Bernard Roux - Revision history

WikiSysop: /* Ultima */

2026-04-06T17:38:48Z

‎Ultima

WikiSysop: /* Jazz and dance music */

2026-03-29T07:42:45Z

‎Jazz and dance music

WikiSysop at 16:24, 27 March 2026

2026-03-27T16:24:20Z

WikiSysop: /* Life */

2026-03-12T18:28:39Z

‎Life

WikiSysop: /* Clients: 1937 Expo */

2025-11-04T12:03:50Z

‎Clients: 1937 Expo

WikiSysop: /* Clients: 1937 Expo */

2025-11-04T12:00:28Z

‎Clients: 1937 Expo

WikiSysop: /* Test pressings */

2025-07-05T09:57:37Z

‎Test pressings

WikiSysop: /* Test labels */

2025-03-25T11:11:45Z

‎Test labels

WikiSysop: /* Test pressings */

2025-03-25T10:44:34Z

‎Test pressings

WikiSysop: /* Le Disque de France */

2024-10-10T18:09:35Z

‎Le Disque de France

@@ Line 170: / Line 170: @@
 ===Ultima===
-The 1910 directory quoted above suggests Roux was already active in the contract processing and pressing business. Another line of evidence points strongly to his firm's involvement in production of the short-lived label Ultima (short-lived, that is, under its own name; it enjoyed a considerable after-life in the form of re-pressings made for other labels). As noted [[#Ebonite and Ebonitine|above]], Ultima was first registered in late 1908;<ref>Registrations No.109535 (marque), 9 September 1908, Paris, and No.110952 (label design), 27 November 1908, Paris, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, pp.68, 70 [PDF pp.74, 76]</ref> within weeks, new releases were briefly advertised in the French press,<ref>e.g. '"Ultima" disque à saphir' (advertisement), ''Le Petit Parisien'', Thursday 17 December 1908, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-petit-parisien/17-decembre-1908/2/81710/6 6]</span>; 'L'Edyphone' (advertisement), ''Le Journal du Cher'', Thursday 4 February 1909, p.<span class="plainlinks">[https://www.retronews.fr/journal/journal-du-cher/4-fevrier-1909/1133/4068801/4 4]</span></ref> after which Ultima disappeared from sources currently accessible online. In late 1910, the company's assets were put up for sale;<ref>e.g. ‘Adjudications et ventes’, in ‘Avis’, ''La Loi'', Sunday 2 & Monday 3 October 1910, p.<span class="plainlinks">[https://www.retronews.fr/journal/la-loi/2-octobre-1910/1703/3702867/2 2]</span>; notice also published in several other newspapers</ref> the sale had been completed by early January 1911, when a Paris gazette published a notice naming the seller as a company, 'Société d’Espagne, Roux, Ragon et Ménard'.<ref>Notice first published in ''Petites Affiches'', Thursday 5 January 1911, p.n/a (not accessible); summarized in ‘Ventes de fonds de commerce et d’objets mobiliers divers’, ''Le Courrier'', Monday 9 January 1911, pp.7-8 (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k51646251/f8 8]</span>)</ref> Not much has been ascertained about Fernand d'Espagne, who had registered the marque,<ref>From 1903, Fernand d’Espagne was listed in Paris directories as a supplier of photographic equipment, see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1903, Vol.I(?), pp.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3208950j/f274 238]</span> and <span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k32094571/f438 2332]</span>, and from 1905, he was based at 5 rue de Béarn in the third ''arrondissement'', see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1905, Vol.I(?), p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3212113x/f1459 2929]</span>, and Vol.II, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3212113x/f839 2353]</span>; M. d'Espagne was still listed as a supplier of photographic equipment in 1911, see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1911, Vol.I, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k5329695m/f303 269]</span>, but not in 1913<br />NB 5 rue de Béarn was also the address of the short-lived Paris branch of the German record company Homophon, registered locally in May 1907, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, p.54 [PDF p.60], and, from September 1908, of Ultima and the Société d’Espagne, Roux, Ragon et Ménard (see preceding footnote)</ref> and nothing about the two last-named partners. This notice is the sole mention the Société located so far; without further information, identifying the second-named partner as Bernard Roux might seem a stretch. But other evidence supports the hypothesis. By 1908, Roux had been awarded patents in recording technology and was manufacturing Ebonitine, the material from which Ultima discs were pressed, and by 1910 his firm was advertising a full range of record production services. The buyer of Ultima in early 1911 was François Biat, whose business address for many years was 146, rue du Chemin-Vert – right next to Bernard Roux's Ebonitine works.<ref>Biat and Roux were listed at these neighbouring addresses from 1907, see ''Paris-Adresses. Annuaire général de l'industrie et du commerce'', Paris: S.A. de l'annuaire "Paris-Adresses", 1907, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k1184615c/f2143 2135]</span>; Biat seems to have moved, as did many others, from the musical instrument trade into the record business, in which he remained active until 1932, when he was based in the former Cité Pelleport in the twentieth ''arrondissement'', see ''Annuaire universel Paris-Adresses'', Paris: Paris-Adresses S.A., 1932, Vol.I ''Rues'', p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k1183570x/f796 792]</span></ref> That only reinforces the suspicion that Roux had indeed been a partner in d'Espagne's Ultima enterprise. (Biat, too, apparently failed to make a go of Ultima, and in November 1911 he sold it on;<ref>‘Ventes de fonds de commerce’, ''Archives commerciales de la France'', Saturday 18 November 1911, pp.1537 ff. (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k12542711/f11 1543]</span>)</ref> soon after, it was re-registered<ref>Registrations No.133264 (marque) and No.133268 (label design), 26 December 1911, Paris, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, pp.93, 94 [PDF pp.99, 100]</ref> but seems not to have been exploited.) There is currently no proof that Roux was producing discs for Ultima in 1908, but his firm certainly re-pressed Ultima matrices for other clients in the 1920s, as confirmed by a surviving Bernard Roux test pressing of an Ultima matrix held by the British Library in London (discussed in detail [[#Unidentified_recordings|below]]).<ref>See also Moncada, Jerome <nowiki>https://labelgalleryfrancaise.wordpress.com/2021/06/20/ultima/</nowiki></ref> It does not seem too fanciful to suggest that Ultima was Roux's first (joint) foray into the gramophone business. And it was perhaps Ultima's early demise that convinced Roux not to own or part-own record marques (if indeed he was a partner in the Société d'Espagne), but to concentrate on contract recording and disc pressing.
+The 1910 directory quoted above suggests Roux was already active in the contract processing and pressing business. Another line of evidence points strongly to his firm's involvement in production of the short-lived label Ultima (short-lived, that is, under its own name; it enjoyed a considerable after-life in the form of re-pressings made for other labels). As noted [[#Ebonite and Ebonitine|above]], Ultima was first registered in late 1908;<ref>Registrations No.109535 (marque), 9 September 1908, Paris, and No.110952 (label design), 27 November 1908, Paris, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, pp.68, 70 [PDF pp.74, 76]</ref> within weeks, new releases were briefly advertised in the French press,<ref>e.g. '"Ultima" disque à saphir' (advertisement), ''Le Petit Parisien'', Thursday 17 December 1908, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-petit-parisien/17-decembre-1908/2/81710/6 6]</span>; 'L'Edyphone' (advertisement), ''Le Journal du Cher'', Thursday 4 February 1909, p.<span class="plainlinks">[https://www.retronews.fr/journal/journal-du-cher/4-fevrier-1909/1133/4068801/4 4]</span></ref> after which Ultima disappeared from sources currently accessible online. In late 1910, the company's assets were put up for sale.<ref>e.g. ‘Adjudications et ventes’, in ‘Avis’, ''La Loi'', Sunday 2 & Monday 3 October 1910, p.<span class="plainlinks">[https://www.retronews.fr/journal/la-loi/2-octobre-1910/1703/3702867/2 2]</span>; notices also published in several other French newspapers, as well as in Germany, see ‘Die Marke „ULTIMA“ [...]’, ''Phonographische Zeitschrift'', Vol.11 No.39, 29 September 1910, p.<span class="plainlinks">[https://www.digitale-sammlungen.de/en/view/bsb00088730?page=1050,1051 893]</span>, which states that the sale was to take place on 14 October 1910, presumably by auction (the Ultima marque has also been registered and marketed in Germany and some Ultima recordings were reportedly made in Germany, see Lotz, Rainer E. with Gunrem, Michael & Puille, Stephan ''Das Bilderlexikon der deutschen Schellack-Schallplatten'', Holste: Bear Family Records, n.d. [2019], Vol.V, p.364, s.vv. ‘Ultima [Frankreich]’)</ref> The sale had been completed by early January 1911, when a Paris gazette published a notice naming the seller as a company, 'Société d’Espagne, Roux, Ragon et Ménard'.<ref>Notice first published in ''Petites Affiches'', Thursday 5 January 1911, p.n/a (not accessible); summarized in ‘Ventes de fonds de commerce et d’objets mobiliers divers’, ''Le Courrier'', Monday 9 January 1911, pp.7-8 (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k51646251/f8 8]</span>)</ref> Not much has been ascertained about Fernand d'Espagne, who had registered the marque,<ref>From 1903, Fernand d’Espagne was listed in Paris directories as a supplier of photographic equipment, see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1903, Vol.I(?), pp.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3208950j/f274 238]</span> and <span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k32094571/f438 2332]</span>, and from 1905, he was based at 5 rue de Béarn in the third ''arrondissement'', see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1905, Vol.I(?), p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3212113x/f1459 2929]</span>, and Vol.II, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k3212113x/f839 2353]</span>; M. d'Espagne was still listed as a supplier of photographic equipment in 1911, see ''Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration'', Paris: Didot-Bottin, 1911, Vol.I, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k5329695m/f303 269]</span>, but not in 1913<br />NB 5 rue de Béarn was also the address of the short-lived Paris branch of the German record company Homophon, registered locally in May 1907, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, p.54 [PDF p.60], and, from September 1908, of Ultima and the Société d’Espagne, Roux, Ragon et Ménard (see preceding footnote)</ref> and nothing about the two last-named partners. This notice is the sole mention the Société located so far; without further information, identifying the second-named partner as Bernard Roux might seem a stretch. But other evidence supports the hypothesis. By 1908, Roux had been awarded patents in recording technology and was manufacturing Ebonitine, the material from which Ultima discs were pressed, and by 1910 his firm was advertising a full range of record production services. The buyer of Ultima in early 1911 was François Biat, whose business address for many years was 146, rue du Chemin-Vert – right next to Bernard Roux's Ebonitine works.<ref>Biat and Roux were listed at these neighbouring addresses from 1907, see ''Paris-Adresses. Annuaire général de l'industrie et du commerce'', Paris: S.A. de l'annuaire "Paris-Adresses", 1907, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k1184615c/f2143 2135]</span>; Biat seems to have moved, as did many others, from the musical instrument trade into the record business, in which he remained active until 1932, when he was based in the former Cité Pelleport in the twentieth ''arrondissement'', see ''Annuaire universel Paris-Adresses'', Paris: Paris-Adresses S.A., 1932, Vol.I ''Rues'', p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k1183570x/f796 792]</span></ref> That only reinforces the suspicion that Roux had indeed been a partner in d'Espagne's Ultima enterprise. (Biat, too, apparently failed to make a go of Ultima, and in November 1911 he sold it on;<ref>‘Ventes de fonds de commerce’, ''Archives commerciales de la France'', Saturday 18 November 1911, pp.1537 ff. (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k12542711/f11 1543]</span>)</ref> soon after, it was re-registered<ref>Registrations No.133264 (marque) and No.133268 (label design), 26 December 1911, Paris, see Chamoux, Henri <span class="plainlinks">[https://www.archeophone.org/rtf_pdf/Marques_phonographiques_inpi ''Dépôts de marques phonographiques françaises de 1893 à 1940. Documents tirés des bulletins de l’INPI'']</span>, Archéophone, 2015, pp.93, 94 [PDF pp.99, 100]</ref> but seems not to have been exploited.) There is currently no proof that Roux was producing discs for Ultima in 1908, but his firm certainly re-pressed Ultima matrices for other clients in the 1920s, as confirmed by a surviving Bernard Roux test pressing of an Ultima matrix held by the British Library in London (discussed in detail [[#Unidentified_recordings|below]]).<ref>See also Moncada, Jerome <nowiki>https://labelgalleryfrancaise.wordpress.com/2021/06/20/ultima/</nowiki></ref> It does not seem too fanciful to suggest that Ultima was Roux's first (joint) foray into the gramophone business. And it was perhaps Ultima's early demise that convinced Roux not to own or part-own record marques (if indeed he was a partner in the Société d'Espagne), but to concentrate on contract recording and disc pressing.
 ===A&R===

@@ Line 1,026: / Line 1,026: @@
 |<span style="color:#0000ff"> 36 Do Let Me Try The Red Beans 1928</span>||<div style="text-align: center;">Unknown</div>||<div style="text-align: center;">Electrical; lateral</div>||36 AB
 |}
-Only the second label has been seen:<ref>My thanks to Jerome Moncada for kindly forwarding images of this label, and of matrix 36 AB hand-written in the runout area, from the disc's current owner; personal email, 22 April 2024</ref> at some point all inscriptions on it were overwritten in blue ball-point(?) pen. The first side was transferred and issued on a commercial LP in the mid-1980s;<ref>'Jazz and Hot Dance in Belgium 1909-1952' (Jazz and Hot Dance Volume Eighteen) Harlequin HQ 2027, Side A, band 7<nowiki>https://www.discogs.com/release/8010211-Various-Jazz-And-Hot-Dance-In-Belgium-1909-1952</nowiki></ref> this transfer has not been heard. The intended client for these recordings remains unknown: it has been suggested they were to be issued on the French label <span class="plainlinks">[https://78trs.fr/2026/03/25/gipsy/ Gipsy]</span> but this has not been verified.<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55; my thanks for this reference to Andreas Schmauder, who comments, 'I have very few Gipsy records only featuring US bands. I assume that Gipsy is related to the Maxsa label on which American recordings of labels like Banner, Paramount, Puritan, Plaza were released in France from 1923 onwards. The majority of them is recorded acoustically covering a period of years 1923-1927.' (personal email, 6 October 2023)</ref> Equally intriguing is the matrix suffix on the other known Roux test with these artists:<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55 (also consultable online in XML database at https://jazzerfgoed.be/belgianjazzdiscography.html)</ref>
+Only the second label has been seen:<ref>My thanks to Jerome Moncada for kindly forwarding images of this label, and of matrix 36 AB hand-written in the runout area, from the disc's current owner; personal email, 22 April 2024</ref> at some point all inscriptions on it were overwritten in blue ball-point(?) pen. The first side was transferred and issued on a commercial LP in the mid-1980s;<ref>'Jazz and Hot Dance in Belgium 1909-1952' (Jazz and Hot Dance Volume Eighteen) Harlequin HQ 2027, Side A, band 7, <nowiki>https://www.discogs.com/release/8010211-Various-Jazz-And-Hot-Dance-In-Belgium-1909-1952</nowiki></ref> this transfer has not been heard. The intended client for these recordings remains unknown: it has been suggested they were to be issued on the French label <span class="plainlinks">[https://78trs.fr/2026/03/25/gipsy/ Gipsy]</span> but this has not been verified.<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55; my thanks for this reference to Andreas Schmauder, who comments, 'I have very few Gipsy records only featuring US bands. I assume that Gipsy is related to the Maxsa label on which American recordings of labels like Banner, Paramount, Puritan, Plaza were released in France from 1923 onwards. The majority of them is recorded acoustically covering a period of years 1923-1927.' (personal email, 6 October 2023)</ref> Equally intriguing is the matrix suffix on the other known Roux test with these artists:<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55 (also consultable online in XML database at https://jazzerfgoed.be/belgianjazzdiscography.html)</ref>
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@@ Line 1,026: / Line 1,026: @@
 |<span style="color:#0000ff"> 36 Do Let Me Try The Red Beans 1928</span>||<div style="text-align: center;">Unknown</div>||<div style="text-align: center;">Electrical; lateral</div>||36 AB
 |}
-Only the second label has been seen:<ref>My thanks to Jerome Moncada for kindly forwarding images of this label, and of matrix 36 AB hand-written in the runout area, from the disc's current owner; personal email, 22 April 2024</ref> at some point all inscriptions on it were overwritten in blue ball-point(?) pen. The first side was transferred and issued on a commercial LP in the mid-1980s;<ref>'Jazz and Hot Dance in Belgium 1909-1952' (Jazz and Hot Dance Volume Eighteen) Harlequin HQ 2027, Side A, band 7<nowiki>https://www.discogs.com/release/8010211-Various-Jazz-And-Hot-Dance-In-Belgium-1909-1952</nowiki></ref> this transfer has not been heard. The intended client for these recordings remains unknown: it has been suggested they were to be issued on the Belgian label Gipsy but this has not been verified.<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55; my thanks for this reference to Andreas Schmauder, who comments, 'I have very few Gipsy records only featuring US bands. I assume that Gipsy is related to the Maxsa label on which American recordings of labels like Banner, Paramount, Puritan, Plaza were released in France from 1923 onwards. The majority of them is recorded acoustically covering a period of years 1923-1927.' (personal email, 6 October 2023)</ref> Equally intriguing is the matrix suffix on the other known Roux test with these artists:<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55 (also consultable online in XML database at https://jazzerfgoed.be/belgianjazzdiscography.html)</ref>
+Only the second label has been seen:<ref>My thanks to Jerome Moncada for kindly forwarding images of this label, and of matrix 36 AB hand-written in the runout area, from the disc's current owner; personal email, 22 April 2024</ref> at some point all inscriptions on it were overwritten in blue ball-point(?) pen. The first side was transferred and issued on a commercial LP in the mid-1980s;<ref>'Jazz and Hot Dance in Belgium 1909-1952' (Jazz and Hot Dance Volume Eighteen) Harlequin HQ 2027, Side A, band 7<nowiki>https://www.discogs.com/release/8010211-Various-Jazz-And-Hot-Dance-In-Belgium-1909-1952</nowiki></ref> this transfer has not been heard. The intended client for these recordings remains unknown: it has been suggested they were to be issued on the French label <span class="plainlinks">[https://78trs.fr/2026/03/25/gipsy/ Gipsy]</span> but this has not been verified.<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55; my thanks for this reference to Andreas Schmauder, who comments, 'I have very few Gipsy records only featuring US bands. I assume that Gipsy is related to the Maxsa label on which American recordings of labels like Banner, Paramount, Puritan, Plaza were released in France from 1923 onwards. The majority of them is recorded acoustically covering a period of years 1923-1927.' (personal email, 6 October 2023)</ref> Equally intriguing is the matrix suffix on the other known Roux test with these artists:<ref>Pernet, Robert ''Belgian Jazz Discography (1897-1999)'', Brussels: Robert Pernet, p.55 (also consultable online in XML database at https://jazzerfgoed.be/belgianjazzdiscography.html)</ref>
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@@ Line 52: / Line 52: @@
 No record of military service by Bernard Roux during World War I has come to light. Aged 39 in August 1914, he was perhaps too old to be called up, or else he engaged in industrial production deemed of national importance.
-On 30 August 1924, in Paris's 14th ''arrondissement'', where he had lived for several years, Bernard Roux married Marguerite Françoise Andrée Eléonore Baudevin, born in <span class="plainlinks">[https://en.wikipedia.org/wiki/Saint-%C3%89tienne Saint-Etienne]</span> in 1897 and also resident in Paris. The couple lived together in Paris for the rest of their lives, and had three children: Marie (born 1927?<ref>Marie Roux's exact date of birth has not been established</ref>), Marcel (born 17 February 1929<ref>'Naissances', in 'Carnet du Jour', ''L’Écho de Paris'', Sunday 3 March 1929, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/3-mars-1929/120/590589/2 2]</span></ref>) and Charles-Bernard (born 2 December 1930<ref>'Naissances', in 'Carnet du Jour', ''L’Écho de Paris'', Tuesday 16 December 1930, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/16-decembre-1930/120/590507/2 2]</span></ref>).
+On 30 August 1924, in Paris's 14th ''arrondissement'', where he had lived for several years, Bernard Roux married Marguerite Françoise Andrée Eléonore Baudevin, born in <span class="plainlinks">[https://en.wikipedia.org/wiki/Saint-%C3%89tienne Saint-Etienne]</span> in 1897 but now also resident in Paris. The couple lived in Paris for the rest of their lives, and had three children: Marie (born 1925?<ref>Marie Roux's birth year is noted rather illegibly in the Paris ''recensements'' (censuses) of 1926, 1931 and 1936; her exact date of birth has not been established</ref>), Marcel Bernard (born 17 February 1929<ref>'Naissances', in 'Carnet du Jour', ''L’Écho de Paris'', Sunday 3 March 1929, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/3-mars-1929/120/590589/2 2]</span></ref>) and Charles-Bernard (born 2 December 1930<ref>'Naissances', in 'Carnet du Jour', ''L’Écho de Paris'', Tuesday 16 December 1930, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/16-decembre-1930/120/590507/2 2]</span></ref>).
 Roux's wife Marguerite predeceased him, on 21 October 1955, at the <span class="plainlinks">[https://fr.wikipedia.org/wiki/H%C3%B4pital_de_la_Salp%C3%AAtri%C3%A8re Salpêtrière hospital]</span> in Paris.

@@ Line 1,525: / Line 1,525: @@
 In June 1937, a Paris industrial newspaper noted that the Gamzon-Sollima device, installed some months before at the Poste Parisien, was proving to be 'indispensable for radiophonic broadcasts', adding, 'New installations are under way, notably as part of the substantial sound system for the Paris International Exhibition'.<ref>‘Industrie Radio-Electrique’, in ‘Informations Industrielles’, ''L’Usine'', Thursday 24 June 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-usine/24-juin-1937/4426/5676606/41 43]</span></ref> Officially titled the <span class="plainlinks">[https://www.bie-paris.org/site/en/1937-paris 'International Exhibition of Arts and Technology in Modern Life']</span>, this event ran for six months, from late May until late November that year, and celebrated the power and potential of electricity – memorably depicted by <span class="plainlinks">[https://en.wikipedia.org/wiki/Raoul_Dufy Raoul Dufy]</span> in his vast painting <span class="plainlinks">[https://www.mam.paris.fr/en/oeuvre/la-fee-electricite ''La fée électricité'']</span>, commissioned for the Expo's Palais de l'Électricité. Among the new public spaces and buildings, temporary halls and national pavilions, purely ephemeral displays were also mounted. For an arts magazine published in Brussels, a young French composer, not yet thirty, described one series of these, the 'Festivals of Light' (''Fêtes de la lumière''):
   These festivals – planned by the architects Beaudoin and Lods and brought to life in veritable fairytale extravaganzas of water, light and pyrotechnics – are accompanied by a tightly synchronized commentary in the form of eighteen scores composed specially for the occasion. […] I should add that the scores, recorded onto discs and played back through impressive amplifiers, would run a serious risk of distortion if it weren't for Bernard Roux's split volume-controls, which allow the three audio frequency ranges, low, middle and high, to be individually attenuated or boosted.<ref>‘Ces fêtes – dont les plans, conçus par les architectes Beaudoin et Lods, se réalisent en des véritables féeries d’eau, lumière, fusées, artifices – sont accompagnées et commentées, en étroit synchronisme, par dix-huit partitions musicales d’auteurs divers, composées pour la circonstance. […] Remarquons ensuite que les partitions enregistrées sur disques, puis diffusées par d’impressionnants amplificateurs, risqueraient fort d’être déformées si les potentiomètres partiels de Bernard Roux ne permettaient d’affaiblir ou de renforcer différemment les trois registres sonores: grave, médium, aigu.’ Messiaen, Olivier ‘Billet parisien: Les Fêtes de la lumière’, ''La Sirène'', July 1937, pp.18–19, cited from Broad, Stephen ''Olivier Messiaen: Journalism 1935–1939'', Farnham & Burlington, VT: Ashgate, 2016, pp.30-31</ref>
-The writer, unmistakably describing the Gamzon-Sollima device, was <span class="plainlinks">[https://en.wikipedia.org/wiki/Olivier_Messiaen Olivier Messiaen]</span> (1908-1992), composer of <span class="plainlinks">[https://fr.wikipedia.org/wiki/F%C3%AAte_des_belles_eaux ''Fête des belles eaux'']</span>, now the most famous work written for the 1937 Expo. It is scored for a sextet of <span class="plainlinks">[https://en.wikipedia.org/wiki/Ondes_Martenot Ondes Martenot]</span>, the French electronic instrument invented some years earlier but newly improved; several other works commissioned for the ''Fêtes de la lumière'' also called for it, in numbers from one to four.<ref>Simeone, Nigel <span class="plainlinks">[https://www.jstor.org/stable/1004419 'Music at the 1937 Paris Exposition: The Science of Enchantment']</span>, ''The Musical Times'', Vol.143, No.1878, Spring 2002, pp.9-17</ref> (An item played by ''eight'' Ondes, from a concert given in one of the Expo halls, has been preserved on <span class="plainlinks">[https://www.youtube.com/watch?v=Z6kr5iw6tNg sound film]</span><ref>For a very full account of the role of the Ondes in the 1937 Expo, including the series of concerts at which the newsreel segment was filmed, see Asimov, Peter ‘Une invention ‘essentiellement française’: seeing and hearing the Ondes Martenot in 1937’, ''musique | images | instruments'', No.17, 2018, pp.106-26; for a longer film of the period, presenting the Exposition in some detail from a internationalist-socialist viewpoint, see <span class="plainlinks">[https://www.cinearchives.org/Films-PARIS-1937_-L-EXPOSITION-INTERNATIONALE-DES-ARTS-ET-DES-TECHNIQUES-447-22-0-1.html ''Les films populaires présentent Paris 1937 Exposition Internationale des Arts et Techniques'']</span> (director unidentified)</ref>). The very varied compositions accompanied displays which took place every day throughout July and August, usually in the evening (although Messiaen's work was first heard during the daytime<ref>The date of the public premiere of Messiaen's ''Fête des belles eaux'' is usually given as 25 July 1937 but in fact the show, originally titled ''Fêtes des Grandes Eaux'', was first presented on the afternoon of Saturday 26 June 1937, see e.g. ‘Les fêtes de l’eau et de la lumière’, in ‘Calendrier de l’Exposition’, ''Excelsior'', Thursday 17 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k4609970s/f4 4]</span> and ‘Le calendrier des galas lumineux’, in ‘A l’Exposition’, ''Le Matin'', Thursday 17 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k585633b/f7 7]</span>; ‘Calendrier de l’Exposition’, ''Excelsior'', Friday 25 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k46099783/f5 5]</span>, and Saturday 26 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k4609979h/f5 5]</span>; one paper called this a 'dress rehearsal' (''répétition générale''), see ‘L’Exposition de 1937’, ''Paris-soir'', Saturday 26 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k76422112/f8 8]</span>, but most did not; some newspapers seemingly published listings for a second presentation on Sunday 26 July, see e.g. ‘Le courrier de L’Exposition’, ''Paris-soir-Dimanche'', Sunday 26 July 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k7642212g/f7 7]</span>, and ‘A l’Exposition’, ''Ce Soir'', Sunday 26 July 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/ce-soir/27-juin-1937/19/1176233/5 5]</span>, but this has not been confirmed; one June presentation was certainly reviewed, favourably as regards Messiaen's music, by the composer <span class="plainlinks">[https://en.wikipedia.org/wiki/Gustave_Samazeuilh Gustave Samazeuilh]</span> (1877-1967), see G[ustave].S[amazeuilh]. ‘La soirée musicale Les fêtes sur la Seine à l’Exposition’, ''Le Temps'', Saturday 3 July 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k2632581/f5 5]</span>; after the second show, on the evening of 25 July, the display, at some point renamed ''Fête des Belles Eaux'', was given a third time on 9 October 1937, again at 22:00, see e.g. 'Les principales fêtes de l’Exposition' (advertisement), ''L’Intransigeant'', Saturday 9 October 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-intransigeant/9-octobre-1937/44/925945/3 3]</span>; Messiaen's score was also broadcast on 4 September, presumably from the discs, by Radio Luxemburg, see 'Radio Luxembourg' (box) in 'T.S.F.', ''Le Journal'', Saturday 4 September 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-journal/4-septembre-1937/129/578741/8 8]</span></ref>), along the 1300-metre stretch of the Seine from the Pont de Passy (now <span class="plainlinks">[https://en.wikipedia.org/wiki/Pont_de_Bir-Hakeim Pont de Bir-Hakeim]</span>) in the west to the <span class="plainlinks">[https://en.wikipedia.org/wiki/Pont_de_l%27Alma pont de l'Alma]</span> in the east. For many reasons, not least the strict synchrony mentioned by Messiaen, the eighteen commissioned compositions had been pre-recorded, and during the displays were played from disc to thousands of spectators thronging the embankments and bridges, through forty-four loudspeakers mounted on eleven pontoons.<ref>Previews, descriptions and accounts of the ''Fêtes de la lumière'' differ in details such as the Exposition's public address systems, of which there were four (not all used for the ''Fêtes''), and vary in credibility; the main sources consulted for this page, other than those cited here individually, are
+The writer, unmistakably describing the Gamzon-Sollima device, was <span class="plainlinks">[https://en.wikipedia.org/wiki/Olivier_Messiaen Olivier Messiaen]</span> (1908-1992), composer of <span class="plainlinks">[https://fr.wikipedia.org/wiki/F%C3%AAte_des_belles_eaux ''Fête des belles eaux'']</span>, now the most famous work written for the 1937 Expo. It is scored for a sextet of <span class="plainlinks">[https://en.wikipedia.org/wiki/Ondes_Martenot Ondes Martenot]</span>, the French electronic instrument invented some years earlier but newly improved; several other works commissioned for the ''Fêtes de la lumière'' also called for it, in numbers from one to four.<ref>Simeone, Nigel <span class="plainlinks">[https://www.jstor.org/stable/1004419 'Music at the 1937 Paris Exposition: The Science of Enchantment']</span>, ''The Musical Times'', Vol.143, No.1878, Spring 2002, pp.9-17</ref> (An item played by ''eight'' Ondes, from a concert given in one of the Expo halls, has been preserved on <span class="plainlinks">[https://www.youtube.com/watch?v=Z6kr5iw6tNg sound film]</span><ref>For a very full account of the role of the Ondes in the 1937 Expo, including the series of concerts at which the newsreel segment was filmed, see Asimov, Peter ‘Une invention ‘essentiellement française’: seeing and hearing the Ondes Martenot in 1937’, ''musique | images | instruments'', No.17, 2018, pp.106-26; for a longer film of the period, presenting the Exposition in some detail from a internationalist-socialist viewpoint, see <span class="plainlinks">[https://www.cinearchives.org/Films-PARIS-1937_-L-EXPOSITION-INTERNATIONALE-DES-ARTS-ET-DES-TECHNIQUES-447-22-0-1.html ''Les films populaires présentent Paris 1937 Exposition Internationale des Arts et Techniques'']</span> (director unidentified)</ref>). The very varied compositions accompanied displays which took place every day throughout July and August, usually in the evening (although Messiaen's work was first heard during the daytime, in late June<ref>The date of the public premiere of Messiaen's ''Fête des belles eaux'' is usually given as 25 July 1937 but in fact the show, originally titled ''Fêtes des Grandes Eaux'', was first presented on the afternoon of Saturday 26 June 1937, see e.g. ‘Les fêtes de l’eau et de la lumière’, in ‘Calendrier de l’Exposition’, ''Excelsior'', Thursday 17 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k4609970s/f4 4]</span> and ‘Le calendrier des galas lumineux’, in ‘A l’Exposition’, ''Le Matin'', Thursday 17 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k585633b/f7 7]</span>; ‘Calendrier de l’Exposition’, ''Excelsior'', Friday 25 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k46099783/f5 5]</span>, and Saturday 26 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k4609979h/f5 5]</span>; one paper called this a 'dress rehearsal' (''répétition générale''), see ‘L’Exposition de 1937’, ''Paris-soir'', Saturday 26 June 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k76422112/f8 8]</span>, but most did not; some newspapers seemingly published listings for a second presentation on Sunday 26 July, see e.g. ‘Le courrier de L’Exposition’, ''Paris-soir-Dimanche'', Sunday 26 July 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k7642212g/f7 7]</span>, and ‘A l’Exposition’, ''Ce Soir'', Sunday 26 July 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/ce-soir/27-juin-1937/19/1176233/5 5]</span>, but this has not been confirmed; one June presentation was certainly reviewed, favourably as regards Messiaen's music, by the composer <span class="plainlinks">[https://en.wikipedia.org/wiki/Gustave_Samazeuilh Gustave Samazeuilh]</span> (1877-1967), see G[ustave].S[amazeuilh]. ‘La soirée musicale Les fêtes sur la Seine à l’Exposition’, ''Le Temps'', Saturday 3 July 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k2632581/f5 5]</span>; after the second show, on the evening of 25 July, the display, at some point renamed ''Fête des Belles Eaux'', was given a third time on 9 October 1937, again at 22:00, see e.g. 'Les principales fêtes de l’Exposition' (advertisement), ''L’Intransigeant'', Saturday 9 October 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-intransigeant/9-octobre-1937/44/925945/3 3]</span>; Messiaen's score was also broadcast on 4 September, presumably from the discs, by Radio Luxemburg, see 'Radio Luxembourg' (box) in 'T.S.F.', ''Le Journal'', Saturday 4 September 1937, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-journal/4-septembre-1937/129/578741/8 8]</span></ref>), along the 1300-metre stretch of the Seine from the Pont de Passy (now <span class="plainlinks">[https://en.wikipedia.org/wiki/Pont_de_Bir-Hakeim Pont de Bir-Hakeim]</span>) in the west to the <span class="plainlinks">[https://en.wikipedia.org/wiki/Pont_de_l%27Alma pont de l'Alma]</span> in the east. For many reasons, not least the strict synchrony mentioned by Messiaen, the eighteen commissioned compositions had been pre-recorded, and during the displays were played from disc to thousands of spectators thronging the embankments and bridges, through forty-four loudspeakers mounted on eleven pontoons.<ref>Previews, descriptions and accounts of the ''Fêtes de la lumière'' differ in details such as the Exposition's public address systems, of which there were four (not all used for the ''Fêtes''), and vary in credibility; the main sources consulted for this page, other than those cited here individually, are
 *Brachet, Charles ‘Voici des fêtes de nuit nées de la science et de la technique: radiations lumineuses, rayonnements sonores’, ''La Science et la vie'', Vol.L, No.234, December 1936, pp.<span class="plainlinks">[https://www.retronews.fr/journal/la-science-et-la-vie/01-dec-1936/2061/3595443/3 429]</span>-36 (especially pp.<span class="plainlinks">[https://www.retronews.fr/journal/la-science-et-la-vie/01-dec-1936/2061/3595443/7 433]</span>-36)
 *‘Les Fontaines lumineuses’, ''Exposition internationale Paris 1937'', ''La Gazette d’Orient'', special issue, May 1937, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k858409p/f45 43]</span>

@@ Line 310: / Line 310: @@
 In September 2024, another Bernard Roux test, seemingly also containing commercial recordings, was offered for sale online:<ref>eBay <span class="plainlinks">[https://www.ebay.co.uk/itm/276624723820 item 276624723820]</span>, ended Sunday 22 September 2024</ref>
-  Bernard Roux : La bergère colinette / Les vieillesb a chez nous [sic] 78 tours rpm
+  Bernard Roux : La bergère colinette / Les vieilles de chez nous [sic] 78 tours rpm
 Despite invisible and/or illegible matrices, a certain amount can be guessed about these recordings, which are discussed [[#Unidentified recordings|below]].

@@ Line 362: / Line 362: @@
 The florid name and monogram are reminiscent of similar marks used before World War I on 'Beaux Arts'-style record labels and players, and in bulletins, catalogues and related merchandise. Neither mark has been seen in Bernard Roux advertisements in the French press and it is not known if they were used on the firm's other, non-gramophone products (none of which have been seen either).
-The second type of Roux test label is more modern-looking and slightly more informative:
+Almost all labels of this type are printed in blue on a white field but examples are known with the printing in black. The sigificance of this variant, if any, is not known.
 [[File:Etablissements_Bernard_Roux_matrix_9576_label_with_runout.jpg|center|frame|<div style="text-align: center;">Établissements Bernard Roux matrix 9576 label, with 'dead wax' detail (Collection: the author)</div>]]
@@ Line 368: / Line 370: @@
 The upper half carries the name Établissements Bernard Roux and address 142, rue du Chemin Vert, Paris, suggesting the design was introduced after the Établissements was formed in late 1923 – but with some delay, perhaps, as test pressings are known which are dated later yet carry the earlier label. The legend 'Échantillon invendable' is an exact equivalent of the '[Factory] Sample Not for Sale' often seen on British and American test pressings; this did not necessarily mean that Roux tests with this label were as destined for commercial issue, as this very recording was almost certainly a private, non-commercial commission (see [[#Private recordings|below]]). No fields are defined, not even for the matrix number, which has been duplicated, again in pencil, in the label's blank portion.
-The third and latest type of label, not white but buff in colour, carries the last address of Établissements Bernard Roux and location of its last pressing plant, 2, rue Esquirol, Paris, XIII<sup>e</sup>, and revises the 'Sample Not for Sale' legend to 'Épreuve non vendable'. As before, a little over half the label is left clear for hand-written annotations.<ref><span class="plainlinks">[https://labelgalleryfrancaise.files.wordpress.com/2024/01/20240113_175320.jpg Example]</span>, from disc in Robert Crumb collection, reproduced by Jerome Moncada at <nowiki>https://labelgalleryfrancaise.wordpress.com/2024/03/26/roux-bernard/</nowiki></ref>
+The third and latest type of label, printed in black on a buff field, carries the last address of Établissements Bernard Roux and location of its last pressing plant, 2, rue Esquirol, Paris, XIII<sup>e</sup>, and revises the 'Sample Not for Sale' legend to 'Épreuve non vendable'. As before, a little over half the label is left clear for hand-written annotations.<ref><span class="plainlinks">[https://labelgalleryfrancaise.wordpress.com/wp-content/uploads/2024/01/20240113_175110.jpg Example]</span>, from disc in Robert Crumb collection, reproduced by Jerome Moncada at <nowiki>https://labelgalleryfrancaise.wordpress.com/2024/03/26/roux-bernard/</nowiki></ref>
 ===Bernard Roux issues===

@@ Line 271: / Line 271: @@
 *'Premier disque à aiguille enregistré électriquement le 28 janvier 1925' / 'Orchestre enregistré électriquement le 28 juillet 1926', Essai spécial no.57 / 3698, 27 cm, BnF shelf mark <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb41471106b AP-2173]</span>
 *'Chant Hébreu' / 'Chant Hébreu', 4120 / 4121, 25 cm, BnF shelf mark <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb414710589 AP-2172]</span>
-*'Etablissements Bernard Roux 8510', 8510 / [?], 25 cm, BnF shelf mark <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb38354516r SD 78 25-19949]</span>
+*'Etablissements Bernard Roux 8510', 8510 / [8511]<ref>Only one side's matrix number is given in the BnF's <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb38354516r catalogue entry]</span></ref>, 25 cm, BnF shelf mark <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb38354516r SD 78 25-19949]</span>
 Only two Bernard Roux test pressings have been found in national and university libraries elsewhere (catalogue entries via links):
 *[no titles], 1106 / PK 200, 25 cm, British Library, London, shelf mark <span class="plainlinks">[http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA1380947 9TS0002803]</span>
@@ Line 277: / Line 277: @@
 (All remaining tests listed below are 25 cm in diameter, except where stated.)
-In April 2016, I bought a Bernard Roux test pressing, and in April 2023 two more, from <span class="plainlinks">[https://www.phonopassion.de Phonopassion]</span>, of <span class="plainlinks">[https://en.wikipedia.org/wiki/Horben Horben]</span>, Germany, who described them as follows (labels from the first and third are reproduced [[#Test labels|below]]):
+In April 2016, I bought a Bernard Roux test pressing, and in April 2023 two more, all from <span class="plainlinks">[https://www.phonopassion.de Phonopassion]</span>, of <span class="plainlinks">[https://en.wikipedia.org/wiki/Horben Horben]</span>, Germany, who described them as follows (labels from the first and third are reproduced [[#Test labels|below]]):
   anonymous (cello solo ) Prelude en Ut mineur pt.1/2 (Bach) / published sides ? ? ak[ustisch] ? Bernard Roux test<ref>Item 13382 (25 cm / 10 in. disc), <span class="plainlinks">[https://web.archive.org/web/20160617012809/https://www.phonopassion.de/index.php?key=festpreis_en Phonopassion Fix Price List 1-2016, April 2016]</span> (retrieved from Internet Archive <span class="plainlinks">[https://web.archive.org/ Wayback Machine]</span>); originally auctioned c. April 2008 but unsold</ref>
@@ Line 283: / Line 283: @@
   (sop.)/(contr.) el. Bernard Roux (Azurephone) test unidentified (mx.9576/ 9577) Paris ca.1930<ref>Lot 95 (25 cm / 10 in. disc), Phonopassion auction list of classical/ operatic 78rpm records (closing date 15 April 2018), p.7, unsold; bought at fixed price</ref>
 Revisiting past Phonopassion sales yielded two more Bernard Roux test pressings:
   anonymous 8 2/3” [22 cm] el. Bernard Roux test (unidentified pianist) Finale: Presto agitato “Mondscheinsonate” (Beethoven) mx.6256 MB/ Fantaisie impromptu (Chopin) mx.6257 MB Paris ca.1930 Released recordings?
@@ Line 335: / Line 337: @@
 JPRM Sunny Boy (Sonny Boy) – RBE v Bernard Roux test<ref>Mazzoletti, Adriano ''Il jazz in Italia: dalle origini alle grandi orchestre'', Torino: EDT srl, 2004, p.191<br />These sides are also listed (less accurately) in Lord, Tom ''The Jazz Discography'', West Vancouver, B.C.: Lord Music Reference, 1997, p.<span class="plainlinks">[https://archive.org/details/jazzdiscogvol1800lord/page/178/mode/1up R178]</span>, and Klaric, Marianne & Henceval, Emile (eds.) ''Dictionnaire du jazz à Bruxelles et en Wallonie'', Liège: Pierre Mardaga / Communauté française de Belgique. Conseil de la musique, 1991, p.221</ref>
-A discography of musette recordings adds the following Roux tests (NB the presentation below is modified):<ref>Van den Broeck, Christian & Wartigue, Tarek ''Discographie du Musette (1905-1958)'' (Excel database and PDF), in Van den Broeck, Christian & Cravic, Dominique ''Les As du Musette des Apaches aux Zazous'', Geraardsbergen: Belgatone, n.d. [2023]; my thanks to Jerome Moncada for alerting me to this resource (email, 22 April 2024), which I have since acquired</ref>
+A discography of musette recordings adds the following Roux tests (NB the presentation below is modified):<ref>Van den Broeck, Christian & Wartigue, Tarek ''Discographie du Musette (1905-1958)'' (Excel database and PDF), in Van den Broeck, Christian & Cravic, Dominique ''Les As du Musette des Apaches aux Zazous'', Geraardsbergen: Belgatone, n.d. [2023]; my thanks again to Jerome Moncada for alerting me to this resource (email, 22 April 2024), which I have since acquired</ref>
 *3746 / 3748 (see above); Riquita / Le départ pour Cuba; ? (accordion), ? (xylophone) [artists unidentified]
 *3747 / [?]; ? (accordion), ? (xylophone) [contents, artists and coupling unknown]

@@ Line 1,257: / Line 1,257: @@
 Arya may sound familiar: it was one of the labels which reissued pre-War vertical-cut Ultima masters, mentioned [[#Unidentified recordings|above]].<ref>Other French labels which reissued Ultima matrices included AM and Apollon, owned by music and record retailer Adam Morhange; Corona, Lutètia, Olympia and Opera, owned by brothers Etienne and Pierre Chanoit; and Perfectaphone, owned by Constantin Furn</ref> The marque was not registered, which leaves October 1928 as the first documented date for its existence – surprisingly late, considering how old the Ultima recordings were by then. Arya's puzzle advertisements continued for three years, always giving the address as 22, rue des Quatre-Frères-Peignot, although images of Arya record sleeves show the street number as 22 bis, alongside an unusually spelled surname, Le Carèrès.<ref>See sleeve image <nowiki>https://labelgalleryfrancaise.files.wordpress.com/2021/05/arya.jpg at Moncada, Jerome 'Arya', https://labelgalleryfrancaise.wordpress.com/2021/07/09/arya/</nowiki></ref> In early 1929, Arya upped the ante to '5000 record-players for nothing';<ref>Earliest example found: ‘5.000 phonos pour rien’ (advertisement), ''Le Courrier de la Rochelle'', Wednesday 20 February 1929, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-courrier-de-la-rochelle/20-fevrier-1929/1687/5285964/3 3]</span></ref> eighteen months later, another change of name took place.<ref>Latest examples found: ‘5.000 phonos gratuits’ (advertisement), ''Le Petit illustré'', Sunday 4 October 1931, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bd6t51120582j/f15 15]</span>, and ''l’Iintrépide'', Sunday 4 October 1931, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k9116294z/f9 9]</span></ref>
-From the autumn of 1931, 5000 puzzle-solvers were promised free machines by yet another advertiser, Angelus, still at the same address, whose campaign debuted not in the provincial press but in Paris papers.<ref>Earliest examples found include: ‘5.000 phonos gratis’ (advertisement), ''Le Matin'', Wednesday 13 September 1931, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-matin/23-septembre-1931/66/168933/6 6]</span>, ''L’Echo de Paris'', Wednesday 13 September 1931, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/23-septembre-1931/120/595009/8 8]</span>, etc.</ref> This too was a record label, and like Arya it was never officially registered. Far fewer discs seem to have been issued on Angelus than on Arya: they appear uncommon today, with only seven documented for this page, of which just two are held by the Bibliothèque nationale de France in Paris,<ref>BnF shelf marks <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb377696029 NC Angelus 231]</span> and <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb37769603n NC Angelus 272]</span></ref> as against thirty-six from Arya. Angelus quizzes appeared in French newspapers for four more years, with decreasing regularity, until November 1935.<ref>Latest example found: ‘5.000 phonos gratis’ (advertisement), ''Journal de Limoux'', Sunday 10 November 1935, <span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bd6t53829898b/f6 unpaginated]</span></ref>
+From the autumn of 1931, 5000 puzzle-solvers were promised free machines by yet another advertiser, Angelus, still at the same address, whose campaign debuted not in the provincial press but in Paris papers.<ref>Earliest examples found include: ‘5.000 phonos gratis’ (advertisement), ''Le Matin'', Wednesday 13 September 1931, p.<span class="plainlinks">[https://www.retronews.fr/journal/le-matin/23-septembre-1931/66/168933/6 6]</span>, ''L’Echo de Paris'', Wednesday 13 September 1931, p.<span class="plainlinks">[https://www.retronews.fr/journal/l-echo-de-paris-1884-1938/23-septembre-1931/120/595009/8 8]</span>, etc.</ref> This too was a record label, and like Arya it was never officially registered. Far fewer discs seem to have been issued on Angelus than on Arya: they appear uncommon today, with only eleven documented for this page, of which just two are held by the Bibliothèque nationale de France in Paris,<ref>BnF shelf marks <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb377696029 NC Angelus 231]</span> and <span class="plainlinks">[http://ark.bnf.fr/ark:/12148/cb37769603n NC Angelus 272]</span></ref> as against thirty-six from Arya. Angelus quizzes appeared in French newspapers for four more years, with decreasing regularity, until November 1935.<ref>Latest example found: ‘5.000 phonos gratis’ (advertisement), ''Journal de Limoux'', Sunday 10 November 1935, <span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bd6t53829898b/f6 unpaginated]</span></ref>
 Well before the disappearance of Angelus, a new label had taken up residence at 22, rue des Quatre-Frères-Peignot – but, unlike Arya and Angelus, it did not continue the quiz advertisements. The earliest sighting so far of Champion in the press, and of the associated children's label Champion Baby,<ref>There was a third Champion label, Champion Junior, also for children, see Moncada, Jerome <nowiki>https://labelgalleryfrancaise.wordpress.com/2021/08/19/champion/</nowiki></ref> is an advertisement of May 1933, placed by Etablissements Champion.<ref>E<sup>ts</sup> Champion ‘“CHAMPION”’ (advertisement), ''L’Empire français et la Gazette coloniale'', Sunday 14 May 1933, p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k7183817t/f4 4]</span></ref> The name implies a fully constituted company which, the advertisement suggests, had existed for some time, although no announcement of its formation has yet come to light. The same is true of another business, named Disques de Phonographes et Articles de Paris, whose beginnings are undocumented but whose assets were officially sold in June 1933. The buyer was yet another new entity based at 22, rue des Quatre-Frères-Peignot:<ref>‘☛ 24.221 Première insertion’, in ‘Avis d’opposition’, ''Archives commerciales de la France'', Wednesday 21 June 1933, pp.3048-52 (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k57957390/f25 3049]</span>); ‘☛ 24.221 Deuxième insertion’, in ‘Avis d’opposition’, ibid., Friday 30 June 1933, pp.3204-10 (on p.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k5795743w/f33 3209]</span>)</ref> Le Disque de France, which had just been formed, on 23 May 1933, by Ernest-Pierre Le Carrérès, resident at that address.<ref>‘☛ 23.068’, in ‘Publications légales Sociétés Formations’, ''Archives commerciales de la France'', Wednesday 14 June 1933, pp.2929-46 (on pp.<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k5795736r/f17 2929]</span>-<span class="plainlinks">[https://gallica.bnf.fr/ark:/12148/bpt6k5795736r/f21 33]</span>)</ref> (Only one other person, an accountant, was named in the formation notice.)