That's Ada Jones a little before 1904. (not sure of the actual date, but it's probably from 1900-1903)
I don't speak of Jones very much on this blog, and I apologise to any big Ada Jones fans out there about neglecting to do this. I'm not really too fond of her records, but she was an interesting character with many overlapping connections to the early recording business. She wasn't exactly the most popular performer on the stage in the 1890's, but some few men here and there took interest in her. Those two cylinders for North American in 1894 can certainly prove that. After those two records however, she vanished from recordings for many years, but she still remained on various stages in and around New York. One of the first publishers to take an interest in her was a man by the name of Fred Hylands.
Hylands worked with Columbia's Len Spencer in the famed Hylands, Spencer, and Yeager firm when he first set his eyes upon the 25-year-old Ada Jones. Hylands must have found her to be a possible "big ticket" item for the advertisements of the firm, even if she wasn't a very popular performer at the time. I don't know what it was about her, but Hylands found her early in the firm's existence. She must have been one of Burt Green's singers at Huber's, and Green must have passed on the idea to Fred not long after accompanying her. Fred must have sent her a very kind note, openly inviting her to their firm for discussion, and musical instruction(as their ad in The Phonoscope indicated they did). Hylands must have adored her talent in mimicry and comical singing, so much so, that he kindly asked her permission to have her on some of their sheet music covers. So he and Spencer found the most flattering image of her, and put it on five editions or so of their pieces.
This is one of them:
There were several more. This just happened to be one of their final official publications.
She probably came in several times to be instructed by Hylands and Burt Green, and maybe Len Spencer. This was the first encounter between Jones and Spencer, but it did not come to Spencer's mind that he could make records with her. He must have found witnessing her and Fred learn new songs very entertaining, yet meticulous. Being able to see how she worked with other singers, must have given Spencer ideas, of maybe working with her one day. Hylands must have seen true potential in her becoming a recording artist, and probably recommended her to the boys at Columbia, though it's obvious that they refused her at that time. She must not have been seen as an opportunity for the Victor Emerson-managed Columbia company.
It didn't work, just yet. It took a few more years before Billy Murray was another recording star to encourage her to make records. Even if Murray claimed that he "discovered" her first, that was not true at all, as even when Spencer was making those records with Steve Porter in 1905, it must have been Spencer who said that he knew a singer girl who worked alongside Burt Green at Huber's. He must have recalled her from being back at the publishing firm with Hylands and Green, and he probably went to one of her performances at Huber's with Burt Green. Not long after the suggestion, she was in the Edison studio making re-recordings of earlier takes by George Gaskin and Arthur Collins.
It was also with Len Spencer that Jones started making records with again. She made duets with Spencer for a year or so, until mid-1906, when Murray came along once again to offer her more duet work. Working with Murray was easier to balance and handle generally. Working with Spencer was a little more tedious, only because he was just about a foot taller than her, and both of their voices had their own balancing problems.
When Jones moved on into making records regularly, that was when the first era of her life ended, and when she became the so-called "First Lady of the phonograph"
Hylands worked with Columbia's Len Spencer in the famed Hylands, Spencer, and Yeager firm when he first set his eyes upon the 25-year-old Ada Jones. Hylands must have found her to be a possible "big ticket" item for the advertisements of the firm, even if she wasn't a very popular performer at the time. I don't know what it was about her, but Hylands found her early in the firm's existence. She must have been one of Burt Green's singers at Huber's, and Green must have passed on the idea to Fred not long after accompanying her. Fred must have sent her a very kind note, openly inviting her to their firm for discussion, and musical instruction(as their ad in The Phonoscope indicated they did). Hylands must have adored her talent in mimicry and comical singing, so much so, that he kindly asked her permission to have her on some of their sheet music covers. So he and Spencer found the most flattering image of her, and put it on five editions or so of their pieces.
This is one of them:
She probably came in several times to be instructed by Hylands and Burt Green, and maybe Len Spencer. This was the first encounter between Jones and Spencer, but it did not come to Spencer's mind that he could make records with her. He must have found witnessing her and Fred learn new songs very entertaining, yet meticulous. Being able to see how she worked with other singers, must have given Spencer ideas, of maybe working with her one day. Hylands must have seen true potential in her becoming a recording artist, and probably recommended her to the boys at Columbia, though it's obvious that they refused her at that time. She must not have been seen as an opportunity for the Victor Emerson-managed Columbia company.
It didn't work, just yet. It took a few more years before Billy Murray was another recording star to encourage her to make records. Even if Murray claimed that he "discovered" her first, that was not true at all, as even when Spencer was making those records with Steve Porter in 1905, it must have been Spencer who said that he knew a singer girl who worked alongside Burt Green at Huber's. He must have recalled her from being back at the publishing firm with Hylands and Green, and he probably went to one of her performances at Huber's with Burt Green. Not long after the suggestion, she was in the Edison studio making re-recordings of earlier takes by George Gaskin and Arthur Collins.
It was also with Len Spencer that Jones started making records with again. She made duets with Spencer for a year or so, until mid-1906, when Murray came along once again to offer her more duet work. Working with Murray was easier to balance and handle generally. Working with Spencer was a little more tedious, only because he was just about a foot taller than her, and both of their voices had their own balancing problems.
When Jones moved on into making records regularly, that was when the first era of her life ended, and when she became the so-called "First Lady of the phonograph"
I hope you enjoyed this!
Ada Jones is my biggest female idol. I listen to her every dag. I looks more up to her than I can say. She sang very beautifully,clean and clearly. I'm so big fan of her so I took her name Ada to my own name after her. For me was/is Ada jones the best and toughest female singer ever. She had eplilepsy and kidney problems but still managed to be an artist. I listen proud to her every day. She gives me more than all another female singer. Every day I thinking of her and wish I had lived in her time and known her. Ada was a very beautiful woman. She was not thn,but not always the thinest is they most beautifully. I can say listen to her. You will love her. You will never forget her voice if you hear she sing. Ada Jones was the best and she still is. Maybe I'm her biggest norwegian fan. I can't stop love her recordings and her voice. Ada is my idol now and always.
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