1914 VERNON & IRENE CASTLE HOUSE ORCHESTRA Esmeralda Cecile Hesitation VICTOR

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Shipping: All items will be packed safely in a sturdy package for safe shipping.We ship internationally and offer combined shipping for multiple purchases. Expedited, Priority Mail and FedEx shipping available Once payment is received, we ship your item on the next business day.INTERNATIONAL BUYERS: Pls check the shipping tab. Ebay does not display cheapest shipping on top of the listing. Over 1000 Records available. If you plan to buy several records: Click the “ADD TO CART” button. Once you have selected all the records you want, go to Cart and check out. COMBINED SHIPPING will be applied automatically. If shipping seems high: In Cart click REQUEST TOTAL, and I will send you an invoice. A series of great JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola RecordsMore great Jazz and Vocal Records in my other listings! A hands-free Tango step that the Castles originated; photograph from their 1914 bestseller Modern Dancing Vernon and Irene Castle – the famous dance pair who created Dance as an activity for the Good Society and started several Dance, Cakewalk and Fox Trot Crazes in the teens. Castle’s eye for talent lead to the employment of famous Jazz musician Jimmie Europe and Frank McKee in the Castle House Orchestra Castle House OrchestraCecile/ EsmeraldaThis was music for a new type of dance step called the Waltz Hesitation, which was introduced by Vernon and Irene CastleThe song is sometimes called “Cecile Waltz,” other times “Cecile Hesitation.”Victor 35373New York, New York February 13, 1914We are hearing a piano, 2 violins, cello, flute, clarinet, and cornet.Frank W. McKee composed this, and he leads the musicians on this recording. Orig Issue Victor Batwing 12” 78 rpm CONDITION: Better than EXCELLENT PRISTINE plays E+ EXCEPTIONALLY QUIETA CHOICE COPY Rise to fameThe Castles’ initial fame began in Paris, where they introduced American ragtime dances, such as the Turkey Trot and the Grizzly Bear. When the Castles returned to the U.S., their success was repeated on a far wider scale. Making their New York debut in 1912 at a branch of the Cafe de Paris, operated by Louis Martin, who had given them their start in Paris, the duo were soon in demand on stage, in vaudeville and in motion pictures. In 1914, the couple opened a dancing school in New York called “Castle House” , a nightclub called “Castles By the Sea” on the Boardwalk in Long Beach, New York, and a restaurant, “Sans Souci.” At Castle House, they taught New York society the latest dance steps by day, and greeted guests and performed at their club and cafe by night. They also were in demand for private lessons and appearances at fashionable parties. Despite their fame, they often found themselves treated as hired menials; if a rich client was too demanding, Vernon would quote a fee of a thousand dollars an hour for lessons and often get it. At the time dancing was all the rage in New York, and the most famous dancers were Vernon and Irene Castle. When the Castles met Europe at a private society party where the Clef Club Orchestra was playing, they decided to make him their band leader. They also hired fellow black composer Ford Dabney as their musical arranger. Europe was instrumental in the premier and success of the Castle’s most famous dance creation, the fox trot, which was reputedly adapted from W. C. Handy’s Memphis Blues. While with the Castles, he also added a saxophone to his band, giving what had previously been used mainly as a novelty in musical acts the status of a respectable jazz instrument for the first time. Europe and Dabney wrote most of the music for the Castles’ dances. It was the Castles, Irene and Vernon, who changed the world’s dancing habits. It is important to note that prior to the Castles, dances and galas were _private_ and held in uppper class homes. Dance Halls were NOT considered proper for polite society. But from about 1910 on, the world’s dancing habits changed. The Castles began dancing in _public venues_ and the public became totally enraptured by their performances. Soon, every couple wanted to emulate the Castles, and were dancing – in public. From then onward, – it would be possible for musicians to earn a living, because the major venues found it necessary to hire orchestras so that their guests could dance. The catalyst for this change was the invention, in 1912, of the “Foxtrot” dance (in embryonic form). Earlier dances of this variety were known under such names as the “horsetrot” and the “fishwalk”. From a modern point of view, it is sometimes difficult to discern the “foxtrot” rhythm in these early recordings; especially so if the recording was made by one of the many “military” bands, then so very poipular. Just one very singular activity served to propel the dance into wide public acceptance, and that was the dance team of “Irene and Vernon Castle”. The Castles did have some competition, of course, the most notable being “Joan Sawyer, a fine dancer who teamed with many different partners. Here’s a photo of the Joan Sawyer and John Jarrot, dance team. During the 1910s, Sawyer was one of the most popular female dancers. The Tango was one of the dances that the Castles performed so well. The Castles are often credited with bringing the Tango to America. The Castles – Vernon and Irene, started dancing in 1914, sponsored by Ely Marbury, a prominent member of the Democratic Party. As their career progressed, the Castles, developed still other dances, such as the ‘One Step’ and the ‘Maxixe’. (The Maxixe -pronounced ‘machich’- was still another dance introduced by Maurice Mouvet, but he called it the “Machich”.) Their dance exhibitions caught the public’s fancy, and soon everybody wanted to go to a Dance Hall or Restaurant and do the same “Ballroom” dances. Dances no longer took place just in private homes. One could “go out” dancing. And, the only thing needed was — a Dance Band. EARL FULLER Earl Fuller’s Famous Jazz Band included Walter Kahn on cornet, Harry Raderman on trombone, Ted Lewis on clarinet, and John Lucas on drums. This was the nucleus of the dance orchestra later led by Ted Lewis. Before Fuller’s first session, Lewis had been playing with Arthur Stone’s Syncopated Orchestra. In the early 1920s, the popular Ted Lewis orchestra consisted of these four musicians in addition to cornetist David Klein, trombonist Frank Lhotak, tuba player Harry Barth, and pianist Frank Ross. This is reported on page 21 of the October 1923 issue of Musical Truth, which was the trade journal for the maker of Conn instruments. Photographs on sheet music suggest Fuller played piano on these dates though Ernie Cutting may have been the pianist on records (as on other jazz records of the period, piano on Fuller discs is the least audible of the instruments). It was one of the first bands to imitate the Original Dixieland Jass Band though the Frisco Jazz Band made an Edison recording on May 10, 1917, a little earlier than Fuller’s jazz ensemble. “Slippery Hank” and “Yah-De-Dah,” cut during the group’s first session on June 4, 1917, were issued on Victor 18321 in September 1917. These jazz performances are notably loud, and the musicians use instruments for comic effects. Victor’s September 1917 supplement states, “A terrific wail from the trombone starts ‘Slippery Hank’ (F.H. Losey) on his glide, and the rest of the Jazz Band noises are in kind. And if you think these are all the noises available for a Jazz Band, turn the record over and listen to ‘Yah-De-Dah’ (Mel. B. Kaufman). The sounds as of a dog in his dying anguish are from Ted Lewis’ clarinet. Notice the two little chords at the end of each number. This is how you know for certain that a Jazz Band is playing.” Ending records with these “two little chords” had been introduced by the Original Dixieland Jass Band. His jazz discs sold well, especially “The Old Grey Mare” backed with “Beale Street Blues” (Victor 18369), and, on Victor 18394, “Coon Band Contest” (a rag composed by trombonist Arthur Pryor and recorded by banjoist Vess L. Ossman as well as Sousa’s Band as early as 1900) backed with “Li’l Liza Jane,” written by Countess Ada de Lachau and arranged by J.L. Burbeck. Historian and critic Gunther Schuller expresses mixed feelings about the band in Early Jazz (Oxford University Press, 1968), writing on page 184, “The band’s ricky-tick rhythms and cornetist Walter Kahn are very hard to take today. Moreover, its performances are structurally monotonous in their exact repetitions. Nevertheless, the band had a crude sort of excitement…” The now- forgotten discs helped define and popularize a new music, jazz, influencing young people who would later, in the 1920s, make important recordings. In 1918 Earl Fuller’s Famous Jazz Band recorded for Edison several numbers with titles that refer to the new music, including “Jazzbo Jazz” and “Jazzin’ Around.” The August 1918 issue of Edison Amberola Monthly characterizes “Jazbo Jazz One-Step” on Blue Amberol 3554 as “a real, red- hot jazz dance of the most ultra modern variety,” and this may be the first time that a jazz record is promoted as “hot.” The jacket for Diamond Disc 50541, featuring Fuller’s own composition “Jazz de Luxe,” states that the band “was organized just at the time the jazz music became popular in New York, and through its playing of jazz music in Rector’s Restaurant, New York City, Earl Fuller’s Band became famous.” Promotional literature for the same number on Blue Amberol 3610 states, “Until you have heard one of Earl Fuller’s ‘symphonies in rhythm’ you are a novice in the art of appreciating Jazz.” More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS – VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don’t give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.”EXCEPTIONALLY QUIET” is close to noiseless, like a vinyl pressing.”VERY QUIET” is an above average quiet record for a given pressing.”Quiet” is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don’t like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit’s eCommerce Solution

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