Her er et spørgsmål, som jeg har grundet over. Det er på engelsk, da jeg også har sendt det til venner i udlandet:

and Victor.
1.9.1939 –

A question
from Morten Hein mail morten.hein@heinit.dk Member of

I have been
wondering on possible relations between Electrola/Lindström and Victor from the
outbreak of war and to Pearl Harbor. I have some examples of relations that goes from the US to Germany and vice versa.

Can anyone
tell more about these relations?

After the
outbreak of the war Danish EMI was transferred from EMI Hayes to Electrola/Lindström
in Berlin. That transfer was planned well in
advance of the war. Instead of having records processed and pressed in England
Danish records were now processed and pressed in Berlin. In the middle of this American
jazz records were pressed in Berlin to the Danish market. They were
probably not sold elsewhere than in Denmark. They have Danish HMV X numbers. This
continued to mid 1943. On the Danish ordering cards one can read: Can not be
ordered in Berlin after July 1st. 1943.

I will
refer to 3 examples – but there are more. The 2 with B matrice numbers are
probably dubbed in Copenhagen by the Danish recorder Johann Emile
Dändler. One is dubbed in Berlin with German matrice number. The B
matrice numbers are the catalogue numbers of the American originals. The
unusual thing is that three sides are recorded after the outbreak of the war.
How did the come to Germany/Denmark?

Matrice recording date

Earl Hines
Rosetta B10555A 21/10 39
Glad Rag Doll B10555B 25/2 29
HMV X6540 (coupled
as original)

Red Nichols
and his orchestra
Davenport Blues OA037667 21/6 39
Wall of the
Winds OA037668 21/6 39
HMV X6823 (coupled
as original)

Body and
Soul B10523A 11/10 1939
Fine Dinner B10523B 11/10 1939
HMV X6534 (coupled as original:
Bluebird, but not as English HMV)

After the
outbreak of the war, in September 1939, Lauritz Melchior travelled from his
hunting Castle in Germany back to the US via Denmark. In late September he recorded 10
sides in Copenhagen. They were processed and pressed in Berlin.

Early 1941
Melchior recorded 6 sides of Danish and Swedish songs for Victor in New York with Strasfogel at the piano.
Victor issued an album M 851 with these 6 sides and 6 of the sides from Copenhagen. The Copenhagen recordings bears the same matrice
and take numbers as the recordings pressed in Berlin. This indicates that they are not
dubbings but made from a copy mother that has reached New York somehow.

But how? To
my best knowledge the only way of transportation between Germany and the US was via the PAN AM clipper flying
boats from New York to Lisbon. That was the route Kirsten
Flagstad used returning to Norway in 1941.

This can
not just be casual incidents. It must have been organised. Were there other

Can anyone
contribute to these puzzling examples?

Morten Hein