Pampa, the MAI master series and the history of the Odeon and Columbia labels in Argentina

3. Pampa, Pathé, Parlophone, Columbia... and Odeon

The very first Pampa record... (PS-1001, master numbers MAI-2 & MAI-1) Pampa Industria Argentina Música Argentina e Internacional S.R.L. - Bs Aires The record label - which will remain in use until 1953 - is characterized by a pastoral scene with Odeon-like rays spreading out upward from the center of the record.

Pathé Distribuidores exclusivos Musica Argentino e Internacional Industria Argentina In the UK, Pathé and Odeon were merged into EMI already in 1931 which relates Pathé to Pampa (through Odeon). It looks as if the production stage (the recording studio where the master numbers were assigned) and logistics (distribution) were shared and separate from the commercial stage (simplified: sticking the label on the record). From 680 identified MAI-numbers - and notwithstanding a single exception - it appears that the MAI-numbered recordings form indeed one single series, used across labels and genres.

Parlophone Distribuido por Musica Argentino e Internacional Industria Argentina Parlophone, just like Pathé, was merged into EMI (UK, 1931) so this should not come as a surprise (although it did for me). Many Odeon ochestras, like Francisco Canaro and Alfredo de Angelis were edited in the U.K. under the Parlophone label. But never ever before have I seen or heard about tango related Argentinian editions on the Parlophone label. And indeed, in the MAI-series, Argentinian Parlophone editions found so far seem to be typical for folklore (and/or "international") music. Unlike for Pathé, editions on both Pampa and Parlophone seem to exist - I found at least one example (without any details about their relative chronology). For the kind of music that appeared on the Parlophone label I don't have the necessary discographical background to discuss this further in detail. Francisco Canaro Parlophone UK Pampa  MAI-335 PM-11033-A Parlophone  MAI-335 PM-42010-A

Columbia (or Columbia Odeon as it is often called) The record label holds references to no less than 3 companies textually, Columbia, also represented by the "magic notes" logo, top left the "mike" logo of CBS (Columbia Broadcasting System), top right textually "Ejecución publica y radiotransmisión reservadas por Industrias Eléctricas y Musicales Odeon", later replaced by "Fabricado por Industrias Eléctricas y Musicales Odeon" (as far as I can judge: from 301022 on, mid 1951) The history of the Columbia label is a complicated one and sometimes difficult to correlate with what you see on their records. As we have seen before, Columbia and Odeon were merged into EMI already in 1931. But soon EMI had to sell the American Columbia branch because of anti-trust regulations. In 1938 Columbia was acquired by CBS but still held a distribution arrangement with EMI. So to get the full picture, the only thing we have to speculate about (mark the word) is the sharing of recording studios, as suggested by the occurence of the MAI master numbers. USA top management changes in 1951 brought the cooperation with EMI to an end. It must have taken some time before the consequences of this decision reached Argentina. The history of the MAI master series suggests that this happened at the end of 1952. In that  same period, the Peronist regime went  through a crisis and the reasons for the change may have been more complex, economic austerity measures introduced in that year may also have played a role. Although many artists got their first opportunity to enter the recording studios thanks to the Pampa label, those that were edited on Columbia were well known icons of the industry: Francisco Canaro (with his Quinteto Pirincho), Osvaldo Fresedo, Charlo, Lucio Demare. Their MAI-recordings were the only ones that were also edited by Odeon. Remarkably, all 4 of them - and around the same time, end of 1952 - were, so to speak, rushing for the exit door, taking the masters with them, on the way out.

According to Christoph Lanner, in his Canaro discography,  all 12 Columbia records by the Quinteto Pirincho (recorded December 1950 to October 1952) have been edited by Odeon also, a continuously numbered series 55584 to 55595 (the record numbers suggest that this happened at the end of 1952 or later). After 1952, the Quinteto Pirincho continued recording for Odeon (as it had done before this Columbia episode).

All recordings made by Lucio Demare (with his orchestra or piano solo) in 1951 and 1952 were edited by Columbia, but the last 2 ones - from January 1953 - were edited by Pampa.

All recordings made by Charlo between 1951 and mid-1952 were edited by Columbia, some of them reedited by Odeon (presumably at a later date, as suggested by the record numbers in the 557xx range). But the last 4 ones - from November 1952 - were edited by Pampa. In 1953, Charlo continues recording for the Odeon label.

The trayectory of Osvaldo Fresedo is the most chaotic of all. Most, but not all, MAI-recordings made between 1950 and October 1952 were edited on Columbia records, 15 of them. I have no knowledge of Odeon reeditions but cannot exclude them either. In Lefcovich's "Estudio de la discografía de Osvaldo Fresedo" (Ed. 1993) there are some problems with the data for "Pampero" (MAI-767), as will be shown later. For the next entry "Vida Mia" (MAI-768), Lefcovich doesn't mention a Columbia 301xxx edition (as usual) but Odeon, similarly for the last MAI-series recordings by Fresedo from November (MAI-907 to 910) and December (MAI-941 to 942) of the year 1952. Where these recordings ONLY edited by Odeon, as suggested by Lefcovich ? And not by Columbia ? This is my conviction, until proof of the contrary (°). Odeon 55538 holds "Nostalgias" (MAI-907) and "Viejo Malevo" (MAI-908) Odeon 55567 holds "Lo Han Visto Con Otra" (MAI-909) and "A Todo Trapo" (MAI-910) These are the 4 November recordings. Odeon 55560 holds "Adios Muchachos" (MAI-942) and "Vida Mia" (MAI-768) Odeon 55633 holds "Pampero" (MAI-767) and "Mi Adorable Desconocida" (MAI-941) The last 2 records mix very different MAI-numbers, which could be an indication for the recovery of left-overs (the 2 December recordings mixed with earlier ones). Lefcovich's indication "Odeon 55567" for "Mi Adorable Desconocida" is just another error (3rd occurrence for this record number). From 1953 on, Fresedo continues recording for Odeon, until 1957. In 1959 he returns to Columbia, but this time it is CBS-Columbia. (°) Roberto G. Miglio in his discography of Héctor Pacheco ("El Tango y Sus Interpretes" - Tomo 1, 1992) lists all these recordings under the "para el sello Columbia"  header, however without discographical details other than the recording date.

Just a few months later, in April 1953, Columbia Argentina restarts recording tangos, with a new master number series, taking off at Cao-101 (an overview of this series can be found here). No idea what the "Cao" stands for: Columbia Argentina and something... ? (There were also Co and HCO series). Some of the first records carry the inscription "Grabado en los Estudios de Radio Splendid" . Should we conclude that Columbia Argentina - after its separation from the Pampa label - was left, at least temporarily, without recording studios of their own? It is highly speculative but it does make fall the pieces nicely together... The first records were numbered C 150xx (I presume taking up an old Columbia habit to precede record numbers with C for "Central and South American (Spanish)" ). Very soon (from 15.012 on) the C is dropped and the record number format acquires a thousand separator (15.0xx instead of 150xx). Also the record labels reverts to dark lettering on a white background. The records now look very similar to those produced earlier in the MAI-series, of course except for record and master numbers and the fact that Odeon  or Industrias Eléctricas y Musicales  are no longer mentioned. Columbia (still with "magic notes" and CBS "mike" logos) Columbia Argentina Industria Argentina But changes take time, and this can differ from country to country. Therefore we can find a Brazilian edition of Cao-150 (recorded 01-10-1953) where Odeon is still mentioned (but not so on the original Argentinian edition). CB-1040 (Cao 150) Columbia do Brasil Indústria brasileira Fabricado por Indústrias Elétricas e Musicais Fábrica Odeon

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