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  1. Here’s clip of Jack playing on this 1962 Frankly Jazz show from YouTube. This is not from the source videotape and appears to be a multigenerational copy. Wilson’s solo starts at 4:07 Great stuff. If UCLA ever publishes their new transfer from the original videotape, it will be a massive upgrade in video and audio quality.
  2. A two-inch original master videotape of Jack Wilson performing on the TV program Frankly Jazz in 1962 was donated to UCLA, transferred to digital and streamed via Zoom in 2021. I have not seen the video. Did anyone see this? It was only a one-time screening! See Gerald Wilson show below. https://www.cinema.ucla.edu/events/2021/05/06/frankly-jazz-three-preserved-episodes May 6, 2021 - 4:00 pm Virtual event Watch on Vimeo This is a one-time live screening. Read Television Archivist Mark Quigley's interview with Lance Evans, son of Frankly Jazz host, co-producer and disc jockey Frank Evans. Premiering on Los Angeles’ KTLA Channel 5 in 1962, the tragically short-lived local television series Frankly Jazzoffered viewers powerhouse live performances by some of the best West Coast jazz musicians of the day. Hosted and co-produced by noted disc jockey Frank Evans (and sharing the eponymous title of his popular L.A. radio show as heard on KRHM-FM), Frankly Jazz took up where Bobby Troup’s Stars of Jazz ABC-TV series left off in 1958—providing a ‘60s-era, new frontier soundtrack to the City of Angels, with stark modern visuals to match. Recorded on black and white videotape from a bare soundstage draped in noir shadows and cigarette smoke, host Evans schooled Saturday evening television audiences on the sacred world of jazz with an unshakable, laid-back cool, effortlessly dropping deep musical knowledge and keeping it real with his hip trademark sign-off, “later.” The Archive presents three episodes of this obscure local music TV series, as preserved from recently acquired, original 2 in. master videotapes featuring legendary artists such as Gerald Wilson, the Jazz Crusaders and Sammy Davis Jr. The performances will be introduced by jazz musician and educator Ray Briggs, Ph.D., Jazz Studies Department Chair for the Pasadena Conservatory of Music, and Assistant Director of Jazz Studies at California State University, Long Beach, where he teaches courses in jazz history and ethnomusicology. Program curated and notes written by Mark Quigley, John H. Mitchell Television Archivist. Preserved by the UCLA Film & Television Archive with funding from the John H. Mitchell Television Preservation Endowment. Frankly Jazz: The Jazz Crusaders and Mary Ann McCall Record date: 8/3/1962 KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Wayne Henderson (trombone), Wilton Felder (reeds), Joe Sample (piano), Victor Gaskin (acoustic double bass), Stix Hooper (drums), Mary Ann McCall (vocals). Frankly Jazz: Gerald Wilson Big Band Record date: 12/5/1962 KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Gerald Wilson (trumpet, leader); Al Porcino, Robert Knight, Jules Chaikin, John Audino, Fred R. Hill (trumpets); John Ewing, Bob Edmondson, Louis Blackburn (trombones); Buddy Collette (flute, alto sax); Joe Maini (alto sax); Teddy Ed-wards, Henry Grant (tenor sa)x; Jack Nimitz (baritone sax); Jack Wilson Jr. (piano); Jimmy Bond (acoustic double bass); Mel Lewis (drums). Frankly Jazz: Sammy Davis, Jr. and Victor Feldman Record date: 10/19/1962 KTLA. Producers: Frank Evans, Gary Markas. Director: Gary Markas. Host: Frank Evans. Musicians: Victor Feldman (vibraphone); Jimmy Rowles (piano); Bob Whitlock (acoustic double bass); Kenny Dennis (drums); Sammy Davis Jr. (vocals). B&w, total program running time: 85 min. Preserved from original 2 in. videotapes. Video transfers at DC Video. Engineering services by David Crosthwait. Special thanks to Greg Lewerke and Stan Lewerke. Musician credits from Jazz on the Screen: A Jazz and Blues Filmography by David Meeker.
  3. I found an original Vault LP. The sound quality blows the bootleg needle drop out of the water. You could speed correct the bootleg, but the bootleg needle drop is so poor sounding it’s not worth it.
  4. There is a 1960s Jack Wilson album on the Vault label called The Jazz Organs. A bootleg label made a needle drop at 45 rpm, instead of 33 rpm, and published it on iTunes and CD. As a consequence of the errant 45 RPM playback speed, the whole bootleg runs fast. The goofy bootleg sounds like The Chipmunks! You have to track down an original, rare Vault LP to hear The Jazz Organs at the correct speed. The Vault stuff has never been properly (legally) reissued from the master tapes. Sad!
  5. I would imagine that the legacy artists that had their tapes destroyed and are just now finding out are not too happy. If they were not informed and Universal was negligent in allowing the fire to happen, it's lawsuit time. I would imagine share holders are not happy either. I wonder if Universal stock will be impacted and what kind of damage control Universal will attempt. I wonder if Universal collected a huge payday from the insurance company for the lost master tapes while concurrently lying to their shareholders and recording artists about the extent of the loss.
  6. I got the impression that a lot of the Impulse source tapes that Cuscuna used for the 1990s and 2000s CD reissues were from LP production master tapes. So they would be at least a generation removed from the session reels. Maybe the session tapes were already gone before the 2008 fire and what burned up were the 2nd gen LP production masters used for the CD reissues?
  7. It's amazing that most of John Coltrane's Impulse master tapes were destroyed by the 2008 fire and it took the media 11 years to call B.S. on Universal's spin job.
  8. I've been posting about this fire for years!! Great to see the NY Times step up to the plate and call out Universal for making false statements to their share holders, artists and consumers.
  9. It's amazing that most of John Coltrane's Impulse master tapes (among those of many other artists) were destroyed by the 2008 fire and it took the media 11 years to call B.S. on Universal's spin job. Think of all the unreleased outtakes and alternates lost to the ages. The Universal CEO back in 2008 said "nothing irreplaceable was lost."
  10. Anyone read this New York Times report published this week about the 2008 Universal Fire? https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html It's titled The Day The Music Burned. Among the incinerated Decca masters were recordings by titanic figures in American music: Louis Armstrong, Duke Ellington, Al Jolson, Bing Crosby, Ella Fitzgerald, Judy Garland. The tape masters for Billie Holiday’s Decca catalog were most likely lost in total. The Decca masters also included recordings by such greats as Louis Jordan and His Tympany Five and Patsy Cline. The fire most likely claimed most of Chuck Berry’s Chess masters and multitrack masters, a body of work that constitutes Berry’s greatest recordings. The destroyed Chess masters encompassed nearly everything else recorded for the label and its subsidiaries, including most of the Chess output of Muddy Waters, Howlin’ Wolf, Willie Dixon, Bo Diddley, Etta James, John Lee Hooker, Buddy Guy and Little Walter. Also very likely lost were master tapes of the first commercially released material by Aretha Franklin, recorded when she was a young teenager performing in the church services of her father, the Rev. C.L. Franklin, who made dozens of albums for Chess and its sublabels. Virtually all of Buddy Holly’s masters were lost in the fire. Most of John Coltrane’s Impulse masters were lost, as were masters for treasured Impulse releases by Ellington, Count Basie, Coleman Hawkins, Dizzy Gillespie, Max Roach, Art Blakey, Sonny Rollins, Charles Mingus, Ornette Coleman, Alice Coltrane, Sun Ra, Albert Ayler, Pharoah Sanders and other jazz greats. Also apparently destroyed were the masters for dozens of canonical hit singles, including Bill Haley and His Comets’ “Rock Around the Clock,” Jackie Brenston and His Delta Cats’ “Rocket 88,” Bo Diddley’s “Bo Diddley/I’m A Man,” Etta James’s “At Last,” the Kingsmen’s “Louie Louie” and the Impressions’ “People Get Ready.” The list of destroyed single and album masters takes in titles by dozens of legendary artists, a genre-spanning who’s who of 20th- and 21st-century popular music. It includes recordings by Benny Goodman, Cab Calloway, the Andrews Sisters, the Ink Spots, the Mills Brothers, Lionel Hampton, Ray Charles, Sister Rosetta Tharpe, Clara Ward, Sammy Davis Jr., Les Paul, Fats Domino, Big Mama Thornton, Burl Ives, the Weavers, Kitty Wells, Ernest Tubb, Lefty Frizzell, Loretta Lynn, George Jones, Merle Haggard, Bobby (Blue) Bland, B.B. King, Ike Turner, the Four Tops, Quincy Jones, Burt Bacharach, Joan Baez, Neil Diamond, Sonny and Cher, the Mamas and the Papas, Joni Mitchell, Captain Beefheart, Cat Stevens, the Carpenters, Gladys Knight and the Pips, Al Green, the Flying Burrito Brothers, Elton John, Lynyrd Skynyrd, Eric Clapton, Jimmy Buffett, the Eagles, Don Henley, Aerosmith, Steely Dan, Iggy Pop, Rufus and Chaka Khan, Barry White, Patti LaBelle, Yoko Ono, Tom Petty and the Heartbreakers, the Police, Sting, George Strait, Steve Earle, R.E.M., Janet Jackson, Eric B. and Rakim, New Edition, Bobby Brown, Guns N’ Roses, Queen Latifah, Mary J. Blige, Sonic Youth, No Doubt, Nine Inch Nails, Snoop Dogg, Nirvana, Soundgarden, Hole, Beck, Sheryl Crow, Tupac Shakur, Eminem, 50 Cent and the Roots.
  11. Finally. Check out this 2019 New York Times report on the 2008 fire. They are kickin' ass and takin' names! https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html
  12. The Moon Mist / Day Dream / Lush Life / Take The A Train medley is phenomenal!
  13. Great job and superb recording! Were any additional Wilson songs or sets recorded beyond what is on the album on iTunes?
  14. I've enjoyed your recording of Jack from the 1987 live gig in Canada. Can you talk about the recording process? Nice stereo mic'ing on the piano. Jack's playing is great. Was it recorded to digital or analog? Multi-track or direct to stereo two track?
  15. Check this out! Looks like Zev Feldman (of Resonance Records) is joining Blue Note. Maybe he can investigate the 1970 Jack Wilson Blue Note live recordings at Memory Lane? https://variety.com/2019/music/news/zev-feldman-blue-note-jazz-don-was-1203101919/ Excerpt below from January 2019 Variety article: Archival Music Producer Zev Feldman, the ‘Jazz Detective,’ Takes on New Blue Note Role (EXCLUSIVE) "The archival record producer who’s picked up the nickname “the Jazz Detective” is going to be putting his gumshoe skills to work for the genre’s most storied label. Zev Feldman, possibly the most widely admired archival producer working in the jazz field today, has a new gig at Blue Note Records, where he’ll work closely with label president Don Was, Variety can exclusively reveal. While the Blue Note vaults have been mined extensively over the last 30 years — with efforts largely directed by Michael Cuscuna, who similarly operated his own catalog label Mosaic Records while serving as a consultant — Feldman will focus on excavating hitherto unreleased music by Blue Note artists. The first fruits of Feldman’s detective work for Blue Note have yet to be announced, but they’ll dovetail neatly with an extensive 80th anniversary catalog campaign for the label, which kicks off in February with high-end audiophile reissues of titles by Wayne Shorter and Chick Corea, overseen by producer Joe “Tone Poet” Harley. “I have a whole list of projects I’m preparing for them right now,” Feldman says. “We’re just getting started here. I met with Don and Justin just before the break, and I had a list of 21 or 22 different projects. … I wanted to land on my feet running."
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