JamesAHarrod

I recently bought the Kindle edition of S. Duncan Reid's Cal Tjader biography (highly recommended by the way). I decided to load all of my Tjader collection into Music on my iPad so that I could listen to items noted in the biography and was surprised that I had not acquired the Fantasy reissue of Tjader's early Galaxy sides (I have all of the 78s and 10" LP Fantasy 3-9). In checking Lord's discography I also noted that he did not list the Fantasy CD reissue of these sides. I just emailed Tom giving him the details from my 78s as well as details from the CD reissue that I just acquired, and I also advised that the entries for master numbers 11170 and 11180 were probably bogus and should be dropped unless he has some documentation or solid references to support their existence (the same conclusion that Michael Weil notes in his discography in the book). Jim

No relation. Got the session details from Local 47. Other details from Herb Kimmel, the founder of Jazz:West. Even beat up copies of original Jazz:West releases seem to fetch high prices at auction, especially the Art Pepper and the James Clay.

I can provide some details regarding questions raised about Jane Fielding's second album for jazz:west, EMBERS GLOW. The first recording session was held at Capitol's studios at 5515 Melrose on January 21, 1956, from 3:00 to 6:00 PM. Jane Fielding was not a member of Local 47 and she is not mentioned on the contract. Personnel listed on this first date were: Kenny Drew, Lawrence Marable, Teddy Efantis, Paul Chambers, and Joseph Maini, Jr. The second session was held on February 15, 1956, again at Capitol on Melrose, from 5:00 to 8:00 PM. Personnel were the same except that Leroy Vinnegar replaced Paul Chambers. Kenny Drew is listed as leader for both sessions. On her first album for jazz:west Red Mitchell was the leader. Herb Kimmel recalled that he split his double-scale with Fielding since she was not registered with the union. Don't know if the same arrangement was made with Drew to share his wages. I will be contacting Tom Lord to give him many corrections regarding jazz:west discographical information. Have any members heard updates regarding Jane Fielding? Jim

I am guessing that the Biharis included TENDERLY as Erroll Garner was getting a lot of attention around that time with his CONCERT BY THE SEA album on Columbia. Wardell is credited on the Crown JAZZ CONFIDENTIAL album for BLUE LOU. I also have the Vogue two LP album and the Japanese King three LP set that features an artist rendering of Wardell, front and center on the jacket. I will probably do a follow up piece on these albums as well as the Japanese CD reissue of WAY OUT WARDELL. All of these masters are now owned by ACE in the UK. They recently reissued some of the DOOTONE albums that they also own, perhaps we will see some quality reissues from ACE as well using the Just Jazz masters.

My research on the various releases of WAY OUT WARDELL appeared in Names & Numbers No. 53 in April of 2010. I have completed additional research on additional releases of WAY OUT WARDELL and posted the update to my Jazz Research blog at; http://jazzwestcoastresearch.blogspot.com/2013/08/way-out-wardell-james-a.html I suspect that there are variations out there that have yet to be discovered, so another update is probably in the offing. Members interested in the Bihari record empire will note that I have provided a link at the end of the post to the film documentary on the Bihari Brothers, MUSIC BY THE POUND.

Dozens of books devoted to jazz album cover art have appeared over the years, many of them recycling the same cover art. I examine the art work of one artist, John Brandt, whose work has not been part of this publishing bonanza in the latest post to my jazz research blog. I am also including links to recent posts in my Stars of Jazz and Jazz Scene USA series: Cover art by John Brandt: http://jazzwestcoastresearch.blogspot.com/2013/03/john-brandt-graphic-artist-designer.html Julian “Cannonball’ Adderley on JAZZ SCENE USA: http://jazzsceneusa.blogspot.com/2013/03/jazz-scene-u.html Buddy Collette on STARS OF JAZZ: http://starsofjazz.blogspot.com/2013/03/buddy-collette-quartet-annie-maloney.html Jim

This email is ten years old. Haven't been in touch with Zieff recently. FWIW. Jim No, I don't have a recording of the Randall's Island concert; Phil Sunkel and I had this group together. Steve Lacy was in the group also. Ev'ry Mornin' was Phil's composition and arrangement. I recorded 4 tracks under my name with another group for ABC which were not released; trumpets Don Joseph and Ty Frolund (he was with the Mulligan Quartet before Chet--possibly in Albequerque), trombone Miltie Gold, altos Dick Meldonian and Rich Henry, bass Peter Ind, drums John Yalenezian. Titles: Not So Special, Medium Rock, With Sweep, Graphic Traffic. 1955 or 1956 I would guess. Bob Zieff JAZZ PATHWAYS www.the-freq.com WDCV, Carlisle Wednesdays: 12 noon-2:00 (Eastern time)

Alun Morgan wrote the sleeve notes for the EP release. I also have the 12" Vogue LP, LAE 12065, and my copy preserved Whitney Balliett's notes. The front cover is the same as the first PJ release with the Pacific Jazz 1217 below Percy Heath's name, and the Vogue release number under it. I have always admired Alun Morgan's sleeve notes, intelligent and spot on. Jim

Finally completed a write up on the Grand Encounter alternates on the European EP releases. It is at: http://jazzwestcoastresearch.blogspot.com/2013/01/grand-encounter-alternate-takes-james-a.html The alternates can be downloaded. Jim

Claude I have put together an analysis of the multiple releases of the Art Pepper Stars of Jazz performances at my research blog: http://jazzwestcoastresearch.blogspot.com/2013/01/art-pepper-on-stars-of-jazz-james-a.html What a can of worms! Jim

Q: What I'd really like to know is what was the color scheme for this backdrop, which looks pretty out there in straight black & white: Ray Avery did shoot B&W and color on the Stars of Jazz set. The one example that comes to mind is his shot of Bill Perkins that was used on the JUST FRIENDS album, Pacific jazz PJM-401. The lighting technician was using a red gel for the background in that photo. The next time I am up at CTSIMAGES offices I will check Ray's other work on SOJ using color. Jim

Q: Same alternate takes on both EPs? If one finds one EP, one has the same music as is on the other? Yes, both the UK Vogue EP and the German ton-treu EP were pressed from the same mother, identical matrices. Jim

Hi Claude, Tracks one through seven are from the Stars of Jazz TV series. Bob Andrews taped the music from the TV broadcast and the seven tracks appeared on his Vantage Japanese LP release, NLP5005, titled THE ALTOMAN with tracks by Sonny Criss and Bud Shank on the other side of the LP (also from Stars of Jazz). The correct dates are: JANUARY 28, 1957 (the 18th was a Friday, SOJ was always on a Monday) Cherokee Over The Rainbow What Is This Thing Called Love Art Pepper, alto sax; Carl Perkins, piano; Ben Tucker, acoustic double bass; Frankie Capp, drums. MARCH 31, 1958 All The things You Are Everything Happens To Me St. Louis Blues Stormy Weather-vocal Pam Russell Art Pepper, alto sax, clarinet; Larry Bunker, piano; Don Payne, acoustic double bass; Chuck Flores, drums. Pam Russell, vocal; Victor Feldman, piano. I checked with Ken Poston regarding the other tracks. Track eight might be the opening and closing blues played by the Art Pepper group on the 01/28/57 SOJ program. Track nine might be from a 5-4 Ballroom recording and track ten from a Lighthouse recording. If you listen to the samples on the Japanese site the sound varies greatly on these last three tracks. There are other sources for the first seven tracks other than the Bob Andrews LP, such as the Calliope release on CAL 3015. Jim

Q: And these are actual alternate takes of the Perkins/Lewis/Etc, not edited versions of the album cuts? Yes.

Q: Is there any documentation of alternates used for Curtis Amy, Carmell Jones, Clifford Scott or Charles Kynard 45s? The alternates seem to be confined to the earlier releases from 1952-1955. I have not found any alternates on later sessions with the artists mentioned above. Q: Details please - re Alternate takes from the John Lewis / Bill Perkins 2º East 3º West session were issued on European EP releases. Love Me or Leave Me and Almost Like Being In Love on UK (Vogue) EPV 1239 and World Pacific EP4-55 (ton-treu schallplatten) Q: If there's an alternate of "Almost Like Being In Love" ...I need to hear that for personal reasons. I will do a write up of some of these alternates on my jazz research blog, include audio samples of the alternates, might not get to this until next year. Q: Yes!!! I wonder why Cuscuna did not include them on the CD reissue of that fine album ... I guess he had no idea. I told Michael about them after I confirmed them, but there was no further reissue planned at that time. He did include alternates on the reissue of the Clifford Brown Ensemble reissue, the second RVG CD reissue. Q: Who distributed Pacific Jazz in LA in the 1950s-'60s? Lester Koenig was part-owner of an LA record distributor and I wonder if 1 or 2 outfits handled all the small jazz labels then. Les Koenig established California Record Distributors in Los Angeles in the early 1950s. Jack Lewerke managed California Record Distributors until he left that position to head up Interdisc in Europe.

Work on the history of the Pacific jazz / World Pacific label is ongoing. No end date in sight at the moment. The plunge into the blogosphere has added another dimension as the subjects of the blogs are directly and tangentially tied to the Pacific Jazz history. Getting back to Bock’s bad habits, he was interviewed at length by Will Thornbury. In one interview segment Bock offered that he found the typical practice of allowing all musicians solo space on a tune to be repetitive and predictable, and thus he would edit out the bass solo, or the second solo by the leader, or the trading of fours with the drummer so that the timing differed on the finished product. No mention was made of doing these edits on a copy of the master, or regarding the master tape as inviolable. Alternate takes were often used on 78 and 45 releases, many of these have been documented over the years. Alternate takes from the John Lewis / Bill Perkins 2º East 3º West session were issued on European EP releases. The Eric Dolphy / Chico Hamilton case brings to mind another session that was shelved by Bock. In 1962 a quintet session with Frank Strazzeri and Joe “Mouse” Bonati was discarded. The session was recorded again with Hadley Caliman replacing Bonati. This session was shelved and not released until Michael Cuscuna put together the Carmel Jones Mosaic Select box. Mulligan’s Stringtime session likewise did not see the light of day until it was released on a Mosaic Select box. Jim

Sadly, all too true. The Cy Touff / Richie Kamuca sessions are another example. Jim

Thanks for your kind comment. My work on the Pacific Jazz / World Pacific labelography is progressing well and I should have it wrapped up by the end of the year. http://pacificjazz.blogspot.com/2012/10/pacific-jazz-12-lp-new-pj-series-part.html I have established another blog as a vehicle for various unrelated jazz research interests. It is located at: http://jazzwestcoastresearch.blogspot.com/ Jim

I will have to check but I believe that the UCLA Film Archive has some of the shows that did not make it to commercial release. Sewgments of other Jazz Scene USA shows have appeared on YouTube, some from European members who taped the broadcast when it was shown on their local TV. I just noticed that the YouTube clips of the Teddy Edwards show have all been disabled by YouTube, just about all of that show was available. The entire Barney Kessell show is on YouTube, I hope it is still there when I reach that show in my chronological commentary. Glad you enjoyed the music and the post.

Steve Allen's JAZZ SCENE USA syndication series included twenty-six thirty minute programs that were taped in the spring-summer-fall of 1962. I have established a blog devoted to an examination of each of the twenty-six segments. I am currently up to show #8 - the Harold Land / Red Mitchell Quintet appearance. Their single LP for Atlantic, HEAR YE!!!! HEAR YE!!!!. included eight tunes from the recording session. One of the unissued tunes, FROM THIS MOMENT ON, was performed on the Jazz Scene USA show and I have included it on my blog examination. Interested readers can view the blog at: http://jazzsceneusa.blogspot.com/2012/10/jazz-scene-u_31.html Jim

I want to thank Groove Merchant and others on this forum for suggesting that a PJ/WP labelography was needed. I have embarked on that project and currently have ten entries on my blog covering the label. I have included some history and remarks to add to what might be a dry presentation if it were simply jpegs of labels. The address is: pacificjazz.blogspot.com I am also doing a blog on the Calliope label here: callioperecords.blogspot.com By necessity that blog will include a lot of background on the Stars of Jazz series that was the source for all of the Calliope releases. Jim

Sorry that I missed that thread. I was fortunate back when I was acquiring most of my collection to have unlimited access to Leon Leavitt's warehouse. Leon allowed me to roam the aisles as I searched for variations in PJ/WP releases. Leon had multiple copies of most PJ/WP releases, for instances his Chet Baker shelf ran for about twenty five feet. I gave a presentation on the label at the last LAJI event in May. Here is the slide where I discussed the introduction of the WP logo in the line: /Users/jamesharrod/Desktop/slide.jpg

Where to begin? I believe that the first CD reissue of CHET BAKER & CREW was on the EMI MANHATTAN “Mosaic like” box set, THE PACIFIC JAZZ COLLECTION, where it was part of a double CD set with the other CD being the Mulligan/Konitz sides. There were two other double CD sets in this collection for a total of six CD reissues of Pacific Jazz material. The mastering for this reissue was done by Ron McMaster in 1989 and I believe that all eight tunes from the original tape masters are stereo versions, no bonus tracks were included in this release. To put it in perspective, these were the early years of recording in stereo for Pacific Jazz and most of the time you can ID the piano on the right channel and the drums and bass on the left. One of the earliest stereo sessions for PJ was the Forum session with Kamuca and Touff that was done by Gerry McDonald and those tapes never were released. McDonald night have been involved in these Baker sessions as well, don’t know for certain. Regarding the seven tracks issued on YOUNG CHET: EXTRA MILD Issued on Jazztone 1253 (mono), Crown CLP 5317 (mono), Crown CST 317 (stereo), United US-7805 (stereo), JWC-510 (mono). The last item was titled Jazz West Coast, Volume 4. This album was also issued in the 1000 stereo series as STEREO-1009 and in the 500 series as STEREO-510, but EXTRA MILD was dropped and MUSIC TO DANCE TO inserted in its place as track two on side one. PJ listed this tune incorrectly as MUSIC TO DANCE BY (same mistake repeated on the CD reissue). A NIGHT ON BOP MOUNTAIN Issued on Jazztone 1253 (mono). DOWN Issued on Jazztone 1253 (mono). TABOO Issued on Jazztone 1253 (mono), PACIFIC JAZZ PJ-75 (mono). Both issues used the TABU spelling. I CAN’T GET STARTED Jazz West Coast JWC-505 (mono). IT’S ONLY A PAPER MOON Jazz West Coast JWC-505 (mono). AUTUMN IN NEW YORK Jazz West Coast JWC-506 (mono). Regarding the bonus tracks on the 1993 CD reissue, stereo release for the first time? TO MICKEY’S MEMORY (ALT TAKE) This appears to be the first release. JUMPIN’ OFF A CLEF Crown CST 317 (stereo), United US-7805 (stereo). I use AMADEUS PRO for digital transfers from vinyl and there was little difference between the sound wave profiles, left and right channels. Crown has a reputation for bogus stereo releases. The release on JWC-508 (THE HARD SWING) was mono. CHIPPYIN’ This appears to be the first release. The release on JWC-508 (THE HARD SWING) was mono. PAWNEE JUNCTION Crown CST 317 (stereo), United US-7805 (stereo). MUSIC TO DANCE BY (sic) Stereo 1009 and Stereo-510. LINE FOR LYONS This appears to be the first release. It wasn’t mentioned in this tread, perhaps on a previous post to the group, but the versions of HALEMA on the CD reissues of CHET BAKER & CREW and DEEP IN A DREAM all time at around 3:53. The version on PJ-1224 (mono), WP-1224 (mono), Crown CLP 5317 (mono), Crown CST 317 (stereo) and United US-7805 (stereo) all time at 4:35. The stereo versions, Stereo-1224 and Stereo-1004, are edited with Phil Urso’s solo commencing at around 1:31 into the tune. The longer (full?) version has the ensemble opening continuing to 2:15 where Urso’s solo begins. So it appears that Bock edited HALEMA for the stereo releases on World Pacific but the longer full version was given to Crown/United? Just recently I have been introduced to two new, to me, “ographies” – a solography mentioned in Richard Brody’s blog on Dick Wilson: http://www.newyorker.com/online/blogs/movies/2012/01/mr-wilsons-musical-wonders.html and Daniel A’s reference to Pacific Jazz needing a proper labelography. Would appreciate some recommendations on published labelographies. The idea of a proper Pacific Jazz discography is admirable but the lack of specific data for much of the label’s output would seem to make achieving that an impossibility. I have been sending data to Tom Lord steadily over the years, and leave the task of discography to folks like Tom who devote their full time to such projects. As the timeline for completing the history of the label draws out I am aware of the changing nature of publishing and the increasing popularity of digital books and the possibility of including audio (I have lots of taped interviews, etc.). Publishers are also notorious for restricting photos and illustrations to keep costs down, but electronic media does not pose these same cost restrictions. I would love to have full color reproductions of every PJ/WP album cover included in the book. Exciting times, will have to see what develops. Thanks to Daniel A for brining this topic up on the board. It has been a pleasure to listen to these tracks again.

The Dutch discography journal, Names & Numbers, website includes a cumulative listing of the contents of issues 1 through 56. It can be assessed at www.names-and-numbers.nl. Jim

Mistakes did happen at Pacific Jazz during the early years. The first pressings of MEET MR. GORDON mislabeled MODUS OPERANDI and TWO CAN PLAY. On matrix PJ-422 MODUS OPERANDI is the second track. The flip side, matrix PJ-423, has TWO CAN PLAY on the second track. These were reversed on the first pressing, a label mistake that was corrected on subsequent releases. A similar mix up occurred on the next 10” LP release, Laurindo Almeida Quartet, Volume 2, PJLP-13. The fourth track on matrix PJ-424 is ACERCATE MAS and the third track on the flip side, matrix PJ-425, is INQUIETACAO. The first pressing had these titles reversed, and it was corrected on subsequent releases with revised labels. Another mistake was made on a compilation of Rodgers and Hart tunes on JWC-504. The second track on side two was supposed to a Chet Baker version of ISN’T IT ROMANTIC? The track is actually THE LAMP IS LOW from Chet’s first 10” LP. I have not bothered to acquire addition copies of this release to see if it was remastered as a label change would not correct the problem. So the fledgling company was not immune to mistakes. But one can hope that the artists who appeared on these albums had a vested interest in seeing that their efforts were correctly identified and acknowledged in the liner notes or label credits.