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Okeh Records

From Alfawiki
OKeh Records
Company typeSubsidiary
IndustryMusic industry
PredecessorOtto Heinemann Phonograph Corporation
Founded1916
FounderOtto Heinemann
Defunct1935, 1970, 2000 (discontinued)
FateAbsorbed into Epic Records; later revived as jazz imprint under Sony Masterworks
SuccessorEpic Records (1965)
Headquarters
New York City
,
United States
Area served
United States, international distribution through affiliates
Key people
Frederick W. Hager (musical director), Carl Davis (A&R manager)
ProductsRecords (jazz, blues, rhythm and blues, race records)
OwnerSony Music Entertainment
ParentSony Music Entertainment / Epic Records / Sony Masterworks
Websitewww.sonymusicmasterworks.com/label/okeh-records/

OKeh Records () is a U.S.-based record label that originated from the Otto Heinemann Phonograph Corporation, a company founded in 1916 specializing in phonograph equipment, which branched out into record production by 1918. The label's name, initially styled as "OkeH" to reflect the initials of Otto K. E. Heinemann, was later standardized to "OKeh". In 1965, the label became part of Epic Records, itself a division of Sony Music. Currently, OKeh functions as a jazz imprint under the distribution of Sony Masterworks.

Early history

The inception of OKeh traces back to Otto (Jehuda) Karl Erich Heinemann (1876–1965), a German-American who managed the U.S. operations of Odeon Records. In 1916, Heinemann launched the Otto Heinemann Phonograph Corporation, establishing both a recording studio and pressing facility in New York City and introducing the OKeh label two years later.

Originally, OKeh produced vertical-cut records but soon transitioned to the more widely used lateral-cut technique. The company was renamed General Phonograph Corporation, with records branded under the OKeh name. The standard pricing was set at 75 cents for 10-inch discs and $1.25 for 12-inch versions. Production was supervised by musical director Frederick W. Hager, also known by his pseudonym Milo Rega.

OKeh strategically served immigrant audiences by releasing recordings in languages such as German, Czech, Polish, Swedish, and Yiddish. Some recordings were licensed from European companies, while others were captured domestically.

Among its early catalog were releases by the New Orleans Jazz Band. In 1920, blues singer Mamie Smith was persuaded by Perry Bradford to record for the label under A&R director Fred Hager’s guidance. This breakthrough led to a prolific series of race records produced by Clarence Williams in New York and Richard M. Jones in Chicago between 1921 and 1932. These featured prominent artists including Williams himself, Lonnie Johnson, King Oliver, and Louis Armstrong. Additional notable musicians on the label included Bix Beiderbecke, Lillie Delk Christian, Bennie Moten, Frankie Trumbauer, and Eddie Lang. Louis Armstrong’s Hot Five and Hot Seven sessions from 1925 to 1928 produced classics like "Heebie Jeebies", "Cornet Chop Suey", and "West End Blues". Following their popularity, Armstrong’s recordings were marketed towards white listeners beginning in 1928.

Under the ownership of the Carl Lindström Company, OKeh’s releases gained international distribution through affiliates such as Parlophone in Britain. Although artists received minimal upfront payments, they maintained copyright ownership allowing them to earn royalties from subsequent cover versions.

In 1926, Columbia Records acquired OKeh. Later, control passed to the American Record Corporation (ARC) in 1934, marking an end to the race records series initiated during the previous decade. CBS took over in 1938. Throughout the 1950s, OKeh shifted focus toward rhythm and blues while continuing to issue jazz albums by musicians like Wild Bill Davis and Red Saunders.

The OKeh Laughing Record

The OKeh Laughing Record originated from a 1920 recording session in Germany conducted by Beka Records before being acquired by OKeh for U.S. release. The track features what is believed to be opera singer Lucie Bernardo alongside Otto Rathke engaging in laughter for nearly three minutes, accompanied by cornetist Felix Silbers. The session yielded six recordings that day. The record achieved remarkable commercial success in America by 1922, reportedly selling close to one million copies. Subsequent releases included follow-ups such as the "Second Laughing Record" and "The OKeh Crying Record," while other labels produced similar novelty discs. This phenomenon possibly influenced recording studios to incorporate live audience sounds and laugh tracks into their productions. The record was also issued in the United Kingdom as The Parlophone Laughing Record and appeared in the 1955 Walter Lantz/Universal animated short Sh-h-h-h-h-h, which was Tex Avery’s final directorial work.

Race records and on-location recording

The General Phonograph Corporation capitalized on the success of Mamie Smith's 1920 hit "Crazy Blues" to access a previously untapped market, where demand quickly outpaced availability. Smith's image and record listings were featured prominently in African-American publications such as the Chicago Defender and Atlanta Independent. While her recordings were included in OKeh's standard 4000 series, the label also recorded leading African-American performers like Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, and the orchestra led by Handy. OKeh introduced its 8000 series specifically dedicated to race records, which encouraged the company to innovate with remote or location recording techniques. Starting in 1923, OKeh dispatched mobile recording units across the country to capture regional artists who were not based in New York or Chicago. These excursions frequently targeted cities such as New Orleans, Atlanta, San Antonio, St. Louis, Kansas City, and Detroit. Additionally, the OKeh studio in Atlanta played a significant role in early "Hillbilly" (Country) music, notably recording Fiddlin' John Carson in June 1923—one of the inaugural country music sessions—which included tracks like "The Little Old Log Cabin in the Lane" and "The Old Hen Cackled and the Rooster's Going To Crow."

1940–1970

After 1932, OKeh's releases became sporadic, although the label remained active until 1935. In 1940, following Columbia's loss of rights to the Vocalion name after discontinuing Brunswick, OKeh was revived as a replacement, debuting a new script logo on a demonstration record. The label was again discontinued in 1946 before being reactivated in 1951.

By 1953, OKeh had transformed into an exclusive R&B label when Columbia shifted its pop roster to the newly established Epic Records. During this period, OKeh’s music publishing arm was renamed April Music.

In 1963, Carl Davis took over as OKeh’s A&R manager, significantly increasing sales over several years. Management of OKeh transitioned to Epic in 1965. Prominent artists affiliated with the label during this era included Johnnie Ray and Little Joe & the Thrillers.

With soul music gaining momentum in the 1960s, OKeh signed artists like Major Lance, who achieved success with hits such as "The Monkey Time" and "Um, Um, Um, Um, Um, Um". Fifties rock-and-roll artist Larry Williams recorded and produced funk-influenced soul tracks for OKeh alongside Johnny "Guitar" Watson. Williams also collaborated with Little Richard, producing two albums between 1966 and 1967 that marked Little Richard’s return to the Billboard charts and yielded the hit single "Poor Dog". Serving as music director for Little Richard’s live shows at the OKeh Club in Los Angeles, Williams played a key role in increasing bookings. He also released his own material that achieved moderate chart success.

OKeh’s achievements throughout the 1960s were heavily reliant on producer Carl Davis and songwriter Curtis Mayfield. After their departure following disagreements with Epic/OKeh executive Len Levy, sales declined sharply, prompting Columbia to quietly retire the label by 1970.

1993–2000

In 1993, Sony Music revived the OKeh imprint (distributed through Epic Records) as a blues-focused label embracing contemporary styles. Early signings included acts such as G. Love & Special Sauce, Keb' Mo, Popa Chubby, and Little Axe. To commemorate this relaunch, singles from G. Love, Popa Chubby, and Keb' Mo were issued on 10-inch vinyl records. By 2000, OKeh was once more discontinued, with G. Love & Special Sauce transitioning to Epic. The label was later reintroduced in 2013 as a jazz imprint under Sony Masterworks.

Since 2013

In January 2013, Sony Music revived OKeh as its main jazz label under the umbrella of Sony Masterworks. Functioning through Sony Classical's U.S. division, OKeh dedicates itself to both emerging and veteran artists who embody diverse global jazz influences. Notable musicians associated with the label include David Sanborn, Bob James, Bill Frisell, Regina Carter, Somi, and Dhafer Youssef.

Ownership

The worldwide rights to the OKeh Records catalogue are owned by Sony Music Entertainment, managed through Epic Records and Sony's Legacy Recordings reissue branch. Following the expiration of EMI's distribution rights in the UK in 1968, CBS Records took over the distribution responsibilities.

See also

External links

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