Видео

Not got this one 😳

Nice! Great arrangement

The sound of these two violins perfectly coordinated with lush jazzy voicings, delicate melodies, and iron-clad rhythmic drags of the bows is staggering and unusual. Eric Siday was virtuosic and visionary in equal measure. This recording calls to mind his incredible two-violin Honeysuckle Rose arrangement, but this is more of a suspended mosaic of mirror fragments. What a blessing to hear this unreleased track. I appreciate the biographical info as well. Wonderful stuff. Thank you for posting this.

Although I must have played this one at least a hundred times, that solo always surprises me with its beauty.

The acoustic recording process was impressive - this is so clear. And so is this 1914 recording: ruclips.net/video/Hrk8ZSxk2l8/видео.html

What a charmer.

A genius

Cant beat this combination 👏

I don't know what I'd do without Al Bowlly

One can imagine Billy Cotton seething in the background.

Glorious Stuff

Hi Nick, this is by far the best transfer I've heard of this number, and it really emphasizes the verve and attack of the new-minted Monseigneur band. As well as Nat's and Billy's spirited breaks, there's some nice counterpoint by Mr Berly around Al's vocal. Many thanks for that.

Not Joe Gibson rather than Julius Nussbaum on bb as Brian Rust says?

Great tune! Love the vocal refrain!

Wow another way to look at Helene. We will help them recover D

I never gave this song a chance based on the title, but the lyrical interpretation by Al Bowlly was just lovely!

In my opinion, Elizalde was the only true foreign heir to the 1920s USA "modern jazz" piano idiom of Arthur Schutt, Earl Hines, Irving Brodsky, Alex Hill, Rube Bloom, Edgar Hayes, Frank Signorelli, Paul Mertz, and Lennie Hayton. He seems to really understand this idiom on a very high (and deep) level, and be able to not only reproduce surface features of the style, but actually use it as a vehicle to communicate on a personal musical level. Thank you for saving and sharing these priceless unissued sides!

I have the non-vocal version they did for Columbia the following month. Interesting to hear how similar, yet different they sound! The Columbia one is bit more laid back, while this one is bit more crisp and upbeat. Thanks for sharing!

A great rec and amazing transfer of an edison d.d.

If one begins listening in a blue mood, the title is sure to apply by the end of the side -- or, more likely, long before. Indeed all the solos are splendid, with some impassioned blowing by Jimmy and fine jazz from the future melodist supreme. Tommy Felline's support is grand, too.

Great transfer and posting, Nick! Reed section arrangements very fine. Tommy Dorsey extra good. As a kid I used to buy Arnold Brilhart clarinet reeds and read his clarinet tutor manuals!! He knew how to monetise his skills!

I wish she had said "We are not amused."

Superb

This historic side, so influential, never loses its impact! Glorious.

Love this!

The mystery to me is why Columbia sat on this recording for two years before issuing it in mid-1928 on 1706-D backed by Thelma Terry and Her Playboys (a recording from March 1928), especially since the other title Fulcher recorded in at this 1926 session ("Since We Parted") was released in 1926 on 726-D. Maybe "Hey! Hey!" was too hot for 1926 and took two years to cool off! I also wonder if this was recorded at the Atlanta City Auditorium, from which station WGM broadcast in the 1920s - I make the connection because the Columbia engineers recorded four tunes by Warner's Seven Aces on the same day as Fulcher, and Warner's Seven Aces broadcast regularly on WGM (one of the nation's earliest radio bands, going all the way back to 1922).

What a treasure! -- a brilliant, highly original treatment of the familiar Isham Jones standard.

A wonderful performance ( and transfer!)

This is absolutely wonderful!

That is beautiful!

This makes for a really interesting "Across The Pond" comparison with the Bennie Moten recording.

Do you think you'll ever do any more cylinder transfers like this?

0:57. Abe Lincoln!!! :^D 🎺 IK

Does anyone know what song this is?

I enjoyed hearing him play at the top of the interview, nice trumpet playing for his age. He was in practice - good sound

The origin of the fashion store:Victoria,s secret

I feel like I’m in the room. Thank you!

"For dancing" it says. They ain't wrong!

Wonderful transfer-you can even hear the drum rolls! Is there more than one take of this? I think I've heard another one and I know Brunswick did typically issue multiple takes. I believe the tubist is the legendary John "Chief" Kuhn.

Looks like it might be a contract Columbia pressing. Not laminated I suppose...

I've seen zither banjos bearing his name. Did he actually play them or make them, or was it just a gimmick cashing in on his fame?

Heavens! This is just SO beautiful. I love Sidney's early work with Clarence Williams etc. But boy, he just seems to age like fine wine. A masterful piece of work, this one!

How delightful to hear Al singing so relaxed here. I love the opening!

👏💖👏💖Viola💖👏💖👏 (Some sources say her birth name may have been Amanda.)

Thanks for posting, Nick. A great side; this one has eluded me over the last 50 years of collecting!

This is the best transfer of this recording I’ve heard so far. Superb clarity and very tastefully balanced. Many TrueTone recordings miss the low frequencies, especially if no tuba is involved. I suspect your copy is in excellent condition (which is quite rare for these red Parlophones). Thanks for sharing!

Very different from the Piccadilly version..

Wow great, not heard this one before….. now I’m jealous 🫤🫤

Al's supple phrasing -- and trademark enthusiasm -- make this side a real winner! The ensemble work is splendid, and Billy Harty's accents are a delight, as always.

I may not be able to experience the release of any of these songs but thanks to the internet we can all experience the discovery of them!