I came across...

[Ricko]

We are through with the Armstrong letters,

So there's nothing in the file about why they couldn't or didn't do a deal?

Have you got part 2 knocking about under a pile of other stuff, Chris?

MG

I don't know, MG, I sure as hell saw everything dissolve before my eyes. Everything was so happy in those early letters, but once that "Six Foot Four" copyright came up, they were doomed. And "Six Foot Four" is such a dopey song! I give Avakian credit, though, for trying to beat Glaser at his own game. By March 27, Avakian felt like he was calling Glaser on "his last bluff." He wrote, "Unfortunately I think Joe will save face by cutting Louis' throat; i.e., keeping Louis off Columbia, which is as ridiculous a thing as Glaser ever will have done because I think he knows perfectly well that Louis badly wants to, and should be, with Columbia." But the truth is, Avakian wasn't helping matters regarding "Six Foot Four," which he now wanted Armstrong's name off of completely. Avakian delivered a hard-line stance and rightly dared Glaser to compare what Decca did for Armstrong to what Columbia was doing for Armstrong. However, when Glaser's accountant Dave Gold returned with the Decca/Columbia comparisons, he came back with the information that Armstrong made more money from Decca (because he had a 20 year back catalogue!), and since Glaser cared so much about the bottom line, well, that was one of the final nails in the coffin. Glaser wrote, "Even though you insist we received more from Columbia, the fact remains that comparatively we received considerably more fro Decca., especially on our worldwide distribution" and "I am not interested in any contract with Columbia."

Perhaps realizing he pushed too far, Avakian was backed into a corner. On April 2, he wrote to (Columbia Presidents) Conkling and Liberson, "If we can agree to a compromise on he subject of the 'Faithful Hussar' and 'Six Foot Four' copyrights, there is no further obstacle to making a term contract with Louis Armstrong." But they didn't. At the end of May, Glaser seemed irate about the Newport flap, too, finding out that Avakian was going to take money out of Armstrong's royalties to pay George Wein for the opportunity to record Pops there. Finally, Avakian tried to saving everything by agreeing to publish "Six Foot Four" with International, as Glaser originally wanted, but it was too little, too late. Thus, when Avakian wrote on July 17, "I think we are through, in capital letters and underlined thickly, with Mr. Glaser," that was IT. And it was as the Lewisohn Stadium material recorded July 14 proved to be it. Armstrong was back with Decca by the end of the year.

So I'm sure there's a little more that's missed - some phone calls or fiery in-person chats between Avakian and Glaser - but I think overall, Chris's letters chart the downfall dramatically. I still don't know how to feel about it as I worship everything Armstrong did for Columbia. But that contract would have been an exclusive one for 10 years so no Verve sessions, no Ella, no Oscar Peterson, no Decca Autobiography, no Louis and the Good Book, no Dukes of Dixieland sessions, not even Dolly (though, as I've written before, there would have been an Ellington album but it would have been a reversal: Armstrong in the Ellington trumpet section! The mouth waters...).

I guess we can be thankful for what we have, though as I'll continue to gripe until Sony/Legacy releases more from their vaults such as the Amsterdam concert Chris posted the notes for. I have that complete concert on CD, taken from a recording made directly from the sound system and it's a dynamite night with the prime edition of the band. Yet it'll continue to rot in the vaults until someone over there comes to their senses. Thanks again Chris and if you keep coming across any more scraps, please share them!

Ricky

[Big Beat Steve]

Interesting post, Marcello.

We are through with the Armstrong letters, but the melody lingers on. Here—from the same file—are some editing notes (interesting comments). These 3 pages cover Louis' aforementioned Concertgebouw recordings:

Ohmygawd!

And they say tampering with recordings and copying and editing and splicing is a thing of relatively recent rock music! Were there more than a scant few tunes recorded at that concert that remained totally unchanged vs the actual live recording and where they did not jumble things to and fro??

That said, THANKS CHRIS for sharing all these period items throughout this thread and giving us insights that normal mortals don't ever get! This thread is almost better than some printed and published scrapbooks of the music.

[Christiern]

More Armstrong session notes coming up. In the meantime, bet you didn't know that Ruth Etting died at the age of 8! Amazing how grownup she sounds on those recordings.

[Jim Alfredson]

Ohmygawd!

And they say tampering with recordings and copying and editing and splicing is a thing of relatively recent rock music!

Are you serious? Who are "they"? This has been going on for a long time, in all genres of music (yes, even classical!!!!)

[AllenLowe]

hell yeah - on my last cd I did a little bit of judicious splicing to eliminate a guitar slip on one cut - the result was a musical jump that was physically impossible, though nobody seems to have noticed - I went from the 13th fret to the third fret in an instant - I like to think that everyone marveled at my Django-like technique.

[Christiern]

I was on an audio panel at RCA a few years back and an engineer confessed that he had lifted a Pavarotti note from another label in order to rescue an otherwise acceptable concert recording by the same singer.

[AllenLowe]

hmmm...would be interesting to splice that old clip of Curly (of Moe, Larry, and...) singing opera, into the Pavorotti - wonder if anyone would notice the difference-

Edited December 13, 2008 by AllenLowe

[Ricko]

More gold, Chris! I know that must look like a lot scribbling to many, but I have the surviving session tapes for the Handy album and this is going to make listening to them even more fascinating. Interestingly, Avakian did so much editing and splicing that all that survives on the tapes are all the scraps he DIDN'T use. Thus, sometimes, in the middle of a song, eight bars will mysteriously disappear, meaning that George liked what he heard in those eight bars and used it on the final product. I sometimes dream that Sony will give the Handy album the deluxe treatment they just gave Kind of Blue, possibly in 2014, the 60 year anniversary. Avakian knew something special was happening and let the tapes roll to catch over 30 minutes of rehearsal and alternate takes on both "Loveless Love" and "Long Gone," something that should really be made public instead of enjoyed in private by freaks like me.

If you have any more of these recording notes, Chris, please share them because they might perhaps untangle the mess that is Armstrong's 1955-1956 Columbia period. George recorded so much and seemed interested only in what got released. Even in the series of letters, George made huge errors in that last September memo, saying stuff like he had a "Black and Blue" from Amsterdam (not true) and a "Blueberry Hill" from Chicago (also not true) and that was mere months after those recordings were made. Only in the Milano sheets, the Amsterdam notes and the Handy scrawl is the truth. I, and a few European discographers, might be the only ones left who care, but anything else you have from the period is greatly appreciated. Thanks!

Ricky Riccardi

dippermouth.blogspot.com

[Christiern]

I have modified post #679 by adding two missing pages and rescanning the last two, because they were inadvertently cropped at the top. Page 4 is still missing, I'll have to go through the entire file to see if it simply got misplaced.

In the meantime, I have 5 additional sheets pertaining to this album. Will scan and post as soon as I can—no later than tomorrow.

[marcello]

Thank you, Chris.

[Dan Gould]

Was it the flash or is Michael cultivating the Dr. House/Yassir Arafat method of personal grooming? The contrast between him and his erstwhile boss was pretty big!

[jostber]

That was some party! I'd like to be invited next time!

[ValerieB]

I remember the jazz museum, actually went to a concert there when I was just a wee lad -

i also remember the jazz museum. my ex-father-in-law took me there. i think he was involved with it in some way. he was so very proud of it.

[medjuck]

More gold, Chris! I know that must look like a lot scribbling to many, but I have the surviving session tapes for the Handy album and this is going to make listening to them even more fascinating. Interestingly, Avakian did so much editing and splicing that all that survives on the tapes are all the scraps he DIDN'T use. Thus, sometimes, in the middle of a song, eight bars will mysteriously disappear, meaning that George liked what he heard in those eight bars and used it on the final product. I sometimes dream that Sony will give the Handy album the deluxe treatment they just gave Kind of Blue, possibly in 2014, the 60 year anniversary. Avakian knew something special was happening and let the tapes roll to catch over 30 minutes of rehearsal and alternate takes on both "Loveless Love" and "Long Gone," something that should really be made public instead of enjoyed in private by freaks like me.

If you have any more of these recording notes, Chris, please share them because they might perhaps untangle the mess that is Armstrong's 1955-1956 Columbia period. George recorded so much and seemed interested only in what got released. Even in the series of letters, George made huge errors in that last September memo, saying stuff like he had a "Black and Blue" from Amsterdam (not true) and a "Blueberry Hill" from Chicago (also not true) and that was mere months after those recordings were made. Only in the Milano sheets, the Amsterdam notes and the Handy scrawl is the truth. I, and a few European discographers, might be the only ones left who care, but anything else you have from the period is greatly appreciated. Thanks!

Ricky Riccardi

dippermouth.blogspot.com

As I'm sure you know the original cd release of the Lp was not taken from the Avakian tapes and offers alternate takes. Were they unedited?

[chewy-chew-chew-bean-benitez]

whoa! Hank Jones was there!! what did he have on his mind today?

[Son-of-a-Weizen]

Hank Jones was there!! what did he have on his mind today?

'Chris is pretty handy with that camera....but he can't mix a sour apple martini to save his life'

[ValerieB]

Chris: although occasionally i've perused this thread, yesterday i started from the beginning. took me hours even without reading everything!! enjoyed it very much. i certainly would have stopped if i hadn't! i see my friend, Maxine Gordon, in the picture above. frankly speaking, i'm surprised it's such an almost totally white guest list!! LOL!! were there a total of two black people there?!? looks very fancy.

[Christiern]

Yes, Valerie: Hank Jones and Joe Wilder. That also surprised me—I'm sure the invitation list was different. I didn't recognize Lorraine Gordon. Annie Ross asked me if she was there so I looked around, even asked Dan Morgenstern, Charlie Bourgeoise and George Wein, but they said they hadn't seen her—she probably arrived late.

Anyone recognize the man with the black beard? I wasn't introduced to him. I should point out that Ira's friends include people from the ice hockey world, who would all be unfamiliar to me—not to mention, white.

[ValerieB]

Yes, Valerie: Hank Jones and Joe Wilder. That also surprised me—I'm sure the invitation list was different. I didn't recognize Lorraine Gordon. Annie Ross asked me if she was there so I looked around, even asked Dan Morgenstern, Charlie Bourgeoise and George Wein, but they said they hadn't seen her—she probably arrived late.

Anyone recognize the man with the black beard? I wasn't introduced to him. I should point out that Ira's friends include people from the ice hockey world, who would all be unfamiliar to me—not to mention, white.

i'm sure you'd recognize Lorraine if you saw her, right? Dan, Charlie and George have been in my life (albeit not "intimately"!!) for over 50 years!!!! YIKES!! and i must say, two out of the three are just as sweet as ever!! bet you can guess who isn't always!!

[Christiern]

My guess would not include Dan or Charlie.

[ValerieB]

My guess would not include Dan or Charlie.

i'm pleading the 5th, of course!

[Christiern]

Of course.

[Son-of-a-Weizen]

I should point out that Ira's friends include people from the ice hockey world, who would all be unfamiliar to me—not to mention, white.

You mean like Stan Fischler.....in the gray suit?

[Christiern]

Thanks for the ID, Rolf. Yes, that is his name and he spoke wittily of his long-standing friendship with Ira.

As we see here, Mr. Fischler is quite accomplished as a "hockey maven". While I think I can be forgiven for my ignorance of his sports affiliation, Mr. Fischler's NY Subway expertise should not have eluded me!

[Ricko]

More gold, Chris! I know that must look like a lot scribbling to many, but I have the surviving session tapes for the Handy album and this is going to make listening to them even more fascinating. Interestingly, Avakian did so much editing and splicing that all that survives on the tapes are all the scraps he DIDN'T use. Thus, sometimes, in the middle of a song, eight bars will mysteriously disappear, meaning that George liked what he heard in those eight bars and used it on the final product. I sometimes dream that Sony will give the Handy album the deluxe treatment they just gave Kind of Blue, possibly in 2014, the 60 year anniversary. Avakian knew something special was happening and let the tapes roll to catch over 30 minutes of rehearsal and alternate takes on both "Loveless Love" and "Long Gone," something that should really be made public instead of enjoyed in private by freaks like me.

If you have any more of these recording notes, Chris, please share them because they might perhaps untangle the mess that is Armstrong's 1955-1956 Columbia period. George recorded so much and seemed interested only in what got released. Even in the series of letters, George made huge errors in that last September memo, saying stuff like he had a "Black and Blue" from Amsterdam (not true) and a "Blueberry Hill" from Chicago (also not true) and that was mere months after those recordings were made. Only in the Milano sheets, the Amsterdam notes and the Handy scrawl is the truth. I, and a few European discographers, might be the only ones left who care, but anything else you have from the period is greatly appreciated. Thanks!

Ricky Riccardi

dippermouth.blogspot.com

As I'm sure you know the original cd release of the Lp was not taken from the Avakian tapes and offers alternate takes. Were they unedited?

Sorry for the delay in response but what I have are the raw session tapes from the Handy album, everything that survives, at least. The "alternates" on the 1997 disc are edited from those tapes. Thus, as I wrote, I have over 30 minutes of takes from "Loveless Love" and "Long Gone" from which Avakian edited out the best six or seven minutes for use on the CD. And even 43 years later, Avakian still believed in splicing as the concluding three-chorus rideout on the alternate "Loveless Love" is actually a composite made from two completely different unissued alternates from the session tapes! Wishing everyone a Cool Yule,

Ricky Riccardi

dippermouth.blogspot.com