JamesAHarrod

The latest addition to my Jazz Research blog examines the Art Pepper Discovery sessions. http://jazzwestcoastresearch.blogspot.com/2016/04/art-pepper-discovery-sessions-james-a.html Over the years many discographers have wondered why there were no alternate takes from the first recording session on March 4, 1952. I think that the answer lies with the fact that the session was financed by Robert Scherman using his Skylark Records license. Scherman was a thrifty producer and saving alternate takes was not something he practiced.

Can't add much. The AFM contract lists Fischer, and tune detail. After reducing contract jpeg size to 84kb still getting "file too large" message. Unable to attach. Jim

Getting back to the original inquiry in 2006 (OMG ten years ago) I note some of the history of Robert Scherman's Skylark and Tampa labels in my discussion of the first recordings of the Lighthouse All Stars: http://jazzwestcoastresearch.blogspot.com/2012/11/the-first-lighthouse-all-stars.html and http://jazzwestcoastresearch.blogspot.com/2012/12/the-first-lighthouse-all-stars.html Peter Jacobson, V.S.O.P. Records, acquired the Skylark/Tampa catalogue in 1986 and has sustained a steady reissue program of that material on vinyl initially and now on CD. Peter is working on the CD reissue of some of the Dick Taylor and Bob Tulley sides. He is also preparing the CD reissue of the 10" Tampa 12 LP with the original recording of "Big Boy" along with the Vivien Garry material on that LP.

Barnes and Noble (Nook) has it available this morning at $16.99. I imagine that Amazon will follow and reduce the price to compete with Barnes and Noble's price. I was pleased to see that it is #42 on Amazon's Kindle bestseller list, but this ranking is updated every hour throughout the day.

When Tampa expanded, reissued the catalog in the pink label format, acquired the Mode masters, etc., Scherman was unable to pay his pressing bills. Under California law that property transferred ownership to the pressing plant, Alco Engineering. V.S.O.P. purchased the lot from Alco with the exception of RS 1000 (Tampa TP-20) The Art Pepper Quartet, that was acquired by Laurie Pepper. V.S.O.P. has issued most of what was acquired on vinyl (initially) and now, compact disc.

I went with an ebook as I wanted to keep the color album covers and color photos. A print edition might be in the future, but it will be B&W. I anticipate that some discounting will happen, especially when B&N has the title up, and Amazon is notorious for aggressive discounting.

My history of Herb Kimmel's Jazz:West label has finally reached the marketplace. Die hard Art Pepper fans will find it of interest. Sorry for the shameless promotion. https://store.bookbaby.com/book/JazzWest-Records Jim

The LAJI edition is a CD with an eight page booklet of notes by Ken Poston. I believe that Laurie Pepper's edition is a download only with a pdf. of Ken's notes. Over The Rainbow is the twelfth limited edition CD release by the LAJI. Ken produces these as a fund raiser for the institute and offers them as a member bonus. Annual membership is $50. Here are the details from the tray liner.

Art Pepper and Warne Marsh completists will want to acquire Laurie Pepper’s joint release with the Los Angeles Jazz Institute of rare and unissued Art Pepper sessions. The Pepper/Marsh track is an alternate of AVALON, the master take (Ed Michel’s choice) was issued on the Victor (Japan) Art Pepper With Warne Marsh CD (VDJ-1577) 1986. The release also has previously unissued tracks from Art Pepper Plus Eleven, Gettin’ Together, Smack Up, and Intensity. Laurie Pepper’s version is Antique Art Pepper and the LAJI version is Over The Rainbow - Rare and Unissued Art Pepper 1949-1960. This alternate take of Avalon brings the total timing of music from this session to sixty minutes, music that could have aided the careers of Pepper and Marsh if it had been released back then. John Litweiler gave The Way It Was (6 tracks from the session) a five star review in Down Beat when it was released in 1973.

I have begun final entries to my Pacific Jazz/World Pacific Labelography that will feature front covers and back liners of all of the releases of the company. The first group covers the 1200 series. http://pacificjazz.blogspot.com/2014/09/pjwpstereo-1201-1225-jackets-james-a.html I have also added two blog sites, the first devoted to Liberty’s “Jazz In Hollywood” series (releases connected to Harry Babasin): http://liberty-ljh.blogspot.com/2014/09/blog-post.html The second devoted to Aladdin’s Jazz:West, Intro, and Score releases (releases connected to Herb Kimmel): http://jazz-west.blogspot.com/2014/09/blog-post.html Jim

I have Fantasy 78s 501 through 537 and Fantasy EPs 4001 through 4069. I do not have 540 as a 45 single either.

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