The recording includes the instrumental piece "Notte napulitane" (Neapolitan nights) by the American composer John Stepan Zamecnik. It was made circa October 1928 in New York by the Italian-American violinist and composer Nullo Romani for the Columbia record company. The reverse side of the record contains "Vals tou mesonychtiou", another instrumental piece titled "La mezzanote" (The Midnight Waltz), composed by the Italian-American composer Frank Amodio. This recording is also performed by Nullo Romani. The two recordings were most likely made on the same day, as evidenced by their conscutive matrix numbers: W109822 (the present recording) and W109823 ("Vals tou mesonychtiou").

In accordance with prevailing practices of the recordingat that time, these two recordings were released by regional branches of Columbia around the world, aiming to serve a variety of markets and construct an “international” repertoire. The Discography of American Historical Recordings website (see here and here) documents some of these releases, which include, in addition to Greece, Italy, Argentina, France, and, through the latter, Belgium. It is noteworthy that in most instances, as in the present edition issued by Columbia’s Greek branch, both recordings were appeared on the same record.

There was no previous management model in the early period of discography (late 19th - early 20th c.). Each company creates their own networks, something that will allow them to take a dynamic lead in the market. New specialties and professions are created and new conditions emerge, or the need to update older facts, with the most serious being intellectual property. The latter, until then, concerned mostly printed commercial musical scores and the publishers’ rights. New small companies are constantly springing up, trying to claim a share of the market, which, sooner or later, takes on global dimensions. They are often bought by larger companies, along with their already recorded repertoires and their existing agreements with agents, producers and musicians. Sooner or later, most of the smaller labels are under the control of a few growing companies. Over the years, and as the recording market becomes more complex, factories-branches are built on all continents. These offices are taken over by local actors who gradually draw up their own policies: they know their markets better. The ever-evolving recording industry proves to be centripetal: the decisions that are taken follow the policies centrally dictated by the managements of the companies and their subsidiaries. This entire environment, this entire layered landscape, becomes even more complex in America. There, “national” repertoires live a new, parallel life. This situation is not static and, to a large extent, is molded by discography, which attends to and “tunes” the overlapping relationships that have already developed in the “Old World”. Repertoires communicate with each other once again; a familiar and already dynamic condition in Europe. The circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation. This time, the network is adjusted in a programmatic manner, under new terms and via new paths.