Gennett (pronounced "jennett") was an American record company and label in Richmond, Indiana, United States, which flourished in the 1920s. Gennett produced some of the earliest recordings by Louis Armstrong, King Oliver, Bix Beiderbecke, and Hoagy Carmichael. Its roster also included Jelly Roll Morton, Blind Lemon Jefferson, Charley Patton, and Gene Autry.
History
Gennett Records was founded in Richmond, Indiana, by the Starr Piano Company. It released its first records in October 1917. The company was named for its managers: Harry, Fred and Clarence Gennett. The company had produced early recordings under the Starr Records label. The early issues were vertically cut in the phonograph record grooves, using the hill-and-dale method of a U-shaped groove and sapphire ball stylus, but they switched to the lateral cut method in April 1919.
Gennett set up recording studios in New York City and later, in 1921, set up a second studio on the grounds of the piano factory in Richmond under the supervision of Ezra C.A. Wickemeyer.
Gennett recorded early jazz musicians Jelly Roll Morton, Bix Beiderbecke, The New Orleans Rhythm Kings, King Oliver's band with Louis Armstrong, Lois Deppe's Serenaders with Earl Hines, Hoagy Carmichael, Duke Ellington, The Red Onion Jazz Babies, The State Street Ramblers, Zack Whyte and his Chocolate Beau Brummels, Alphonse Trent and his Orchestra and many others. Gennett also recorded early blues and gospel music artists such as Thomas A. Dorsey, Sam Collins, Jaybird Coleman, as well as early hillbilly or country music performers such as Vernon Dalhart, Bradley Kincaid, Ernest Stoneman, Fiddlin' Doc Roberts, and Gene Autry. Many early religious recordings were made by Homer Rodeheaver, early shape note singers and others.
In the early 1920s, the studio was long and wide with a control room separated by a double pane of glass. For sound proofing, a Mohawk rug was placed on the floor and drapes and towels were hung on the wall. Gennett issued a few early electrically recorded masters recorded in the Autograph studios in Chicago in 1925. These recordings were exceptionally crude, and like many other Autograph issues can be easily mistaken for acoustic masters. Gennett began serious electrical recording in March 1926, using a process licensed from General Electric which was found to be unsatisfactory. Although the quality of the recordings taken by the General Electric process was quite good, there were many customer complaints about poor wear characteristics of the electric process records. The composition of the Gennett biscuit (record material) was of insufficient hardness to withstand the increased wear that resulted when the new recordings with their greatly increased frequency range were played on obsolete phonographs with mica diaphragm reproducers. The company discontinued recording by this process in August 1926, and did not return to electric recording until February 1927, after signing a new agreement to license the RCA Photophone recording process. The company also introduced an improved record biscuit which was adequate to the demands imposed by the electric recording process. The improved records were identified by a newly designed black label touting the "New Electrobeam" process.
From 1925 to 1934, Gennett released recordings by hundreds of "old-time music" precursors to country music, including such artists as Doc Roberts and Gene Autry. By the late 1920s, Gennett was pressing records for more than 25 labels worldwide, including budget disks for the Sears catalog. In 1926, Fred Gennett created Champion Records as a budget label for tunes previously released on Gennett.
The Gennett Company was hit severely by the Great Depression in 1930. It cut back on record recording and production until halting activities altogether in 1934. At this time, the only product Gennett Records produced under its own name was a series of recorded sound effects for use by radio stations. In 1935, the Starr Piano Company sold some Gennett masters, and the Gennett and Champion trademarks to Decca Records. Jack Kapp of Decca was primarily interested in jazz, blues and old time music items in the Gennett catalog which he thought would add depth to the selections offered by the newly organized Decca. Kapp attempted to revive the Gennett and Champion labels between 1935 and 1937 specializing in bargain pressings of race and old-time music with but little success.