![]() ![]() ![]() To my knowledge, copies of these wax cylinders have not been found (for an insightful discussion of why so few of these early Columbia have survived, see this article on the ARSC-Association for Recorded Sound Collections-blog) or at least their discovery has not been made public. 1895” for Columbia and the Chicago Talking Machine Company. Smart’s The Sousa Band: A Discography (Washington DC: Library of Congress, 1970) lists several cylinder recordings that Pryor made “c. This list, which relied in part on the listing of Pryor recordings in James R. The Crystal recording includes copious notes about the recordings, the music played, and Pryor, including what claims to be a complete discography of Pryor’s trombone solos, duets, quartets, and sextets. The 26 tracks of Pryor playing trombone solos that were released in 1983 on Crystal Records as Trombone Solos Performed by Arthur Pryor (Crystal LP S451) and in 1997 as Arthur Pryor: Trombone Soloist of the Sousa Band (Crystal CD CD451) include just a small sampling of Pryor’s trombone solo discography, and they feature recordings that he made between Novemand Septemon Victor, Berliner, and Monarch records. The Discography of American Historical Recordings (DAHR), which is maintained by University of California Santa Barbara, lists over 1300 recordings when one searches for “Arthur Pryor.”This number includes recordings of Pryor as a trombone soloist, as a conductor, and recordings of his works by others. Pryor made dozens of recordings as a trombone soloist for various companies, and many more as a conductor. Trombonists are aware (or should be aware) of solo recordings made by Arthur Pryor, the celebrated trombone soloist of John Philip Sousa’s Band. What is of greater importance is what the solo playing on early recordings tels us about musicianship and trombone technique at the time. That said, “first claims” are not really so important in the big scheme of things. With all of my current research and writing projects on my plate, I don’t have the time to undertake this study, but the subject interests me enough to keep an eye out for information that might be useful in informing the arc of recorded trombone solo history. How is it that an enterprising trombone-playing doctoral student, looking for a worthy dissertation project, has not yet entertained the thought, “What was the first audio recording of a trombone solo?”, and then set out to explore the situation? But to my knowledge, this hasn’t happened. The history of trombone solo recordings has yet to be written. ![]()
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