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Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Herman Leonard's Stolen Moments June 6,7,8
Volume 36 • Issue 6 June 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. azz musicians perpetually quest for that transcendent instant when thought becomes Herman Leonard’s Jsound, when four minds (or 14) become one, when all the elements — melody, harmony, rhythm, tone color, the club and the audience — conspire toward ineffable Stolen Moments brilliance, when in the words of David Amram, “It’s as if the music were coming from By Jim Gerard | Photos by Herman Leonard somewhere through you and out the end of your horn.1” continued on page 10 Ella Fitzgerald singing to Duke Ellington and Benny Goodman, NYC, 1949, ELF03. © Herman Leonard Photography, LLC 1. Amram, Vibrations (Macmillan, 1968) ARTICLES Caught in the Act . 42 in this issue: Classic Stine. 9 Brubeck at NJPAC . 43 NEW JERSEY JAZZ SOCIETY Crow’s Nest . 9 M. Maggart/M.C. Haran . 44 Pres Sez/NJJS Calendar Big Band in the Sky . 16 Film: Anita O’Day. 46 Get with Jazzfest! & Bulletin Board. 2 Lang Remembers Ozzie Cadena . 18 Book: Gypsy Jazz . 47 Complete The Mail Bag/Jazz Trivia. 4 Talking Jazz: Les Paul . 20 Film: Tal Farlow . 48 schedule p 50 June 6,7,8 Editor’s Pick/Deadlines/NJJS Info. 6 Yours for a Song . 32 EVENTS Music Committee . 8 Noteworthy . 33 Newark Museum Jazz in the Garden . 49 New Members/About NJJS/ Jazz U: College Jazz . 34 ’Round Jersey: Morris, Ocean . 52 Jazzfest facts, Membership Info . 51 Cape May Jazz Festival . 37 Institute of Jazz Studies/ REVIEWS Jazz from Archives . -
Cash Box , Music Page 30 April 18, 1959
"the Cash Box , Music Page 30 April 18, 1959 A.R.M.A.D.A RECORD MFRS. Officers: Record President: E. G. Abner Jr. Vee-Jay Records and Chicago Rumblings mm. Vice Pres. Sam Phillips lllllllllllllllllllllllllllllilllillllllllllllllllllllllllllllllllllllli Urgent need for an industry-wide organization to Sun Records Memphis, Tenn. (Continued from page 28) deal with the ever-increasing problems of record singer Gina Lombardi doing deejay appearances in Southern California to Secretary promote her Mark 56 waxing, “Wishing” b/w “Dancing Teenage Style.” . manufacturers and distributors prompted the Nelson Verbit Don Ralke’s ork, just completing Tab Hunter’s Warner Bros. LP “When I Marnel Dist. formation in July, 1958, of the Philadelphia Fall In Love,” is skedded to back Dennis Weaver (Chester of “Gunsmoke”) in his initial platter for Fess Parker’s Cascade label. The Count Basie Treasurer band closing a 2-week stint at Las Vegas’ Flamingo and doing SRO biz. American Harry Schwartz Jazz pianist Errol Garner back in New York and working on several new Record Manufacturers Schwartz Bros. Dist. compositions prior to resuming his concert activities 4/25. Chatton Dis- Washington, D. C. tributing informs that “Side Saddle,” by the John Buzon Trio on Liberty, in . and Distributors’ Association Legal Counsel is causing a lot of excitement among the DJ’s the Bay Area Keen Roy Scott Records artist, Sam Cooke, pacted to a personal man- agement agreement with Jess Rand. Jimmy Since that time, A.R.M.A.D.A.'s officers and board Memphis, Tenn. Boyd returning to the recording field under contract Board of Directors: of directors, acting on the mandate of fellow to MGM Records with his first four sides, all rock- Al Schulman and-roll, out this week in Hollywood. -
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band. -
Down to Business: Herman Lubinsky and the Postwar Music Industry
Journal of Jazz Studies vol. 10, no. 1, pp. 1-24 (Summer 2014) Down to Business: Herman Lubinsky and the Postwar Music Industry Robert Cherry and Jennifer Griffith The historical record has emphasized how black performers were treated unfairly by the men who dominated the postwar music industry. Managers and venue operators, we are told, fell into dubious practices and the most contentious figures were the Jewish owners of independent record companies that sprang up in the 1940s. Accounts suggest that for several decades most artists relied on any owner who was willing to record them. In addition, the ubiquity of artists’ drug addiction between the 1940s and 1970s has influenced studies of artist-owner relationships. It has prompted a deserved historical sympathy for the artists and, unfortunately, negative views of owners who were often perceived to take advantage of their vulnerability. Consequently, record company owners were in a position to exploit artists and only a few Jewish owners have escaped claims of unfair practices towards the black artists they recorded.1 In this article, we explore testimonies and written accounts of critics and biographers to show how contradictory and inconclusive evidence has led to simplistic notions of exploitive business practices. In particular, we explore the harsh negative assessment of Herman Lubinsky, owner of Savoy Records. Most importantly, we demonstrate that record owner practices were substantially affected by changes in conditions of the jazz market between 1930 and 1960. Judging the level -
The Impact and Iconography of Album Cover Art on Black Gospel Music During the Golden Age
ABSTRACT Finding Harvey – The Impact and Iconography of Album Cover Art on Black Gospel Music during the Golden Age Robert Rogers, M.A. Mentor: Robert Darden III, M.J. At a critical time for gospel, and at a critical time for the history of recorded gospel music, one of the most influential gospel record company’s decision to break away from conventional album packaging and unleash brilliant, vibrant strokes of “Sunday School surrealism” helped Savoy continue to further its position of influence and dominance in the world of recorded gospel music, and inadvertently created the mystique and mystery of an artist named Harvey. This article will explore Harvey’s bold and vibrant use of colors and symbols that caught the eye of potential record buyers and, years later, continues to capture the attention of gospel fans and artists alike. In the process, this thesis will attempt to evaluate the impact of the painted covers by the artist Harvey on the gospel music industry. It will also reveal the long-thought lost identity of Harvey, based on art school records, art sales, interviews with family members, gospel historians, and art experts. Finding Harvey - The Impact and Iconography of Album Cover Art on Black Gospel Music during the Golden Age by Robert Rogers, B.J. A Thesis Approved by the Department of American Studies Mia Moody-Ramirez, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Robert Darden, M.J., Chairperson Elizabeth Bates, Ph.D. -
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VI\0901ZV~ VN313 8!lqnd UB8!J8WV 8~l pUB O! PB~ AIJBj The Listener's Voice The Listener's Voice Early Radio and the American Public ELENA RAZLOGOVA PENN UNIVERSITY OF PENNSYLVANIA PRESS PHILAD LPHIA " Copyright 2011 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission (rom the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104-4112 www.upenn.eduipennpress Printed in the United States of America on acid-free paper 10 9 8 6 5 4 3 2 1 A Cataloging-in-Publication record is available from the Library of Congress ISBN 978-0-8122·4320-8 10(J)0 I)OUlJUI U! PUt) s:juJ)t)d lUi )0:::1 Contents Preface: The Moral Economy of American Broadcasting At Ringside 11 2 Jumping the Waves 33 3 Voice of the Listener 55 4 Listeners Write the Scripts 75 5 Measuring Culture 98 6 Gang Busters U5 7 Vox Jox 132 Epilogue 152 List of Abbreviations 160 Notes 163 Index 209 Acknowledgments 215 Preface The Moral Economy of American Broadcasting When Gang Busters came on the air Kanny Roy was packing her grand daughter's suitcase. It was nine oclock in the evening in September of 1942. It did not take her long to realize that the story concerned her son. Twelve years previously, she sold dresses at a ready-to-wear shop in Cedar Rapids, Iowa, her husband ran electric trains at a foundry, and her son, Virgil Harris, processed corn at a starch factory. -
05 – Spinning the Record
IV. THE GOLDEN AGE Expanding horizons, shrinking the world It may come as a surprise for many to think of the era 1940-1956 as the Golden Age of art music recording. After all, throughout most of this period the primary sound carrier was still the 78-rpm record with all its limitations, not least of which was a narrow bandwidth and attendant surface noise, to say nothing of its short playing time and a breakability factor which became even worse after World War II. Yet from a musical standpoint, there was so much going on, most of it captured on discs for posterity, that one could have realistically lived their entire musical lives during this period and been extremely happy. At the beginning of this period, for instance, one could still hear the great idiosyncratic classical performers of the previous era, in person, on radio and/or on records, among them Mengelberg, Huberman, Schnabel, Kreisler, Furtwängler, Cortot and Thibaud; the great modern-style innovators such as Kipnis, McCormack, Schiøtz, Menuhin, Heifetz, Feuermann, Toscanini, Fritz Reiner, Szigeti, Gieseking and Rubinstein; and, at the other end of the era, such startlingly innovative musicians as Glenn Gould, Guido Cantelli, Maria Callas, Tito Gobbi, Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Claudio Arrau, Gyorgy Cziffra, Dmitri Mitropoulos, Robert Craft, Dinu Lipatti, David Oistrakh, Charles Munch, Noah Greenberg and Ginette Neveu. Some- where or other in the world, you could hear Igor Stravinsky, Darius Milhaud, Richard Strauss, Francis Poulenc or Benjamin Britten performing their own music. As for the jazz and folk worlds, they were even more historical and exciting. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JIMMY SCOTT NEA Jazz Master (2007) Interviewee: Jimmy Scott (July 17, 1925 – June 12, 2014) Interviewer: David Ritz with recording engineer Ken Kimery Date: September 23-24, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 66 pp. Ritz: My name is David Ritz. It’s September 23rd, 2008. We’re in Las Vegas, Nevada, in the beautiful home of Jeannie and Jimmy Scott. Jimmy, do want to say your name? Is that what you want? Kimery: Name, birth date, . Ritz: Please give your name and your birth date. Scott: Fortunately or unfortunately . Ritz: As the case may be. Scott: . I was born July 17, 1925, which makes me 83 years old this present day, but I’m grateful, because so many that I know have gone and passed on. I’m fortunate to be here. Ritz: Jimmy, let me start by asking you – I know this is a hard question to answer – but what was the first time you remember hearing music? What was the first piece of music, the first little inklings of music you heard when you were a little kid? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Scott: There I said it again. I guess I must have been about 10 years old, and I got attached to that song. There I said it again. I’m trying to remember who the featured singer was. -
Gelder, Remastering Engineer. Mature Artist. Before His Next Savoy Sure
breathy role here. The brass is muted, recorded in the William Henry apart- friends on Guild (later reissued on and the song features a relaxed im- ment building, New York, N.Y., in Musicraft and now part of the Prestige - provisational line. A good guitar solo 1950.] Zim 1006. Fantasy- Milestone catalog). From there appears here, too. on it grows. All the familiar favorites This is not primarily a flute album, Performance: Late Bird -still are there ( "Ko Ko," "Donna Lee," and some of Horn's old fans might be wondrous and wise "Now's The Time," "Parker's Mood "), disappointed because of that. The Recording: Primitive, but at least it along with their alternate takes and un- gives us the hint of genius finished masters. Interestingly enough, only "Klaunstance" is a one -take job. To begin with a well -known and ob- The other selection with only one vious fact, Charlie Parker was a master, "Warming Up A Riff," is really creative and innovative jazz genius, an out -take on the chords of "Cherokee" perhaps the last we'll ever hear of that which finally ended up as "Ko Ko," a breed. That's quite a statement coming Parker classic. The illustrated booklet from a writer who followed Parker is full of data, details and anecdotes as around Chicago in the late '40s trying to well as a revealing interview with Ted- figure out the new jazz but totally dy Reig to whom we all owe more than unable to comprehend it. I think it's we can pay for recording Bird in the -because of my bad habit of attempting first place. -
Those Studio Musicians Were Moving Like Chess Mirrored the Changing Times Chess Sessions from 1955 to 1960
NON P E I F 0 R E N S Ralph B ass BY HARRY W E I N G E R /ALPH BASS WAS A CO-CREATOR of some of the indisputable landmarks of rock & roll: producer of and/or witness to “Call It Stormy Monday” (T-Bone Walker), “Sixty-Minute Man” (the Dominoes), “Sleep” (Earl Bostic), “Work With Me, Annie” (Hank Ballard & the Midnighters), “Please Please Please” (James Brown), and so many more. His life spans five decades of music and stints with such pioneering indie labels as Black & White, Savoy, King, and Chess. Yet for all of the artists he nurtured and the labels he Flushed with this sudden success, Bass launched his toiled for, a Ralph Bass production was almost invisible. He own Bop label. His most famous date was a two-part live sax inspired seemingly effortless performances from his vocalists battle between Dexter Gordon and Wardell Gray titled “The and musicians in which the overriding Chase” and “The Hunt.” Bass later concern was for pure feeling, “I didn’t RALPH BASS founded Portrait Records and captured give a shit about technique,” he says to PICKS SIX significant performances by Errol Gamer. day. “To hell with bad notes. They had to Bass found his first consistent suc T-Bone Walker, Call It Stormy Monday feel it. I had to feel it.” (1947, Black & White, #5 R&B) cess with Herman Lubinsky’s Savoy Part Italian, part Jew, all hipster-hus “A landmark, and I was no longer andvice. It gave me Records from 1948 to 1951. -
L U V I I L X U T L / .. . Boni Billiard Penniman December 25Th, 1932 Or
La Verne Baker lU viilX U tl/ .. Boni Billiard Penniman December 25th, 1932 or 1935 Macon, Georgia Richard Penniman wasn’t exactly on top of the 14th, 1955. Art Rnpe of Specialty had been attracted world when he sent a demo tape to Art Rupe of Spe by the hard edges of little Richard’s voice, -which he cialty Records in Los Angeles. He’d had his share of thought would jibe well with a New Orleans R&B breaks, but none of his rhythm and blues sides had sound. He paired Pemriman with a rhythm section at captured the public’s imagination in a lag way or re a session supervised by producer Bumps Blackwell. vealed any of the gleefully uninhibited vocal style that What resulted was no more startling than any of little would become his trademark. In 1951, as a teenager Richard’s previous recordings, except for one song, with gospel training and church-sponsored piano les “Tutti Frutti,” a knockoff number with obscene lyrics sor» behind him — not to mention the wealth of expe that had been cleaned up for the occasion by New Or rience that conies from bring thrown out of your own leans lyricist Dorothy La Bostrie. Released as a single family’s home at age thirteen — Little Richard won an two weeks later, “Tutti Frutti” was called a “cleverly RCA contract at an audition sponsored by Atlanta ra styled novelty with nonsense words, rapid-fire deliv dio station WGST. From RCA, he moved to Houston ery” by Billboard. It sold 500,000 copies, and little in 1952 and joined Don Robey’s Peacock label.