heritage from Sidney Bechet, Omer Simeon, Barney Bigard and beyond. After the hurricane Katrina devastated the city in 2005,
Christopher had an invitation of the City of Paris, France, for an artist residency, funded by a French-American Cultural Exchange program. During this artist residency he worked diligently to raise awareness about the musical culture of New Orleans through concerts and masterclasses. He also formed his own groups, the JazzTraditions PROJECT and Django à la Créole. The ideá and vision of Django à la Créole was to "(...) Spice up the Hot Club texture pioneered by Django Reinhardt by emphasizing hallmarks of New Orleans Jazz including blues, rhythms of the monde Créole, and collective improvisation." (- according to info here ). Django à la Créole had its debut in 2007 with a tour of Great Britain, the quartet featuring Christopher as leader and clarinet further consists of two guitars and string bass. The quartet has recorded two studio albums (released 2008 and 2010), the third album shown above is recorded live during Django à la Créole's performance at four different venues in Wales and England, October 2012. According to Christopher's liner notes , "(...) For us, this kept the music fresh and left room for the unexpected better than if we had used the same room over four evenings." 

The CD is released earlier this month by Frémaux & Associés, lejazzetal (CD FA 8501) and is available for purchase here 

Django à la Créole, photo by Lia Wright
l-r: David Blenkhorn (g), Dave Kelbie (g), Sebastian Giradot (sb), Evan Christopher (cl)
Django à la Créole's formation on the live-CD tracks has Evan Christopher on clarinet, David Blenkhorn on electric guitar, Dave Kelbie on rhythm guitar and Sebastian Giradot on string bass, and these four great musicians guide us through a repertoire of jazz compositions associatiated with both New Orleans and Django Reinhardt. New Orleans and Dixieland standards like H.Carmichael's "Riverboat Shuffle" and Craemer & Layton's "Dear Old Southland" are presented in new arrangements for the quartet, the last mentioned incorporating the two spirituals “Sometimes I Feel Like a Motherless Child” and “Deep River”, while the first mentioned gets a 'Django-ized' treatment with great solo statements by lead guitarist Blenkhorn. Further there are two compositions by Jelly Roll Morton, "Mamanita" and "The Crave", both key exsamples of Morton's demonstration of the importance of 'The Spanish Tinge' in jazz, here in a quartet arrangement that has captured the subtleties of Morton's original solo piano rendition of the music. Duke Ellington's "The Mooche", a 1929 composition demonstrating Ellington's 'Jungle style', is also featured, here in an arrangement that is based on Ellington's orchestra version anno 1940. Further we have two compositions by Ellington musicians, Johnny Hodges' "One For The Duke" (- based on a strain from 'Ko-Ko' by Ellington) and Rex Stewart's "Solid Old Man", recorded 1939 in Paris featuring Django Reinhardt on guitar and Barney Bigard, clarinet, a.o.. The CD opens with a rendition of Reinhardt's "Douce Ambiance" and has two more compositions by the Gypsy, "Féerie" and "Manoir De Mes Rêves", and the last track has a reading of Archibald Joyce's "Songe d'Automne" made popular by Reinhardt's Quintette du Hot Club de France in the 1940s and here revisited in an arrangement that replaces the original waltz rhythm with a hot Brazialian samba. - Altogether the varied repertoire of the CD gives the listener a great musical experience that mixes influence from both New Orleans Creole tradition, Ellington and  Django Reinhardt's heritage to jazz. The CD has captured the live atmosphere of the recorded tracks in an excellent audio format that encourages the listener to repeated listening, highly recommended! 

To give you an impression of the presented music, I'll insert a couple of uploaded videos at YouTube from Django à la Créole's live-performance, here's first a performance from the tour of GB 2012, Duke Ellington's "The Mooche"

Next is a performance of Django Reinhardt's "Manoir De Mes Rêves", recorded in Montargis, France, in 2010

Finally, from the same session, here's a reading of Archibald Joyce's "Songe d'Automne"

To end this small review of Django à la Créole's new CD, I like to quote Evan Christopher from the liner notes of the disc, which emphazises the aim of this excellent quartet: "This project has turned us all into musicologists to some extent. Attention to details, is another way that Django à la Créole distinguishes itself from most groups in this genre. (-) But this study isn’t just pedantry at my behest; it’s how we connect to our music and attempt to share this meaning with our audiences. I have always contended that New Orleans music is best approached as a “world music” and the “créolité” of our project intentionally goes beyond New Orleans by embracing many wonderful musics united by the ancestral West-African “clavé”. Django à la Créole emphasizes this solid foundation in the roots of the music, not just for the sake of authenticity and responsible use of stylistic vocabulary, but because these roots offer the most universally compelling aspect of music-making. Anywhere in the world we perform, regardless of how people identify themselves culturally, we believe that meaningful musical experiences bring people together by celebrating creativity and community."

What happens when the New Orleans Creole tradition of jazz and the Gypsy approach of Django Reinhardt and Le Quintette du Hot Club de France are mixed and put together in a contemporary jazzensemble taking advantage of the trademarks of both traditions? The new CD by clarinetist Evan Christopher's quartet Django à la Créole gives the listener a convincing answer to that question showing off a repertoire of essential music with roots in both traditions. The CD was recorded live in October 2012 during the quartet's tour of Great Britain at four diverse venues and has captured the atmosphere of the performance by the ensemble in a highly recommended issue of the presented music.

Retrospect Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Sunday, March 23, 2014

Worldecho: the missing link between Durium and Tuck's Gramophone Records Postcard

Worldecho: The missing link between Tuck and Durium?
Tuck's Gramophone Record Postcard  .... an amusing and interesting innovation 
Hans Koert

Since the early 1990s, when I started to research the 1930s US flexible, unbreakable card board records, published by Durium ( like the Hit of the week and numerous Durium labels), people asked me if the rare Tuck's Gramophone Records: post cards with a small playable gramophone record on it, were made of "durium" too - an acetate. I've never found any direct proof for that, but found out that in both "stories" the British record company Worldecho could have been the missing link. 

Since my teens I'm fascinated by recording sound .... although we didn't had a gramophone player in the 1950s, I collected those free soundsheets sent by companies like Reader's Digest with ads for lp-albums we never could play ( or even couldn't affotd). My uncle in Rotterdam had a 78rpm gramophone player where my brother and I loved to play his records with popular music. When I was 15 years old I bought my first gramophone player and the 25 cm Columbia album Jazz Session with Bobby Hackett; my first record .... the starting point for a lifelong fascination for jazz and early recorded sound ..... 

Tuck's Gramophone Record Post card No. 14 "The Old Folks At Home" (ca. 1929) ( collection: Hans Koert)

In the 1990s I started to collect and research the rare 1930s card board Hit of the Week records; a quest for records and information which was crowned with a full Hit of the Week-Durium Discography and four two-cd albums with the Complete Hit of the Week Recordings, released by Archeophone records. Later my collection was enriched with Goodson Records, Filmophone and other rare late 1920s flexible records. 

The Marble Arch, London ( post card sent to Mejuffer  Petr. Poley, Stokvis st.  Ierseke Holland  (ca. 1915) (collection: Hans Koert)  Mind the lady at the left and the pedestrians at the right.

Thanks to Jos I could add a 1920s Tuck's Post Card to my collection. As I only had heard about it, I was anxious to see one, to smell it, to touch it. These rare items were published by the Tuck Company, based in London, which started to publish regular post cards since 1898 in numbered series - a few years later it also opened an office in New York City.  

Reverse side: The Marble Arch, London ( Post card sent to Mejuffer.  Petr. Poley, Stokvis st.  Ierseke Holland  (ca. 1915) (collection: Hans Koert)

Tuck made post cards in a period that it was very popular to send this kind of messages. Isn't it great that I found an old Tuck post card in my family archive, sent to my grand mother, from the Marble Arch in London. It's a pity that the stamp ( or other marks to date the card) have disappeared, but the salutation Mejuffe ( ( = young lady) suggest that she wasn't married at that time, which means that the card must have been sent somewhere between 1910 and 1918. A small search on internet learned me that the photo itself must have been made early 1900s. ( first issue 1906).

The Marble Arch, London ( photo early 20th century)

I knew, of course, that making photos early 1900s was a complete other process then nowadays, but I didn't realize  that Tuck didn't make a complete "new" photo after a decade when the series should be renewed, but "updated" the already existing glass negative and "photoshopped" ( the word didn't excist in those days) with extra pedestrians and "modern" cars. Have a look at the 1918 version with the 1900 pedestrian at the right in front and the 1918 car at the left. 

The Marble Arch, London ( photo ca. 1918) 

 I told about some rumours that Tuck and the Durium cardboard record might have things in common ..... I found out that the material of the Tuck Record ( the actual record) seems to have been made from the same material as the "Durium" record.
In 1929 Tuck started to produce Gramophone Record Post Cards. It was made by Worldecho and this small short-lived record company has been suggested as a company that used a kind of Durium-like acetate to cover its (thick) cardboard records. In a previous blog about the 80th birthday of the Durium record I posted some information about this obscure record label: Durium Records 80 years old (1930 - 2010) 
    Hal T. Beans demonstreert
    de buigbare Dutiumplaat (ca. 1929)
  • It is said that the Durium acetate was developed in Europe during the First World War, to protect aeroplane noses agains dust, heat, cold and moist and it seems that after the war new uses were found - I saw once advertisements for rain coats and garden furniture made of Durium. During the 1920s it seems that the durium acetate was used to make unbreakable gramophone records, like Worldecho - a rather stiff cardboard layer with a durium surface,  produced in England. These records were produced for only six months and then it was withdraw from the market, as the records easily split into two halves if you dropped it.
The Tuck's Gramophone Record I got in my collection is catalogued as series D no. 14 and its matrix number is P 58   - It belongs to one of the first series as it was first mentioned in a september 1929 magazine entitled Musical Opinion and Music Trades, which reads in its regular columns:
Messrs. Raphael Tuck are responsible for an amusing and interesting innovation in the shape of gramophone record picture postcards. Measuring 3-inch, these discs play for one minute and cost 3d each.  Several series are already available, and I have heard admirable demonstrations of  „Auld Lang Syne“, „Ye Banks and Braes“, „Annie Laurie“, „Bonnie Banks of Loch Lomond“.  Besides these songs there are orchestral records and cornet and saxophone solos.  One immediate result of these postcards has been the installation of portable gramophones in the smaller stations to demonstrate them!    Musical Opinion and Music Trades (september 1929): 

My copy is one of those "cornet solos" and I played it once at my 1930s portable Columbia gramophone.  Its sound is rather low-fi and it plays for almost one minute. 

Achterzijde Tuck's Gramophone Record Postcard No. 14 "The Old Folks At Home" (ca. 1929) ( collection: Hans Koert)

There is one remarkable point to mention.  Like I told you before about the "updating" of the regular post card with the London Marble Arch photo from early 1900s which were still used during the late 1910s, Tuck liked to recycle ....  And even the postcards, used to stick on the small gramophone record, were published before and might have been dead stock for years. I found a copy of the original post card, entitled Watching for Father, a painting of the Scottish artist Scott Rankin, who was active in Scotland as a painter late nineteen century.

Watching for Father - Scott Rankin. (Tuck's Post Card ca. 1910)

If you compare the reverse sites of both cards you'll learn that the blue lettering was printed later and features information about the record itself - the red / brown print learns more about the original Oilette Post Card no. 3368 which must have been dead stock from the 1910s or later. 

Hans Koert
author of the Hit of the Week-Durium Discographies

This Keep (it) Swinging blog must been one of my last ones, as I received some bad news about my health. Within a few day a course of chemotherapy will start.  I started the Keep (it) Swinging blog February 2006, more then eight years ago, as the and later upgraded up to ; all topgerther more then 1800 contributions about jazz, jazz-related music and early sound reproducton, like the flexible records from the 1930s ( Hit of the Week, Goodson and so on). 

An almost complete survey of all Keep (it) Swinging blogs can be find at and in the menu at the right of the  My concert blogs can are linked at my concert blog: en

Hope to see you back in a few months ......

Keep (it) Swinging

This final blog has also been posted at the the Flexible Records blog and the Hit of the Week blog     

Hans Koert

The rare Tuck's Gramophone record Post cards, released for the first time late 1920s, is a sought after colletor's item for picture disc collectors. The small gramophone stick on the Tuck post card, an amusing and interesting innovation (ad late 1920s) seems to have been made of a Durium-like acetate ..... It seems that the short lived record label Worldecho might have been the missing link ..... . 

This contribution might be one of my last blogs.  Due to severe health problems I'll have to stop publishing. Since February 2006 more then 1800 Keep (it) Swinging blogs have been published.  Thanks for reading it. Hope to see you back later if the recovery brings me health and energy.
Keep (it) Swinging

Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions Hans Koert
n It Up  - a record  that was meant to have that dancing spirit, that groove-to-the-music, turn-it-up vibe.

Saturday, March 22, 2014

Worldecho: ontbrekende schakel tussen Durium en Tuck's Gramophone Record Postcard

Worldecho: De ontbrekende schakel tussen Tuck en Durium?
Tuck's Gramophone Record Postcard  .... an amusing and interesting innovation 
Hans Koert

Sinds begin jaren negentig, toen ik begon met het verzamelen, bestuderen en inventariseren van de buigbare onbreekbare kartonnen Hit of the Weekplaten, die in de eerste helft van de jaren dertig uitgebracht werden door Durium ( als bijv. de Hit of the week) kreeg ik de vraag of ook de zeldzame Tuck's Gramophone Records, ansichtkaarten met daarop een afspeelbaar grammofoonplaatje, van het kunsthars "durium' gemaakt waren. Ik kon daar geen antwoord op geven, ook omdat ik er nog nooit één in mijn handen gehad had; wel dat ze niet door het Amerikaanse Durium (hoofdletter) of de Engelse durium (GB) ( kleine letter) geproduceerd en uitgebracht werden. Nu lijkt het dat de ontbreekbare schakel tussen het duriumhars en de Tuck's Gramophone Records gevonden te zijn: het Engelse Worldecho-label.

Tuck's Gramophone Record Postcard No. 14 "The Old Folks At Home" (ca. 1929) ( verzameling: Hans Koert)

Dankzij Jos heb ik nu een Tuck's Gramophone Record Postcard (sic) in mijn verzameling.  Het geeft de mogelijkheid de kaart en het grammofoonplaatje te bekijken, te voelen, er aan te snuffelen en te beluisteren ..... Deze zeldzame ansichtkaarten  werden uitgebracht door The Tuck Company, gevestigd in London, dat sinds 1898 ansichtkaarten uitbracht. 
Tuck maakte dit soort ansichtkaarten in een periode, dat het sturen van een (foto)kaart met berichtje, als een soort Twitterberichtje met fotobijlage avant la lettre, razend populair was. 

The Marble Arch, London ( kaart aan Mejuffer  Petr. Poley, Stokvis st.  Ierseke Holland  (ca. 1915) (verzameling: Hans Koert)  Let op dame links en echtpaar rechts

Toevallig heeft mijn grootmoeder de kaarten die ze als jonge vrouw kreeg  nooit weggegooid en al snuffelend in die doos met romantische ta vond ik een originele Tuck kaart, gestuurd uit Londen, van the Marble Arch. 

Achterzijde: The Marble Arch, London ( kaart aan Mejuffer.  Petr. Poley, Stokvis st.  Ierseke Holland  (ca. 1915) (verzameling: Hans Koert)

Helaas is de postzegel en de poststempel verdwenen, zodat hij niet meer te dateren is, maar afgaand op de gebruikelijke aanspreekvorm  Mejuffer. zal deze ergens tussen 1910 en 1918 verstuurd zijn ......, aangezien mijn opoe, toen nog niet met mijn opa getrouwd was.   De foto zelf dateert uit begin 1900 - hij werd voor het eerst in productie gebracht in 1906.  

The Marble Arch, London ( foto begin twintigste eeuw) 

Het maken van foto's was in het begin van de Twintigste Eeuw werk voor gespecialiseerde fotografen, die met een camera op statief en een zwarte doek, een met lichtgevoelige emulsie bedekte glasplaat belichtten ... hoe anders gaat dat tegenwoordig. Maar wat ik opvallend vond was dat de foto gemaakt ergens begin 1900 steeds opnieuw gebruikt werd bij volgende (her)uitgaven, waarbij op vernuftige manier de omgeving "ge-update" werd met een "nieuw" model automobiel en extra voetgangers. Zoek de verschillen tussen de foto boven en de foto hieronder uit ca. 1918. Let daarbij op de dame links, de auto voor de Arch en de auto in de Arch en het echtpaar aan de linkerkant. 

The Marble Arch, London ( foto ca. 1918) 
Eerder memoreerde ik de vermoedens dat Tuck gebruik maakte van hetzelfde kunsthars Durium als gebruikt op de kartonnen Hit of the weekplaten, uitgebracht door Durium. Nu ik zelf de Tuck's Gramophone Record Postcard in handen heb, weet ik, dat ze veel gemeen hebben ...... vooral omdat in beider (voor)geschiedenis de naam Worldecho voor komt. 
  • Durium werd als een kunsthars ontwikkeld, dat gedurende de Eerste Wereldoorlog vliegtuigneuzen moest beschermen tegen extreme omstandigheden ( hitte - kou - vochtige- en droge omstandigheden). Gedurende de jaren twintig werd er mee geëxperimenteerd om te kijken of er meer gebruiksmogelijkheden waren. In 1929 startte Tuck de productie van de Gramophone Record Postcards (sic) bij Worldecho en deze platenmaatschappij, die maar kort bestaan heeft, wordt ook genoemd als de maatschappij die kortstondig proeven deed met "grote" kartonnen 78-toerenplaten. 

Hal T. Beans demonstreert
de buigbare Dutiumplaat (ca. 1929)
Deze Worldecho's bestonden uit een dikke kartonnen plaat, aan beide zijden bedekt door een kunststof laag ..... Helaas bleek deze plaat erg kwetsbaar - als je hem op zijn rand liet vallen, spleet hij doormidden .... De Worldecho platen waren in 1930 dan ook maar een half jaar in productie - In de VS experimenteerde men op dat moment met de dunne kartonnen Duriumplaat, die slechts aan één zijde kunsthars met een groef had .....  Deze platen zijn in de loop der tijd een stuk meer durable gebleken - duurzaam - zelfs na meer dan 80 jaar zijn ze nog prima af te spelen en verrassen ze door hun geluidskwaliteit. In een eerdere blog vertel ik over de "geboorte" van de HIt of the Weekplaat: Durium platenlabel 80 jaar (1930 - 2010) 
De Tuck's Gramophone Record Postcard in mijn verzameling heeft als catalogusnummer serie D no. 14 en matrixnummer P 58   - De kaart behoort bij de eerste serie grammofoonplaatjes van Tuck en wordt, zijnde een "cornet solo", genoemd in een column in het blad Musical Opinion and Music Trades (september 1929): 
Messrs. Raphael Tuck are responsible for an amusing and interesting innovation in the shape of gramophone record picture postcards. Measuring 3-inch, these discs play for one minute and cost 3d each.  Several series are already available, and I have heard admirable demonstrations of  „Auld Lang Syne“, „Ye Banks and Braes“, „Annie Laurie“, „Bonnie Banks of Loch Lomond“.  Besides these songs there are orchestral records and cornet and saxophone solos.  One immediate result of these postcards has been the installation of portable gramophones in the smaller stations to demonstrate them!    Musical Opinion and Music Trades (september 1929): 

Op die van mij staat een zgn. "cornet solos" en ik heb het eenmaal gewaagd de plaat af te spelen op mijn Columbia slingergrammofoon uit 1930; het nummer duurt een minuutje en de geluidskwaliteit is laag.  

Achterzijde Tuck's Gramophone Record Postcard No. 14 "The Old Folks At Home" (ca. 1929) ( verzameling: Hans Koert)

Er viel me nog iets op ...... Dat Tuck "op de kleintjes lette" ontdekten we al doordat een oud glasplaatnegatief meerdere keren (bijgewerkt) gebruikt werd - Goed is te zien dat het "grammofoonplaatje" op de kaart geplakt is - na bijna 85 jaar verkleurt de lijm. 
De voorkant van de kaart heeft klaarblijkelijk niets met het lied op de plaat te maken ... Ik vond een foto van de kaart, zoals die tussen 1910 en 1920 uitgegeven moet zijn  - met een afbeelding getiteld: Watching for Father, een schilderij van de Schotse kunstenaar Scott Rankin, actief in eind negentiende eeuw. 

Watching for Father - Scott Rankin. (Tuck's Post Card ca. 1910)

Als je de achterzijde van een Tuck kaart vergelijkt met de achterzijde van een Tuck's Gramophone Record Postcard  dan zie je dat de blauwe letters later gedrukt zijn en dat de originele druk ( rood-bruin) van de originele kaart van na 1910 dateert  ( Oilette Post Card no. 3368). 

Hans Koert
author of the Hit of the Week-Durium Discographies

Deze Keep (it) Swinging blog moet helaas één van mijn laatste zijn voor Keep (it) Swinging.  Begonnen in februari 2006, ruim acht jaar geleden, eerst als de en later geupgrade tot de bevatte zo'n 1800 bijdragen. Door ernstige gezondheidsproblemen zal ik helaas voorlopig niet meer kunnen publiceren, tenzij het proces van mijn ziekte me energie laat om me te kunnen concentreren op wat ik het liefste zou doen ..... schrijven over wat me al sinds mijn tienerjaren fascineert: jazz,  jazz-gerelateerde muziek en het onderzoek naar vergeten en bijzondere geluidsdragers ... 

Een onvolledig overzicht van alle Keep (it) Swinging blogs vind je op en in de menubalk rechts:  veel van mijn concertverslagen zijn gelinkt op: en
Het ga jullie goed. 

Keep (it) Swinging

Deze allerlaatste blog is ook geplaatst in het Engels op de Keep (it)  Swinging blog,  the Flexible Records blog en de Hit of the Week blog en in aangepaste vorm ook op de Zeeuwse Slik op de weg blog, de blog over de Schelderegio en haar bewoners.   

Hans Koert

De zeldzame Tuck's Gramophone record Postcards, voor het eerst uitgebracht eind jaren twintig, zijn een gewild verzamelobject voor verzamelaars van vroege  picture discs en ansichtkaarten. Het grammofoonplaatje, waarmee Tuck zich in de crisisjaren probeerde in de "kaart" te spelen, is gemaakt van een "duriumachtig" materiaal, waarbij platenlabel Worldecho, dat maar een half jar bestond, wel eens de ontbrekende schakel zou kunnen zijn ....... 

Eén van Hans Koert's laatste blog in zijn acht jaar geleden gestarte Keep (it) Swingingblog, waarin zo'n 1800  blogs verschenen gewijd aan jazz en jazz-gerelateerde muziek, jazzconcert verslagen en bijdragen over onderzoek naar vroege geluidsdragers, zoals de Hit of the week-Duriumplaten.      

Keep Swinging (old) Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions