Tuesday, April 23, 2019

Recent Ancestry Digging

So...In the last week or so, I went back and refreshed my memory of many previous findings on ancestry. Since my last post on the Hager brothers, I had kind of forgotten a few things regarding James and Fred. 
While I went back and refreshed my memory, I found a few interesting things along the way. When I went digging for James Hager last time, I was able to find him in 1900, 1920, 1930, and 1940. Just like with Justin Ring(who I still have not found anything new on) there's a period where nothing shows up on him, but it just happens that the period I'm looking for is quite essential. Luckily on this last dig, I found Hager in the 1905 NY state census, and something very curious came up. Here's the record:
Look at that! 
Even by 1905 James was living with the family, Fred more specifically. That's quite hilarious to me for some reason. I was really hoping that by at least 1905 Jimmy was living on his own but still working for brother Fred at Zon-O-Phone. Well, I guess not. Furthermore, I'm sure Jimmy and his wife Isabelle couldn't have gotten much privacy with old Fred and Clara poking around in their business. So now we know that the Hager brothers remained together until at least 1906, which is interesting. That also makes it more likely that they were both working at Zon-O-phone at that time. That helps. 
I was hoping that Fred still employed Jimmy at Zon-O-Phone, even with the queenie Eddie King overpowering the percussion section in the orchestra, so that turned out to be true. 

So staying on the Hager matter, a few days ago I combed through the many issues of Hobbies that Walsh wrote in, just to see where I could find Hager. Well, well, that was a good idea! Just like Joe Belmont and Billy Murray, Hager was one of Walsh's most valuable sources of information. It was entirely heartwarming to learn this bunch of new information from and about Hager. According to the many letters that Hager wrote to Walsh, Hager was determined to go out and find any information about his buddies for Walsh. He was deeply concerned about his fellow recording stars, and made sure to get his information right. This really warmed my mood for the last few days, as there were so many of these folks who were too bitter and uncaring of their fellow studio workers, but at least one of the most major figures who led them all cared even in his fading years. 
Hager provided most of the viable information we have today on Cal Stewart, which is quite interesting. He just happened to work closely enough with Stewart to have a lot of information to share on him. He also had plenty of information on others close to him, proving himself a very valuable and industrious friend of Walsh. 
That really raised my respect levels for Hager(not that they weren't already high!). 










So after refreshing my memory with all that, I decided to take a shot at finding Charles Prince. 
I know in the past I have proven quite well that I am not a big fan of Mr. Prince and his band, but now that I have the chance to read more about him, I'm so intrigued that I have gained respect and interest in him. The only thing I knew about Prince before my recent dig was that he was born in 1869 in San Francisco(which is already appealing to me as I am partial to California born folks). So as I started digging, I found a few very interesting things. 
The first thing  I stumbled upon was a voter registration list from 1892, and he was still living in SF then! 


Soon I will go out to that address to see if anything Victorian is still there. 

So that's interesting. The fact that this was from 1892 and he was still living in SF means that he wasn't yet working for Columbia. It was around 1892 that most scholars conjugate that he began working at Columbia. So that got me curious, it made me confident that I could find when he moved back east, and maybe debunk the whole "early Columbia" ties altogether. Well, that didn't end up happening. I wasn't able to track when he left SF, but for sure his date of going back east would be around 1896 at the latest. At least I have a hint now, and it's looking promising to debunking the old idea. 
The man himself at the center. 
(I still think that clean shaven young buck in the right corner is Justin Ring)
So that was great to find, but the findings didn't end there. I found Prince in the NY state census in 1905, and something very interesting came up. I found Prince housing a familiar studio face:
What! Prince was housing Henry Burr? Well then! 
So this actually is a very significant find for me. For years I have theorized that these studio managers and musical directors took in some of their less fortunate fellows for say a few days or weeks. Well, seeing this exactly proves that this happened. Never would I have grouped together Prince and Henry Burr, but there ya go folks. So this is exactly what I've been saying about Hylands in the past with "33", where he lived in 1899-1902(or so). Hylands always had extra space for his fellows(though in 1900 we see that he chose to have some wayward young men staying over rather than fellows from work). And thanks to the recent findings on Hager, we know that he also had extra space for a similar purpose. Someone like Justin Ring probably rarely crashed at Hager's place though, as he lived(or at least I think he lived at a certain address) just a few blocks away from Columbia(and Zon-O-Phone, wherever they were in the same area). 
So maybe the Ring-Hager thing went the other way around more often. Hager crashed at Ring's place as he was very close by their work. 

So anyway, that's all I found on Prince really. I found a few more census records from later with his name there, but I didn't really learn anything new or surprising from them. I did find it interesting that Prince was divorced by 1920. Not very often do I come across these fellows who are listed as divorced in census records. Hopefully I will get to the point where I can definitively debunk the previous knowledge that Prince had early ties to Columbia. 



So before I close out here, I'd like to mention a funny anecdote from the article on Charles Prince that Jim Walsh wrote. As the Eddie King stories keep-a-coming, Walsh even had a handful of good ones to tell to add to the pile.

One story goes, that Eddie King was engaged to lead his Victor orchestra in a few pieces before a big baseball game in the mid-1910's. All the Columbia and Rex folks were also there, as they were all good friends and avid fans of baseball. Eddie got out there and did his job, and herded all the boys off the field quick in that insistent way of his. 
As they were marching out, Billy Murray stopped Eddie for a moment and asked why he was leaving so soon, and not sticking around for the game. 

Eddie replied thus: "I'm not a fanatic, like you fellows! I've got work to do."


Of course with that in mind, I drew a cartoon to illustrate this idea. 
Of course there he is with his Zon-O-phone buddies. Again, I have not yet seen a picture of King yet, but am hoping to sometime soon. 
Also, just one more point to make about the cartoon above, in that same piece on Prince, Walsh writes out that Billy Murray recalled Eddie King as "a saturnine person with what the non-smoking Murray calls a 'chronic cigarette cough'[and] was a zealot for hard work". 
So there goes that cartoon explained. 


Anyway, I was in Los Angeles last week and got about 20 interesting records ranging in date from 1902 to 1922. There wasn't anything too outstanding in the mix, though I am proud to own a copy of one of Eddie King's xylophone solos! His mallet playing was really something, quite odd and inconsistent, somewhat similar to his drumming on all those Victor's with Van Eps, so to close out here's one of them just because they're entertaining to listen to. 






Hope you enjoyed this! 








3 comments:

  1. Hello - I have literally spent _all night_ searching for that Hager's Orchestra photo you posted as you said it had everyone identified. Your blog is addictive. My Ph.D. thesis was on US band and orchestra recording 1894-1917 at the Eastman School of Music, which I submitted with 7 CDs of full-length examples I transferred from 3 different collections at the Belfer Sound Archive at Syracuse University; so much has come to light since '03 I have to completely revise it. I would like to make your better acquaintance if you care to write, _please_. Since UCSB has been doing Zon-o-phone transfers it has opened up much material to add to mine, but they invariably transfer them _too fast_ - about 8% or a full tone sharp - so I am downloading and correcting them. How do I know this? I've conducted a 15-20 piece orchestra specializing in ragtime and theatrical music for 25 years here in Rochester, my musicological specialty is performance practice, I'm a silent film pianist and bandsman (I studied euphonium with Harvey Phillips at Indiana University), and I know this music intimately and the people involved. At least I thought I did! You know of the film showing Charles Prince conducting at Columbia around 1921 on YouTube - I identified Prince for that, as well as Eugene Jaudas conducting the orchestra on the "Edison Minstrels" 1913 Kinetophone short (the earliest synchronized sound motion picture of an orchestra being conducted) now out on DVD. (Several regular Edison players are in the band as well, such as Eugene Rose and the tubist who shows up in the 1906 photos of Edison's 79 5th Ave. studios) I would write more but I'm performing a matinee and need some rest! Can we be in touch? With great respect and best wishes, Philip Carli

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  2. And Eddie King was a fine ragtime conductor - here's Percy Wenrich's "Persian Lamb Rag" in UCSB's transfer which I corrected into the keys of G and C (they had it in A and D, which would make the prominent trombone part impossible) and slowed down 8% as I mentioned. This is one crisp performance - if he was rather a vile character, his groups played well. https://soundcloud.com/philip-carli/persian-lamb-rag-wenrich-zon-o-phone-orchestra-aug-1908-5320-corrected

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  3. Charles Prince has one distinction which I think deserves a mention: he conducted the only commercial acoustic recording of a full symphony orchestra known to exist (Columbia A6006, from 1917 - 'Rienzi' Overture [Wagner], with the 90-strong Columbia Symphony Orchestra). This can be heard on https://www.youtube.com/watch?v=pkVOo9mzMx8. An extraordinary effort in which Prince, despite his light-music background, shows a complete mastery of the orchestra.

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