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Adam
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Just came across this while doing research at Library and Archives Canada:
Paul Bley recordings and related records [multiple media]
Hierarchical level: Series
Date: [ca. 1953]-2000.
Reference: R11915-5-7-E, MUS 297, MUS 297/E
Type of material: Photographs, Moving images, Sound recordings, Textual material, Art
Found in: Archives / Collections and Fonds
Item ID number: 210550
https://recherche-collection-search.bac-lac.gc.ca/eng/Home/Record?app=fonandcol&IdNumber=210550Extent: 41 cm of textual records.
7 photographs : b&w ; 20 x 25 cm or smaller.
1 negative : b&w ; 3 x 24 cm.
1 montage : col. ; 42.5 x 28 cm.
524 audio reels (ca. 296 hrs).
19 audio cassettes (ca. 19 hrs 48 min.).
2 videocassettes (ca. 1 hr 52 min.).
Language of material: English
Scope and content:
Show detail
Finding aid:
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(Electronic) Numerical list. The descriptions in this series generally include (where known) the performers, instrumentation, titles, the place and date of the recorded performance, and the generation or stage of the recording. In order to minimize repetition, the names of composers have generally been omitted from the descriptions. A comprehensive listing of the compositions in Bley's recorded repertoire, and their composers, is available in Henk Kluck's discography, Bley Play: The Paul Bley Recordings (Emmen, The Netherlands, 1996). (90: Open)Scope and content:
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Series containing, predominantly, sound and video recordings of live and studio performances by Paul Bley (solo and with other musicians), comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued; also included are related textual and graphic records. Among the sound recordings are: masters, including edited and unedited unmixed masters; safety masters and sub-masters; trial and final assemblies, including assemblies of unmixed masters; master mixes; and unmixed, mixed, and other copies. In the case of sound recordings related to projects issued by IAI and other record labels, many steps of the process between performance and publication are documented (for example, the original recording process, evaluation, selection, editing, titling, composer credits, assembly, mixing, and arrangements for pressing). Many recordings concerning issued projects also contain additional music that was not issued. Bley often made significant annotations on audio reel boxes, such as: his comments on and assessment of the performance, the piano, and technical aspects of the recording; and his subsequent decisions concerning the selection of performances to be issued, editing, assembly, mixing, and titling. Among the related records are: take sheets, track sheets, and other listings of personnel, titles, and other contextual and technical information concerning recorded concerts and studio recording sessions; empty audio reel boxes, and fragments of boxes; notes; sketches of assemblies; correspondence; forms, such as purchase and work orders; photographs; promotional material, including concert posters and programmes; draft liner notes; transcriptions of Bley's recorded solos; and dubs of radio broadcasts featuring Bley recordings. In addition to performances by Bley, some recordings also contain performances by groups that do not include Bley.524 audio reels (ca. 296 hrs) "comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued"!!!
For any record producers who are interested... 🙂
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18 hours ago, HutchFan said:
Those releases are the ones that I'm looking to get too.
I picked up the LPs of Waldron/Lacy, Lateef, and Adderley Poppin' in Paris. That's what i could afford currently. I was standing next to someone at the store (Canterbury Records in Pasadena) who picked up a copy of the Nat King Cole, and another person standing there said "I worked on that; thank you for picking it up." I didn't ask more questions, but there it is. I'll get others on CD someday if I get them.
Tried to play Lateef and my turntable wouldn't work, so more to deal with...
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All the Elemental Releases are coming on CD with a street date of April 26.
https://www.elemental-music.com/71-deluxe-cds-april-26th
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Blue Note just tweeted the news. Such a vitally important person to the music.
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On 2/17/2024 at 5:45 AM, JSngry said:
And Ruth has been the director of the Jazz BAkery in Los Angeles for many a year.
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Here's full info on their site, and the 3 CD set is only $30 from Resonance directly.
https://resonancerecords.org/product/les-mccann-never-a-dull-momentcd/
Also note that the early Nat King Cole box is only $30 for 7 CDs, and $60 for 10 LPs
https://resonancerecords.org/product/nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/
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On 10/30/2023 at 2:54 PM, jazzbo said:
The following Don Byas sessions of 1944-46 are not included in this set as they are under ownership of various parent labels:
Albert Ammons and his Rhythm Kings (Commodore – February 12, 1944)
Coleman Hawkins and his Orchestra (Apollo – February 16 and 22, 1944)
Eddie Heywood and his Orchestra (Signature – May 2, 1944)
Coleman Hawkins and his Sax Ensemble (Keynote – May 24, 1944)
Mary Lou Williams and her Orchestra (Asch – June 5, 1944)
“Hot Lips” Page and his Orchestra (Commodore – September 29, 1944)
Trummy Young and his Orchestra (Signature – December 4, 1944)
Cozy Cole’s Orchestra (Keynote – February 2, 1945)
Esquire All American 1946 Award Winners (RCA Victor–January 10 & 11, 1946)
Dizzy Gillespie and his Orchestra (RCA Victor – February 22, 1946)
Teddy Wilson Octet (Musicraft – August 19, 1946)
Tyree Glenn and his Orchestra/Don Byas and his Orchestra/Peanuts Holland and his Orchestra (Swing – December 4, 1946)A bit interested in breaking this down.
Asch should be under Smithsonian Folkways - that shouldn't have been hard to license.
Commodore, Keynote, Signature - I thought these are all Universal Music Group now, as are Blue Note & Verve, whom Mosaic obviously works with regularly.
RCA Victor should be Sony/BMG
I don't know who controls Musicraft, Swing, and Apollo these days, although most fo the time, the answer seems to be Universal Music Group. 🙂
In other words, I would have thought that they could have included some of those sessions as they are under parent labels with whom they have worked before. Maybe there are other issues, like some labels not wanting to be in a set with other particular labels, or a concern regarding the total number of discs and the cost. All speculation.
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On 2/5/2024 at 6:43 AM, Dan Gould said:
He didn't define "collectors of jazz" but I've been an obsessive collector for 30+ years and never risen above any definition of 'average' income. So right there your presumption that this belief is accurate fails.
And, if jazz is attracting younger people at all you inevitably have a large proportion of less than average means. If younger people only purchase new recordings (or stream them) then perhaps the collectors are all made up of the older, more affluent cohort. But that's not likely.
Generalizations can be accurate with individual cases being exceptions. So the presumption doesn't fail based on your one case, same as my individual case (also not being more well-to-do) doesn't disprove the accuracy of the generalization. And I think it is safe to say that most jazz vinyl collectors skew older and more well-to-do. I would hope that that isn't always the case.
I think your second point has an embedded really important point. Younger, not-wealthy buyers need to see some less expensive releases in order to buy the vinyl, so that there will be a future for jazz. Here in Los Angeles (big city), there are solid crowds for experimental and improvised music (and very small audiences as well), but I don't know if many of those people are looking at buying jazz from the 1940s-80s, and at $30 or $40 a record, they aren't likely to pick any up on a lark.
Limited edition high-cost box sets from New Land (last year's Dorothy Ashby, and now this) aren't really going to be the primary practice of the industry; these are exceptions, and may or may not find enough buyers at that price point. It costs a lot to do all the work for a nice box set - restoration, paying for essays, licensing images & music, pressing records, storage, paying personnel to administer, assembly, shipping etc for a product that will never have mass sales. And their break-even point needs to be somewhere below selling all 1000 copies. I mean, I won't buy it, and they probably won't sell all 1000. Would they sell them all if they priced it at $100? $75? That doesn't seem likely either. Might as well price it high, so they can break even after selling X number (200? 300?)
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Third Man Records brought it out as a Verve By Request, for $40
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More Big Jay McNeeley. His original hit:
And Joe Houston - All Night Long
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me three.
no new ones on their site yet. ad one of these two was not sold out as of yesterday
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For a documentary I'm working on, I'm trying to locate copies of two 45s from J-V-B Records in Detroit in the 1950s, in the hopes of getting high resolution scans of their labels. They are
Aretha Franklin "Never Grow Old"
https://www.discogs.com/master/361484-Aretha-Franklin-Never-Grow-Old-You-Grow-Closer
Kenny Burrell "Kenny's Sound"
https://www.discogs.com/release/14030770-Kenny-Burrell-Four-Sharps-Kennys-Sound-Funny-Valentine
If you have one, please write PM me. Thank you!
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There also were two additional ones available now on their site, plus an offer to subscribe to all the rest. Eleven items total.
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I didn't see anyone knocking old white men, just stating that they are the primary makers & buyers of Mosaic sets.
Then, they tend to die off.
And young people, without kids but with disposable cash, tend to be the biggest buyers. And vinyl has passed CDs in sales in the US now. Honestly, a Shirley Scott set of jazz & funky material on vinyl, pitched to DJs and younger folks, would probably sell just fine.
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That came out 11 years ago? Damn
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Still working with Resonance. He lists various things coming up in the next year on various labels in this article in Variety this week:
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I saw him several times, mainly at Catalina's in LA, but I was also at that Horace Tapscott Tribute show that sidewinder mentioned (well, if it was the same one, at Washington High School, that started as a fundraiser for Tapscott's medical bills, then it was announced that he had passed, then it became a tribute and celebration.)
Sanders at the point I saw him was playing in a way that i could bring non-jazz people to see and they would get totally it (we're talking late 90s, early 2000s). Each set was really a full performance, intensity and beauty, the church with "Creator Has a Master Plan" and a meditative spiritual ending with the circling of the bowl and it making that beautiful tone. The audience would be fully there, totally silent for the note from the bowl and its slow decay. There was an 80th birthday celebration for him last year, and I'm sorry I missed it. I really found his live shows (especially with William Henderson on piano and Alex Blake on bass) to be magical.
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Fabulous film. I've screened it twice at Los Angeles FIlmforum over the years. A few years we showed it at Union Station in downtown LA, and Nathaniel Taylor and Jesse Sharps were both available for the introduction. Taylor has passed away since then. You can watch the intro here:
https://www.youtube.com/watch?v=SV5qJmB-gWY
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The film states that one hour of each day's content was broadcast on a local (public access?) NYC station as it happened. You can see in the film that it was a mix of celluloid and video - you can still see the video noise on the edge of some frames. And you can see one of the video cameras front and center recording at least one performance.
It seemed to me that more celluloid was used in earlier weeks. The still photo that I've seen of that basement shows film reels and video tape reels. They decompose at different rates, but if the basement was cool enough and dry enough, then they can last. Good archives are mainly cool and dry. The celluloid would last longer than the video. I'm pretty amazed at how much video survived. Not sure if any of that is important. But whomever paid for the filming originally would own the rights until someone paid for them. They never say whose basement, oddly. I would have assumed that it was the organizer's, Tony Jackson (?), but if it were his, then I would have thought that they would have said so, and I don't recall that. But lots of old films and home movies live for long periods in basements, attics, closets, and under beds.
I don't care about whether "never before seen" is 100% accurate - that's a sales line. I haven't seen any of it before
I just wish they had included some footage from the last date, with the beauty contest and some acts that I have never heard of.
And I don't understand why they don't have a CD box set all ready to go. Sure it would cost a lot, but it seemed like the audio recording was pretty good. Not even a double disc of selections from the film? That would be affordable, and pretty standard.
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I saw Corky Hale present her self-published auto-biography at Vroman's Books a couple of years ago, and Mike Stoller was there watching his wife. Both still around and doing great at that time.
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I was going to mention the official release of The Connection from Milestone Films, but Mr. Garrett beat me. The folks at Milestone are great, and those discs of Shirley Clarke's films are restored and have lots of extras. The one film they couldn't include is The Cool World, featuring music by Mal Waldron. Frederick Wiseman (the documentary maker) produced that film, owns the rights to it through his own company, Zipporah Films, and wouldn't license it to Milestone. A real shame, because Wiseman won't restore it or put out a decent DVD. Anyway, https://milestonefilms.com/products/the-connection
I think I mentioned this long ago, but the first film series I ever programmed was a Shirley Clarke retrospective in 1998 (she had died a bit before). Freddie Redd was living Los Angeles at the time, and I was able to reach him through Wendy Clarke, Shirley's daughter. We screened The Connection twice, at UCLA and at KAOS Network in Leimert Park. Freddie came to both screenings, answered questions, played a couple of solo numbers after the film. He was really lovely. I saw him another time in LA a couple of years later, and he moved away some time after that.
I'm saddened to hear of his passing. He had a good long life but I think never got the opportunities or recognition that he deserved.
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Sold out. :-(
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I just watched it as well, thanks! Put some notes in the thread about Calliope. Thank you for your insights and your book, James!
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On 3/13/2017 at 8:24 AM, Ken Dryden said:
Well, I think that the label folded quickly, though some of the titles seem to hang around for a good while. I actually saw a sealed copy of the Terry Gibbs LP in the past few days.
These sessions were taken from a television series that evidently aired on the west coast in the 1950s. Too bad the video wasn't preserved as well, as no supporting musicians are listed on any of the LPs.
I just watched this at the UCLA FIlm & TV archive Stars of Jazz was the TV show. There is a new book on the show written by today's guest: Historian James A. Harrod, author of the book Stars of Jazz: A Complete History of the Innovative Television Series, 1956-1958
https://mcfarlandbooks.com/product/stars-of-jazz/
The show excerpts were pretty nice - well shot.
He said that the LPs were basically bootlegs from the TV show tapes. Terry Gibbs saw one and sued, and that led to the label shutting down.
https://www.barnesandnoble.com/w/stars-of-jazz-james-a-harrod/1132194370
Paul Bley
in Artists
Posted
More info from the listing just below. I can't yet locate the detailed finding aid online; that might be on site only. if anyone is in Ottawa...
Bley's daughter died a few years ago.
File MUS 297/E1,97 is subject to access restrictions.
the overall listing says that there is material from roughly 1953 to 2000, but details don't appear online.