1920 PAUL BIESE TRIO Fandango ORIGINAL EARLY JAZZ RECORDING - 78 RPM Record
Paul Biese Trio – Fandango
Fox-Trot Dance Music
Written by Christopher Smith
78 RPM audio transfer from the Bowness Arts' collection of vintage records.
Paul Biese Trio – Fandango / Pebbles
Label: Columbia – A3368
Format: Shellac, 78 RPM, 10"
Recorded: December 8, 1920 in New York City
Released: 1921
Genre: Jazz
Style: Instrumental
Other side of this record: Pebbles
• 1920 PAUL BIESE TRIO Pebbles ORIGINAL...
Paul Biese is the stage name for Percy Hawthorne Sudborough,. He was born April 11, 1885 in St. Joseph, Michigan, but raised in Bristol, Indiana. He was an American orchestra leader, saxophone player and composer. His father died while he was young, and his mother remarried Carl A. Biese, thus giving the surname. He wrote ragtime pieces and developed skill on the saxophone. By 1913, while living in Chicago, he had teamed up with composer Frank Henri Klickmann. Biese was soon established as a bandleader of both a trio and a small dance orchestra, playing mostly venues in the Midwest. As leader of the Paul Biese Trio he had several highly popular recordings in the early 1920s. At this time Biese worked regularly at the Edgewater Beach Hotel, a stylish Chicago venue. Biese's final recordings were made in 1924. He died October 27, 1925 at the age of 40.
Note: The first 78 RPM record came into existence around 1894, and in 1912 the Gramophone Company established 78 Rotations Per Minute (RPM) as their recording standard. The production of shellac records continued throughout the 78 rpm era, with "non-breakable" 78 rpm vinyl records being introduced in the 1940s. The popularity of the 33 1/3 rpm "Long Play" record, initially released in 1948, caused the 78 rpm record to become obsolete before the end of the 1950s. As these 78 rpm recordings are quite old, they may contain derogatory language and/or negative stereotypes. It is important to evaluate such recordings within their historical context and consider them as a reflection of the attitudes prevalent at the time. These recordings form an integral part of the historical record and do not represent the views of this poster, channel, or Bowness Arts.
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