It was included from 1926 to 1930 in Okeh Records ' catalog, which typically concentrated strongly on blues and jazz.

The Diddley-penned, " Wyatt Earp " was a single released on Okeh Records, since the Chess brothers did not want to release the record.

In 1977, the ODJB classic " Singin ' the Blues ", co-written by ODJB pianist J. Russel Robinson, was inducted into the Grammy Hall of Fame in a landmark 1927 recording by Frankie Trumbauer and His Orchestra featuring Bix Beiderbecke on cornet and Eddie Lang on guitar, as Okeh 40772-B, recorded on February 4, 1927.

In 1977, Robinson's composition " Singin ' the Blues " was inducted into the Grammy Hall of Fame in a 1927 recording by Frankie Trumbauer and His Orchestra featuring Bix Beiderbecke on cornet as Okeh 40772-B.

Louis was gaining an impressive reputation when Richard M. Jones convinced Okeh Records to make a series of sessions under his name: the classic Armstrong " Hot Five " recordings.

On November 11 of that year, controlling interest in Okeh was purchased by Columbia Records.

Much of the success of Okeh in the 1960s was dependent on producer Carl Davis and songwriter Curtis Mayfield.

After they left the label ( due to disputes with Epic / Okeh head Len Levy ), Okeh gradually slipped in sales, and was finally deactivated discreetly by CBS Records in 1970.

By 2000, the Okeh label was again retired, and G. Love & Special Sauce was moved to Epic.

Compo was originally created to serve the several American independent record companies such as Okeh Records which wanted to distribute records in Canada.

In 2005, Miff Mole's 1928 recording of " Shim-Me-Sha-Wabble " with the Little Molers, originally as Okeh 41445, was used in the soundtrack to the Russell Crowe movie Cinderella Man.

This musical short film features Mamie Smith, who was a top star in Black Vaudeville and a recording artist with Okeh Records, although by the time Jailhouse Blues was made her contract with Okeh had ended.

Okeh Records offered him a chance to record on their 1925 field trip to New Orleans, but Petit held out for more money and was never recorded.

The record company was renamed Columbia Recording Corporation, which revived the Columbia imprint as its flagship label with Okeh as a subsidiary label.

Their first single was " The Mocking Bird " on Columbia's Okeh label ( master # ZSP-9710 ), released in 1952, with " I May Hate Myself in the Morning " (# ZSP-9711 ) on the B-side.

It was made by Louis Armstrong and his Hot Seven for Okeh Records in Chicago, Illinois on May 10, 1927.

The Hot Five was a recording group organized at the suggestion of Richard M. Jones for Okeh Records.

Louis Armstrong and his Hot Seven was a jazz studio group organized to make a series of recordings for Okeh Records in Chicago, Illinois in May 1927.

On June 14, 1923, the country-music recording industry was launched in Atlanta when Fiddlin ' John Carson made his first phonograph record for Okeh Records Company representative Polk C. Brockman.

In the depths of the Great Depression, the Columbia Phonograph Company ( founded in 1888 ) in the U. S. ( including its Okeh Records subsidiary ) was acquired by ARC in 1934.

The group had recently recorded ( unsuccessfully ) on Okeh Records after being discovered by Bo Diddley when Fuqua found them.

Okeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies.

Some were pressed from masters leased from European labels, others were recorded by Okeh in New York.

In 1920, Ralph Peer's recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh.

Many classic jazz performances by the likes of King Oliver, Lucille Bogan, Sidney Bechet, Hattie McDaniel, Louis Armstrong, and Duke Ellington were recorded by Okeh.

As part of the Carl Lindstrom Company, Okeh recordings were distributed by other Lindstrom labels including Parlophone in the United Kingdom.

In 1994, Sony Music reactivated the Okeh label ( under distribution by Epic Records ) as a new-age Blues label.

On August 10, 1920, in New York City, Smith recorded a set of songs all written by the African American songwriter, Perry Bradford, including " Crazy Blues " and " It's Right Here For You ( If You Don't Get It, ' Tain't No Fault of Mine )", on Okeh Records.

Several of the British artists on the Epic roster during the 1960s were the result of CBS's Epic / Okeh units ' international distribution deal with EMI ; Epic recordings were issued by EMI on the Columbia label.

While some of the blue yodels heard on late 1920s Race recordings-those by the Mississippi Sheiks, for example-probably do owe something to Jimmie Rodgers ' phenomenal success, others-like Billie Young's When They Get Lovin ' They's Gone ( accompanied by Jelly Roll Morton on Victor 23339, 1930 ), Lottie Kimbrough and Winston Holmes ' Lost Lover Blues ( Gennett 6607, 1928 ), and Clint Jones ' Mississippi Woman Blues and Blue Valley Blues ( Okeh 8587, 1928 )-seem more deeply connected to these precedent recordings by Charles Anderson, and to the venerable line of African-American yodelers they represent.

Originally Regal Zonophone handled American releases from Okeh Records, Victor Records and Columbia Records, as well as offering home-grown recordings by artists such as Gracie Fields and George Formby.

The recordings most prized by enthusiasts of the genre are usually by lesser-known artists, and were initially released only in limited numbers, often by small regional United States labels such as Ric-Tic and Golden Records ( Detroit ), Mirwood ( Los Angeles ) and Shout and Okeh ( New York / Chicago ).

Jefferson's two songs released on Okeh have considerably better sound quality than on his Paramount records at the time.

Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, and MGM, frequently moving.

He first recorded for Okeh Records in 1928, but these were commercial failures, and Hurt drifted out of the recording scene, where he continued his work as a farmer.

When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh Records producer Tommy Rockwell.

Hurt attempted further negotiations with Okeh to record again, but after the commercial failure of the resulting records, and Okeh Records going out of business during the Great Depression, Hurt returned to Avalon and obscurity, working as a sharecropper and playing local parties and dances.

In addition to their sessions with Goldkette, Beiderbecke and his friends recorded under their own names for the Okeh label.

In late 1918 they recorded two sides for Okeh under the name of the New Orleans Jazz Band.

( If Her Daddy Don't Come Home )" for blues and jazz singer Mamie Smith and her Jazz Band in 1921, which were released on the Okeh label.

The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records.

Parlophone established a master leasing arrangement with co-owned United States based Okeh Records, making Parlophone a leading jazz label in the UK.

In 1926 – 1929 she also recorded many of her songs on Okeh Records and Paramount Records in Chicago.

He supervised African-American recordings ( the 8000 Race Series ) for the New York offices of Okeh phonograph company in the 1920s in the Gaiety Theatre office building in Times Square.

She changed her name briefly to Bea Baker when recording for Okeh Records in 1951, and then became LaVern Baker when singing with Todd Rhodes and his band in 1952.

In February 1923 Joseph Samuels ' Tampa Blue Jazz Band recorded the George W. Thomas number " The Fives " for Okeh Records, considered the first example of jazz band boogie-woogie.

Fortunately, Louis Armstrong then recorded " Rockin ' Chair " at Okeh studios, giving a badly needed boost to Carmichael.

Mares's last recording session for Okeh Records show his style had not remained static ; he sounds more under the influence of Henry " Red " Allen than Joe Oliver.