New York Recording Laboratories Matrix Series
The New York Recording Laboratories Matrix Series is the most complete and up-to-date discography of NYRL recordings produced in Chicago, Illinois and Grafton, Wisconsin. Documenting of these recordings was started half a century ago by Max Ernst Vreede of the Netherlands (1927-1991). When Vreede fell ill in 1986, Guido van Rijn helped him update the discography. In 1995, the L matrix series was published in issue 9 of Pete Whelan’s magazine, 78 Quarterly. The Paramount and Broadway matrix lists were updated by Guido van Rijn and Alex van der Tuuk in 2011. These discographies differ from earlier listings such as Vreede’s Paramount 12000/13000 Series (1971) and Laurie Wright’s OKeh Race Records 8000 Series (2001), which list the issued records in numerical order. The Agram series of Paramount and Broadway discographies lists all matrices in numerical order, making information available on issued and unissued recordings.
Vocalion 1000 & Brunswick 7000 Race Series
Until now, I have published in Agram Blues Books only books I have written myself or in co-operation with Alex van der Tuuk. For the first time, I now publish a book written by collector friends of mine, Helge Thygesen from Denmark and Russell Shor from the United States. Together they have spent years collecting 78 r.p.m. records in the Vocalion 1000 and Brunswick 7000 series. Both are “race series,” which included only recordings by African-American artists. The Brunswick-Balke-Collender company started the Vocalion 1000 series in April/May 1926, and the Brunswick 7000 in May 1927. The music was the cream of the crop of classic 1920s jazz and blues recordings. We have adopted the same style for the book as used for the Paramount discographies.
The New Paramount Book of Blues: Elusive Artists on Paramount Race Records
Fifty-eight biographies of Paramount blues artists with sensational new information based on years of research. Some of the artists covered by the New Paramount Book of Blues recorded prolifically during the 1920s and 1930s; others cut less than a handful of songs. Some of them recorded exclusively for Paramount; others also made records for other companies. Most of them have received less attention than the likes of Charlie Patton, Skip James and Tommy Johnson (all Paramount recording artists) or Bukka White, John Hurt and Robert Wilkins, who recorded elsewhere.