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Brunswick Records
Brunswick Records is an American record label founded in 1916.
组织
Brunswick Records
Brunswick Records is an American record label founded in 1916.
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不伦瑞克唱片公司 包含 Brunswick Recording Studios (NY)
Brunswick Records is an American record label founded in 1916.
Brunswick Records is an American record label founded in 1916.
Records under the Brunswick label were first produced by the Brunswick-Balke-Collender Company, a company based in Dubuque, Iowa which had been manufacturing products ranging from pianos to sporting equipment since 1845. The company first began producing phonographs in 1916, then began marketing their own line of records as an afterthought. These first Brunswick records used the vertical cut system like Edison Disc Records, and were not sold in large numbers. They were recorded in the United States but sold only in Canada.
In January 1920, a new line of Brunswick Records was introduced in the U.S. and Canada that employed the lateral cut system which was becoming the default cut for 78 discs. Brunswick started its standard popular series at 2000 and ended up in 1940 at 8517. However, when the series reached 4999, they skipped over the previous allocated 5000s and continued at 6000. When they reached 6999, they continued at 7301 (because the early 7000s had been previously allocated as their Race series). The parent company marketed them extensively, and within a few years Brunswick became a competitor to America's "big three" record companies, Edison Records, Victor, and Columbia Records.
The Brunswick line of home phonographs were commercially successful. Brunswick had a hit with their Ultona phonograph capable of playing Edison Disc Records, Pathé disc records, and standard lateral 78s. In late 1924, Brunswick acquired the Vocalion Records label.
Audio fidelity of early-1920s, acoustically-recorded Brunswick discs is above average for the era. They were pressed into good quality shellac, although not as durable as that used by Victor. General music director Walter B. Rogers and his colleague Gus Haenschen lured significant classical and popular soloists into Brunswick's roster, including Sigrid Onegin, Marie Tiffany, Michael Bohnen, Mario Chamlee, Richard Bonelli, Giacomo Lauri-Volpi, and popular singers Al Bernard, Ernest Hare, and light-voiced Nick Lucas. Significant Brunswick instrumentalists included pianists Leopold Godowsky and Josef Hofmann, and violinists Bronislaw Huberman and Max Rosen.
In the spring of 1925 Brunswick introduced its own version of electrical recording derived from the Pallophotophone system, developed by Charles A. Hoxie (and licensed from General Electric) using photoelectric cells, which Brunswick called the "Light-Ray" process. These early electric discs have a harsh equalization which does not compare well to early electric Columbias and Victors, and the company's logbooks from 1925–27 show many recordings that were unissued for technical reasons having to do with the GE system's electronic and sonic inconsistencies. (Only Brunswick and Vocalion records pressed at their West Coast plant bore the name "Light-Ray Process" on the labels.)
来源：Brunswick Records （CC BY-SA）
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Once Brunswick's engineers had tentative control of their new equipment, the company expanded its popular music recording activities, exploiting its roster of stars: the dance bands of Bob Haring, Isham Jones, Ben Bernie, Abe Lyman, Earl Burtnett, and banjoist Harry Reser and his various ensembles (especially the Six Jumping Jacks), and Al Jolson (whose record labels proclaimed him "The World's Greatest Entertainer With Orchestra").
Then based in Chicago (although they maintained an office and studio in New York), many of the city's best orchestras and performers recorded for Brunswick. The label's jazz roster included Fletcher Henderson, Duke Ellington (usually as the Jungle Band), King Oliver, Johnny Dodds, Andy Kirk, Roger Wolfe Kahn, and Red Nichols. Brunswick initiated a 7000 race series (with the distinctive 'lightning bolt' label design, also used for their popular 100 hillbilly series) as well as the Vocalion 1000 race series. These race records series recorded hot jazz, urban and rural blues, and gospel. Brunswick also had a very successful business supplying radio with sponsored transcriptions of popular music, comedy and personalities.
In the early 1920s Brunswick also embarked on an ambitious domestic classical instrumental recording program which carried over into the electrical era, recording violinist Bronislaw Huberman, pianists Josef Hofmann and Leopold Godowsky (both of whom made the majority of their American recordings for Brunswick), and the New York String Quartet. They moved into orchestral recording in 1922 with the renowned "Capitol Grand Orchestra" under Erno Rapee from the Capitol Theatre in New York (at a time when Eugene Ormandy was the orchestra's concertmaster), then contracting with the Minneapolis Symphony under Henri Verbrugghen and the Cleveland Orchestra under Nikolai Sokoloff in 1924, the orchestra of the Metropolitan Opera House (39th Street) under Gennaro Papi, and in a tremendous steal from Victor, they put the New York Philharmonic with conductors Willem Mengelberg and Arturo Toscanini on their artists roster - but only briefly. The popular records, which used small performing groups, were difficult enough to make with the photoelectric cell process; symphony orchestra recording, however, further exacerbated the problems of the "Light-Ray" system. Few orchestral records were approved for issue and those that did appear on the market often combined excellent performances with execrable sound, which particularly displeased Toscanini (only two sides he conducted were ever released). Brunswick found it expedient and ultimately cheaper to contract with European companies (whose electrical recording systems surpassed Brunswick's). Among the recordings Brunswick imported and issued under their own label (through an agreement reached with Polydor, Deutsche Grammophon's export branch) were historic performances conducted by Hans Pfitzner and Richard Strauss—the latter conducting critically acclaimed performances of his symphonic poems Don Juan and Till Eulenspiegel's Merry Pranks, recorded in Berlin in 1929–30. Some of these reco