Okeh Records

Okeh Records is an American record label whose history spans the formative years of recorded jazz, blues, country, rhythm and blues, soul, and contemporary jazz. The label grew out of the Otto Heinemann Phonograph Corporation, a New York-based phonograph supplier established by German-American music executive Otto Karl Erich Heinemann in 1916. After building recording and pressing facilities, the company began issuing records in 1918. Its name was initially styled “OkeH,” reflecting Heinemann’s initials, and later became “OKeh.” During its first period of activity, Okeh operated as both a conventional popular-music label and an unusually broad outlet for communities underserved by the largest record companies. It issued popular songs, dance music, vaudeville material, and recordings in German, Czech, Polish, Swedish, and Yiddish for immigrant audiences in the United States. The label also licensed material from European companies while recording its own artists in New York and other locations. Its early catalog included the New Orleans Jazz Band and other performers who helped establish the company’s reputation in jazz. Okeh became especially important in African-American music after producer and songwriter Perry Bradford encouraged the label to record blues singer Mamie Smith in 1920. Smith’s “Crazy Blues” became a major commercial success and helped demonstrate the demand for records marketed to Black audiences. Okeh subsequently developed a dedicated race-record series and recorded artists including Clarence Williams, Richard M. Jones, Sara Martin, Eva Taylor, Shelton Brooks, Esther Bigeou, King Oliver, Lonnie Johnson, Louis Armstrong, Bix Beiderbecke, Bennie Moten, Frankie Trumbauer, and Eddie Lang. Louis Armstrong’s Hot Five and Hot Seven sessions, recorded between 1925 and 1928, became among the label’s most historically significant releases. The success of the race-record series encouraged Okeh to pioneer remote or location recording. Beginning in 1923, mobile equipment was taken to cities including New Orleans, Atlanta, San Antonio, St. Louis, Kansas City, and Detroit, allowing the label to capture performers who could not easily travel to New York or Chicago. An Atlanta studio also recorded early country performers, including Fiddlin’ John Carson. This approach broadened Okeh’s geographic reach and helped document regional American musical cultures. The label changed hands several times. Columbia Records acquired Okeh in 1926, the American Record Corporation took ownership in 1934, and CBS acquired the company in 1938. Okeh was periodically discontinued and revived, including a revival in 1951. In 1953 it was repositioned as an exclusive rhythm-and-blues label after Columbia transferred its pop artists to Epic Records. During the 1960s, Okeh achieved important soul and pop successes with Major Lance, Little Joe & the Thrillers, and Little Richard. Producer and A&R executive Carl Davis, along with songwriter and producer Curtis Mayfield, contributed substantially to the label’s creative and commercial performance during this period. Okeh’s 1960s momentum weakened after Davis and Mayfield left amid disputes with label management. Columbia eventually retired the label in 1970. Sony reactivated it in 1993 as a blues-oriented imprint, signing or releasing artists such as G. Love & Special Sauce, Keb’ Mo’, Popa Chubby, and Little Axe. That incarnation was later discontinued around 2000. In 2013, Sony relaunched Okeh as a primary jazz imprint within Sony Masterworks. The modern label focuses on new and established artists representing international and contemporary expressions of jazz, while Sony Music, Epic Records, and Legacy Recordings manage the broader historical catalog and reissue activity.

Okeh Records originated with Otto Karl Erich Heinemann, a German-American manager associated with the U.S. branch of Odeon Records. Heinemann incorporated the Otto Heinemann Phonograph Corporation in 1916, established recording and pressing operations in New York City, and entered the record business in 1918. The label’s early name, OkeH, was derived from Heinemann’s initials and was later standardized as OKeh. Early discs included vertical-cut issues before the company adopted the more common lateral-cut format. Frederick W. Hager served as musical director and was also credited under the name Milo Rega. Okeh initially competed in the broad popular-record market, issuing songs, dance numbers, and vaudeville performances. It also sought audiences that larger companies often neglected. The label released material in several European immigrant languages, including German, Czech, Polish, Swedish, and Yiddish, using both licensed European masters and recordings made in the United States. Its early jazz activity included recordings by the New Orleans Jazz Band. A decisive turning point came in 1920, when Perry Bradford persuaded Hager to record Mamie Smith. Smith’s “Crazy Blues” became a major success and demonstrated strong demand for records promoted through Black newspapers and other African-American media. Okeh built on that success with an 8000 series of race records, recording musicians such as Clarence Williams, Richard M. Jones, Sara Martin, Eva Taylor, King Oliver, Lonnie Johnson, and Louis Armstrong. The label’s most celebrated jazz work included Armstrong’s Hot Five and Hot Seven sessions from 1925 to 1928, as well as releases by Bix Beiderbecke, Bennie Moten, Frankie Trumbauer, and Eddie Lang. Armstrong’s music was later moved into Okeh’s mainstream popular series, broadening its marketing reach. The race-record business also encouraged Okeh to develop remote recording. Beginning in 1923, mobile recording teams traveled to New Orleans, Atlanta, San Antonio, St. Louis, Kansas City, Detroit, and other centers. These sessions captured local performers outside the established New York and Chicago recording infrastructure. Okeh’s Atlanta studio became an important venue for early country music; Fiddlin’ John Carson recorded there in 1923 in sessions often associated with the beginnings of commercial country recording. Okeh’s catalog and corporate structure changed repeatedly. Columbia acquired the company in 1926. Ownership moved to the American Record Corporation in 1934, and CBS acquired the company in 1938. The label was discontinued and revived more than once, including a revival in 1940 and another in 1951. In 1953, Columbia transferred its pop artists to Epic Records and made Okeh an exclusive rhythm-and-blues label. During the 1950s and 1960s, the label released work by artists including Wild Bill Davis, Red Saunders, Johnnie Ray, and Little Joe & the Thrillers. Okeh’s 1960s identity was strongly shaped by soul music. Major Lance produced two prominent successes with “The Monkey Time” and “Um, Um, Um, Um, Um, Um.” Carl Davis became A&R manager in 1963, while Curtis Mayfield contributed as a songwriter and producer. Larry Williams recorded and produced funk- and soul-oriented material for the label and worked with Johnny “Guitar” Watson. Williams also produced two Okeh albums for Little Richard in 1966 and 1967, helping the singer return to the Billboard album chart after a lengthy absence. After Davis and Mayfield departed amid disputes with Okeh and Epic management, sales declined and Columbia retired the label in 1970. Sony reactivated Okeh in 1993 as a blues imprint distributed through Epic Records. The revived label released music by G. Love & Special Sauce, Keb’ Mo’, Popa Chubby, and Little Axe, including a first-year series of 10-inch singles. The imprint was again retired around 2000, with G. Love & Special Sauce moving to Epic. In January 2013, Sony relaunched Okeh under Sony Masterworks as a principal jazz imprint. The modern roster and catalog direction emphasize both established and emerging artists whose work reflects jazz’s global development. Sony Music controls the worldwide catalog interests through Epic Records and Legacy Recordings, while the active imprint operates within Sony Masterworks.

• 2013

  Okeh returns as a jazz imprint

  [1]Okeh Recordsen.wikipedia.org

  Sony Masterworks relaunched Okeh as a primary contemporary jazz label.

• 1993

  Sony revives Okeh for blues

  [1]Okeh Recordsen.wikipedia.org

  Sony relaunched the imprint as a blues-oriented label distributed through Epic Records.

• 1970

  The label is retired

  [1]Okeh Recordsen.wikipedia.org

  Columbia quietly discontinued Okeh after the decline of its 1960s sales.

• 1953

  Okeh becomes a rhythm-and-blues label

  [1]Okeh Recordsen.wikipedia.org

  Columbia transferred Okeh’s pop roster to Epic and focused Okeh on rhythm and blues.

• 1926

  Columbia acquires Okeh

  [1]Okeh Recordsen.wikipedia.org

  The label became part of Columbia Records.

• 1925

  Louis Armstrong’s Hot Five sessions begin

  [1]Okeh Recordsen.wikipedia.org

  Okeh began recording the Hot Five and later Hot Seven sessions that became central to early jazz history.

• 1923

  Remote recording program begins

  [1]Okeh Recordsen.wikipedia.org

  Okeh deployed mobile recording equipment to regional American cities.

• 1920

  Mamie Smith records for Okeh

  [1]Okeh Recordsen.wikipedia.org

  The success of “Crazy Blues” helped create a durable market for race records.

• 1918

  Okeh enters the record business

  [1]Okeh Recordsen.wikipedia.org

  The company began producing and issuing phonograph records under the Okeh name.

• 1916

  Otto Heinemann establishes the phonograph company

  [1]Okeh Recordsen.wikipedia.org

  Otto Karl Erich Heinemann incorporated the company that later expanded into Okeh record production.

A historically significant American label centered on jazz and African-American musical traditions, with later phases in blues, soul, and globally oriented contemporary jazz.

• Recorded music · 1918

  Early popular and immigrant-language recordings

  Okeh’s initial catalog covered popular songs, dance music, vaudeville sketches, and recordings in languages used by immigrant communities in the United States. The label combined recordings made in New York with masters licensed from European companies, giving it a wider cultural and linguistic reach than a narrowly specialized jazz imprint.

• Blues and African-American music · 1920

  Race records

  Introduced prominently in the early 1920s, Okeh’s race-record series targeted Black listeners and documented blues, jazz, and related performance traditions. The series included work by Mamie Smith, Clarence Williams, Richard M. Jones, Sara Martin, King Oliver, Lonnie Johnson, and Louis Armstrong, and helped establish specialized marketing for African-American audiences.

• Jazz · 1925

  Louis Armstrong Hot Five and Hot Seven recordings

  Recorded primarily between 1925 and 1928, these sessions captured Louis Armstrong with small ensembles in performances that became foundational to modern jazz. Songs associated with the releases include “Heebie Jeebies,” “Cornet Chop Suey,” and “West End Blues.”

• Soul and rhythm and blues · 1953

  1960s soul and rhythm-and-blues releases

  Okeh’s 1960s roster and production activity included Major Lance, Little Richard, Larry Williams, and Johnny “Guitar” Watson. The period combined Chicago-associated soul success with funk, rock-and-roll, and R&B projects shaped by producer Carl Davis, songwriter Curtis Mayfield, and other creative figures.

• Jazz · 2013

  Contemporary Okeh jazz

  Since its 2013 relaunch under Sony Masterworks, Okeh has functioned primarily as a contemporary jazz imprint. Its stated artistic scope includes established and new artists whose work reflects international and cross-cultural developments in jazz, with associated artists including David Sanborn, Bob James, Bill Frisell, Regina Carter, Somi, and Dhafer Youssef.

• 2013Global expressions in jazz relaunch

  United States · International

  Sony Masterworks repositioned Okeh as a principal jazz imprint for established and emerging artists representing international approaches to jazz.

  Outcome. Okeh became an active Sony Masterworks jazz brand.

  Source
• 1993Blues relaunch

  United States

  Sony relaunched Okeh with a blues-oriented identity and issued early revival releases by G. Love & Special Sauce, Popa Chubby, and Keb’ Mo’ on 10-inch vinyl.

  Outcome. The imprint remained active through the 1990s before being retired again around 2000.

  Source
• 1923National remote-recording tours

  United States

  Mobile recording teams traveled to regional music centers to record performers who were not represented in the main New York and Chicago studios.

  Outcome. The program broadened Okeh’s catalog and helped document regional jazz, blues, and early country music.

  Source
• 1920Race-record marketing program

  United States

  Okeh promoted Mamie Smith and subsequent race-record releases through advertising in Black newspapers and publications, helping the label reach an underserved audience.

  Outcome. The success of “Crazy Blues” encouraged Okeh to establish a sustained race-record series and expand its African-American artist roster.

  Source

• 2013

  Relaunch Okeh as a contemporary jazz imprintStrategy

  Background

  Sony used Okeh’s historic association with jazz to create a dedicated modern jazz platform within Sony Masterworks.

  Action taken

  Sony reactivated Okeh as a primary jazz label emphasizing global and contemporary expressions of the genre.

  Aftermath

  The imprint continued as part of Sony Masterworks, with a roster including David Sanborn, Bob James, Bill Frisell, Regina Carter, Somi, and Dhafer Youssef.

  Source

• 1993

  Revive Okeh as a blues imprintStrategy

  Background

  Sony sought to reuse the historic label identity for a new generation of roots-oriented artists.

  Action taken

  Sony reactivated Okeh under Epic Records distribution with a new-age blues focus.

  Aftermath

  The imprint was later retired around 2000, and some artists moved to Epic.

  Source

• 1970

  Retire the Okeh labelStrategy

  Background

  Sales weakened after key creative contributors Carl Davis and Curtis Mayfield left amid disputes with label management.

  Action taken

  Columbia discontinued Okeh’s active operations.

  Aftermath

  The catalog remained part of the broader Columbia and later Sony rights structure until subsequent revivals.

  Source

• 1953

  Focus Okeh on rhythm and bluesStrategy

  Background

  Columbia created Epic Records as a home for pop artists and needed a more distinct role for Okeh.

  Action taken

  Okeh’s pop roster was transferred to Epic, while Okeh was designated an exclusive rhythm-and-blues label.

  Aftermath

  The repositioning established the label’s 1950s and 1960s R&B and soul identity.

  Source

• 2013

  Okeh relaunches as a Sony Masterworks jazz imprint[1]Okeh Recordsen.wikipedia.org

  Product launch

  Sony reintroduced Okeh as a contemporary jazz label focused on international expressions of the genre.

• 1993

  Sony reactivates Okeh as a blues imprint[1]Okeh Recordsen.wikipedia.org

  Product launch

  Sony revived the label with a new-age blues direction and artists including G. Love & Special Sauce, Keb’ Mo’, Popa Chubby, and Little Axe.

• 1953

  Okeh is repositioned as an exclusive rhythm-and-blues label[1]Okeh Recordsen.wikipedia.org

  Other

  Columbia moved Okeh’s pop artists to Epic and used Okeh primarily for rhythm and blues.

• 1926

  Columbia acquires Okeh[1]Okeh Recordsen.wikipedia.org

  M&A

  Okeh became part of Columbia Records, beginning a succession of ownership changes that later connected the label to CBS and Sony.

• 1923

  Okeh expands into location recording[1]Okeh Recordsen.wikipedia.org

  Other

  The label began using mobile equipment to record performers in regional centers across the United States.

• 1920

  Mamie Smith recording opens a major Black music market[1]Okeh Recordsen.wikipedia.org

  Product launch · Other

  Okeh recorded Mamie Smith, whose success helped establish the commercial importance of records marketed to African-American audiences.

• 1918

  Okeh Records begins issuing records[1]Okeh Recordsen.wikipedia.org

  Other

  The Otto Heinemann Phonograph Corporation expanded from phonograph supply into record production and launched Okeh.

1. 1Okeh Recordsen.wikipedia.org
2. 2Okeh masters in the Discography of American Historical Recordingsadp.library.ucsb.edu