Riverside Story (BBC Radio 3) this Saturday

[Philip]

"John Fordham looks at one of the unsung heroes of modern jazz recording - Riverside Records. In conversation with legendary record producer and label owner Orrin Keepnews, they chart how the label came to record some of the key jazz albums of the fifties and early sixties.

"In this first part, Keepnews tells how he dealt with the sometimes difficult Thelonious Monk in the studio, signed pianist Bill Evans and recorded one of jazz's first statements on civil rights, Sonny Rollins' Freedom Suite."

Source

The listing in the "Radio Times", at least, misses the word "unsung." I think I'll guffaw in less than thirty seconds when I hear this.

[Big Al]

Wait for it...

[Christiern]

I bet Orrin gives Bill Grauer short shrift, if he mentions him at all. I also wonder if he gives Randy Weston credit for bringing Monk to the label.

[Big Al]

Regular as clockwork.

Sure wish everything was a regular as clockwork.

[ghost of miles]

What is the real story on FREEDOM SUITE? I always thought that OK had tried to tone down the political message in the liner notes that he penned.

[Christiern]

I agree, and found that mention in the blurb to be interesting, but it is now expedient to claim credit and embrace the militancy he once shunned. Note also: "...legendary record producer and label owner Orrin Keepnews." When I worked at Riverside (before Orrin became legendary), he was like an also-ran to Bill Grauer. Now, there was a pleasant, witty person for whom it was a joy to work.

Should be an interesting series--if nothing else, the music will be good.

[wolff]

Oh boy, I'm sure they'd love your input HERE, Chris.

Edited May 27, 2005 by wolff

[Christiern]

I just listened to the first program in the series. Orrin was predictably into himself, but it was an interesting listen. I did rather like the way he squirmed out of the re-issuing of Rollins' "Freedom Suite." He said that it was not uncommon to take an album and reissue it in a modified version. That's a lot of BS, the Rollins set was done for no other reason than to get rid of the controversial "box" statement.

It's really too bad that Bill Grauer becomes little more than a footnote to Orrin's tales--he deserves far more credit.

As for Monk and Orrin, a forthcoming book (not Peter Keepnews') will set that relationship straight.

[Big Al]

Another discussion about this show [link removed 7/4/05; no good anymore; sorry].

Edited July 4, 2005 by Big Al

[Big Al]

Just listened to it, and while I didn't pay complete attention to it (playing online euchre while listening), it seemed to me that OK gave much credit where credit was due: how others brought talent to his attention. Made it sound like he happened to be at the right place at the right time.

[sidewinder]

He certainly has some nice recollections of Wes Montgomery on programme 2, with the story of the Adderley's phoning him up with the hot news from Minneapolis. Interesting comments on the junkie habits of Chet Baker and Bill Evans too.

[Christiern]

The program series purports to be about Riverside, but it is more about Orrin. I still think it is a shame--especially when Riverside is the given subject--that Bill Grauer is given short shrift. The fact is that he more often than not called the shots for which Orrin takes credit. Riverside was also about such behind-the-scene people as Sarah Cass, Ken Deardoff, and Billie Wallington, not to mention engineer Ray Fowler.

So far--and there is only one more show to go--this has been a disappointingly myopic view of a label whose catalogue went far beyond the handful of artists mentioned.

I know, I will be accused of Orrin bashing, but that's not what this is about--it's about bemoaning an imbalance that may not be evident to those who weren't there.

[sidewinder]

Yes, I must admit that the impression I picked up just listening to Episode 1 was that Orrin was the one 'calling the shots' (for example with him listening to the Bill Evans tape on the phone call with Mundell Lowe), with Bill Grauer just getting a few mentions.

Edited June 5, 2005 by sidewinder

[Big Al]

The program series purports to be about Riverside, but it is more about Orrin. I still think it is a shame--especially when Riverside is the given subject--that Bill Grauer is given short shrift. The fact is that he more often than not called the shots for which Orrin takes credit. Riverside was also about such behind-the-scene people as Sarah Cass, Ken Deardoff, and Billie Wallington, not to mention engineer Ray Fowler.

So far--and there is only one more show to go--this has been a disappointingly myopic view of a label whose catalogue went far beyond the handful of artists mentioned.

I know, I will be accused of Orrin bashing, but that's not what this is about--it's about bemoaning an imbalance that may not be evident to those who weren't there.

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While I don't disagree that the show seems to be a retelling of the same stories found in the liner notes to the Riverside box, it would seem to me that with only three half-hour shows in which to tell a story, doesn't it make sense to tell about that label's major players? Granted, this leaves out a vast majority of the label's other roster of talent, but still, what made the label a story in the first place would seem to be the goal of the show.

However, with that in mind, Chris, why not go over to the Hoffman forum and call him out on some of the things you say OK's giving short shrift to: Grauer's role, who did the signing, all those albums you produced, etc. You're always saying that truth will win out; why not put it to the test?

[Christiern]

I hear that he has barely begun to post over there, so let's give him time to lay his ego aside, shall we? It was apparently (and not surprisingly) Breshnahan who brought Orrin to that BBS--I bet that he will also keep Orrin à jour on anything I post here.

Having said that, let me add that I am really not interested in getting into a shouting match with Orrin. We worked together, even after the demise of Riverside, and his work has resulted in a great catalog--the man deserves recognition for that. I just wish he would be more forthright and give Bill Grauer his due.

My criticism of the "Brilliant Corners" BBC production has nothing to do with Orrin, per se, it is simply a series that misses its intended mark, and for that the blame must rest with the producer.

[Big Al]

I hear that he has barely begun to post over there, so let's give him time to lay his ego aside, shall we? It was apparently (and not surprisingly) Breshnahan who brought Orrin to that BBS--I bet that he will also keep Orrin à jour on anything I post here.   

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indeed! On both points!