JamesAHarrod

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

Q: And these are actual alternate takes of the Perkins/Lewis/Etc, not edited versions of the album cuts? Yes.

Q: Is there any documentation of alternates used for Curtis Amy, Carmell Jones, Clifford Scott or Charles Kynard 45s? The alternates seem to be confined to the earlier releases from 1952-1955. I have not found any alternates on later sessions with the artists mentioned above. Q: Details please - re Alternate takes from the John Lewis / Bill Perkins 2º East 3º West session were issued on European EP releases. Love Me or Leave Me and Almost Like Being In Love on UK (Vogue) EPV 1239 and World Pacific EP4-55 (ton-treu schallplatten) Q: If there's an alternate of "Almost Like Being In Love" ...I need to hear that for personal reasons. I will do a write up of some of these alternates on my jazz research blog, include audio samples of the alternates, might not get to this until next year. Q: Yes!!! I wonder why Cuscuna did not include them on the CD reissue of that fine album ... I guess he had no idea. I told Michael about them after I confirmed them, but there was no further reissue planned at that time. He did include alternates on the reissue of the Clifford Brown Ensemble reissue, the second RVG CD reissue. Q: Who distributed Pacific Jazz in LA in the 1950s-'60s? Lester Koenig was part-owner of an LA record distributor and I wonder if 1 or 2 outfits handled all the small jazz labels then. Les Koenig established California Record Distributors in Los Angeles in the early 1950s. Jack Lewerke managed California Record Distributors until he left that position to head up Interdisc in Europe.

Work on the history of the Pacific jazz / World Pacific label is ongoing. No end date in sight at the moment. The plunge into the blogosphere has added another dimension as the subjects of the blogs are directly and tangentially tied to the Pacific Jazz history. Getting back to Bock’s bad habits, he was interviewed at length by Will Thornbury. In one interview segment Bock offered that he found the typical practice of allowing all musicians solo space on a tune to be repetitive and predictable, and thus he would edit out the bass solo, or the second solo by the leader, or the trading of fours with the drummer so that the timing differed on the finished product. No mention was made of doing these edits on a copy of the master, or regarding the master tape as inviolable. Alternate takes were often used on 78 and 45 releases, many of these have been documented over the years. Alternate takes from the John Lewis / Bill Perkins 2º East 3º West session were issued on European EP releases. The Eric Dolphy / Chico Hamilton case brings to mind another session that was shelved by Bock. In 1962 a quintet session with Frank Strazzeri and Joe “Mouse” Bonati was discarded. The session was recorded again with Hadley Caliman replacing Bonati. This session was shelved and not released until Michael Cuscuna put together the Carmel Jones Mosaic Select box. Mulligan’s Stringtime session likewise did not see the light of day until it was released on a Mosaic Select box. Jim

Sadly, all too true. The Cy Touff / Richie Kamuca sessions are another example. Jim

Thanks for your kind comment. My work on the Pacific Jazz / World Pacific labelography is progressing well and I should have it wrapped up by the end of the year. http://pacificjazz.blogspot.com/2012/10/pacific-jazz-12-lp-new-pj-series-part.html I have established another blog as a vehicle for various unrelated jazz research interests. It is located at: http://jazzwestcoastresearch.blogspot.com/ Jim

I will have to check but I believe that the UCLA Film Archive has some of the shows that did not make it to commercial release. Sewgments of other Jazz Scene USA shows have appeared on YouTube, some from European members who taped the broadcast when it was shown on their local TV. I just noticed that the YouTube clips of the Teddy Edwards show have all been disabled by YouTube, just about all of that show was available. The entire Barney Kessell show is on YouTube, I hope it is still there when I reach that show in my chronological commentary. Glad you enjoyed the music and the post.

Steve Allen's JAZZ SCENE USA syndication series included twenty-six thirty minute programs that were taped in the spring-summer-fall of 1962. I have established a blog devoted to an examination of each of the twenty-six segments. I am currently up to show #8 - the Harold Land / Red Mitchell Quintet appearance. Their single LP for Atlantic, HEAR YE!!!! HEAR YE!!!!. included eight tunes from the recording session. One of the unissued tunes, FROM THIS MOMENT ON, was performed on the Jazz Scene USA show and I have included it on my blog examination. Interested readers can view the blog at: http://jazzsceneusa.blogspot.com/2012/10/jazz-scene-u_31.html Jim

I want to thank Groove Merchant and others on this forum for suggesting that a PJ/WP labelography was needed. I have embarked on that project and currently have ten entries on my blog covering the label. I have included some history and remarks to add to what might be a dry presentation if it were simply jpegs of labels. The address is: pacificjazz.blogspot.com I am also doing a blog on the Calliope label here: callioperecords.blogspot.com By necessity that blog will include a lot of background on the Stars of Jazz series that was the source for all of the Calliope releases. Jim

Sorry that I missed that thread. I was fortunate back when I was acquiring most of my collection to have unlimited access to Leon Leavitt's warehouse. Leon allowed me to roam the aisles as I searched for variations in PJ/WP releases. Leon had multiple copies of most PJ/WP releases, for instances his Chet Baker shelf ran for about twenty five feet. I gave a presentation on the label at the last LAJI event in May. Here is the slide where I discussed the introduction of the WP logo in the line: /Users/jamesharrod/Desktop/slide.jpg

Where to begin? I believe that the first CD reissue of CHET BAKER & CREW was on the EMI MANHATTAN “Mosaic like” box set, THE PACIFIC JAZZ COLLECTION, where it was part of a double CD set with the other CD being the Mulligan/Konitz sides. There were two other double CD sets in this collection for a total of six CD reissues of Pacific Jazz material. The mastering for this reissue was done by Ron McMaster in 1989 and I believe that all eight tunes from the original tape masters are stereo versions, no bonus tracks were included in this release. To put it in perspective, these were the early years of recording in stereo for Pacific Jazz and most of the time you can ID the piano on the right channel and the drums and bass on the left. One of the earliest stereo sessions for PJ was the Forum session with Kamuca and Touff that was done by Gerry McDonald and those tapes never were released. McDonald night have been involved in these Baker sessions as well, don’t know for certain. Regarding the seven tracks issued on YOUNG CHET: EXTRA MILD Issued on Jazztone 1253 (mono), Crown CLP 5317 (mono), Crown CST 317 (stereo), United US-7805 (stereo), JWC-510 (mono). The last item was titled Jazz West Coast, Volume 4. This album was also issued in the 1000 stereo series as STEREO-1009 and in the 500 series as STEREO-510, but EXTRA MILD was dropped and MUSIC TO DANCE TO inserted in its place as track two on side one. PJ listed this tune incorrectly as MUSIC TO DANCE BY (same mistake repeated on the CD reissue). A NIGHT ON BOP MOUNTAIN Issued on Jazztone 1253 (mono). DOWN Issued on Jazztone 1253 (mono). TABOO Issued on Jazztone 1253 (mono), PACIFIC JAZZ PJ-75 (mono). Both issues used the TABU spelling. I CAN’T GET STARTED Jazz West Coast JWC-505 (mono). IT’S ONLY A PAPER MOON Jazz West Coast JWC-505 (mono). AUTUMN IN NEW YORK Jazz West Coast JWC-506 (mono). Regarding the bonus tracks on the 1993 CD reissue, stereo release for the first time? TO MICKEY’S MEMORY (ALT TAKE) This appears to be the first release. JUMPIN’ OFF A CLEF Crown CST 317 (stereo), United US-7805 (stereo). I use AMADEUS PRO for digital transfers from vinyl and there was little difference between the sound wave profiles, left and right channels. Crown has a reputation for bogus stereo releases. The release on JWC-508 (THE HARD SWING) was mono. CHIPPYIN’ This appears to be the first release. The release on JWC-508 (THE HARD SWING) was mono. PAWNEE JUNCTION Crown CST 317 (stereo), United US-7805 (stereo). MUSIC TO DANCE BY (sic) Stereo 1009 and Stereo-510. LINE FOR LYONS This appears to be the first release. It wasn’t mentioned in this tread, perhaps on a previous post to the group, but the versions of HALEMA on the CD reissues of CHET BAKER & CREW and DEEP IN A DREAM all time at around 3:53. The version on PJ-1224 (mono), WP-1224 (mono), Crown CLP 5317 (mono), Crown CST 317 (stereo) and United US-7805 (stereo) all time at 4:35. The stereo versions, Stereo-1224 and Stereo-1004, are edited with Phil Urso’s solo commencing at around 1:31 into the tune. The longer (full?) version has the ensemble opening continuing to 2:15 where Urso’s solo begins. So it appears that Bock edited HALEMA for the stereo releases on World Pacific but the longer full version was given to Crown/United? Just recently I have been introduced to two new, to me, “ographies” – a solography mentioned in Richard Brody’s blog on Dick Wilson: http://www.newyorker.com/online/blogs/movies/2012/01/mr-wilsons-musical-wonders.html and Daniel A’s reference to Pacific Jazz needing a proper labelography. Would appreciate some recommendations on published labelographies. The idea of a proper Pacific Jazz discography is admirable but the lack of specific data for much of the label’s output would seem to make achieving that an impossibility. I have been sending data to Tom Lord steadily over the years, and leave the task of discography to folks like Tom who devote their full time to such projects. As the timeline for completing the history of the label draws out I am aware of the changing nature of publishing and the increasing popularity of digital books and the possibility of including audio (I have lots of taped interviews, etc.). Publishers are also notorious for restricting photos and illustrations to keep costs down, but electronic media does not pose these same cost restrictions. I would love to have full color reproductions of every PJ/WP album cover included in the book. Exciting times, will have to see what develops. Thanks to Daniel A for brining this topic up on the board. It has been a pleasure to listen to these tracks again.

The Dutch discography journal, Names & Numbers, website includes a cumulative listing of the contents of issues 1 through 56. It can be assessed at www.names-and-numbers.nl. Jim

Mistakes did happen at Pacific Jazz during the early years. The first pressings of MEET MR. GORDON mislabeled MODUS OPERANDI and TWO CAN PLAY. On matrix PJ-422 MODUS OPERANDI is the second track. The flip side, matrix PJ-423, has TWO CAN PLAY on the second track. These were reversed on the first pressing, a label mistake that was corrected on subsequent releases. A similar mix up occurred on the next 10” LP release, Laurindo Almeida Quartet, Volume 2, PJLP-13. The fourth track on matrix PJ-424 is ACERCATE MAS and the third track on the flip side, matrix PJ-425, is INQUIETACAO. The first pressing had these titles reversed, and it was corrected on subsequent releases with revised labels. Another mistake was made on a compilation of Rodgers and Hart tunes on JWC-504. The second track on side two was supposed to a Chet Baker version of ISN’T IT ROMANTIC? The track is actually THE LAMP IS LOW from Chet’s first 10” LP. I have not bothered to acquire addition copies of this release to see if it was remastered as a label change would not correct the problem. So the fledgling company was not immune to mistakes. But one can hope that the artists who appeared on these albums had a vested interest in seeing that their efforts were correctly identified and acknowledged in the liner notes or label credits.

James, as I mentioned above, Lerfeldt and Sjogren show the two instrumental takes as being recorded at the October 27, 1953 session with Mondragon and Manne. Since they appear to have been right about the vocal version being recorded at the Feb. 15, 1954 session, I wonder if they shouldn't be trusted about the correct date of the instrumental versions also. According to Lerfeldt and Sjogren, the October 3, 1953 session (with Carson Smith and Larry Bunker) included these tunes (no TTIG): No ties Band aid Bea's flat All the things you are Moon love Happy little sunbeam Happy little sunbeam (alt take) Lerfeldt and Sjøgren (1985) indeed do not show TTIG (instrumental version) in their listing for October 3, 1953 (pages 7 & 8). They do list TTIG (vocal version) in their listing for February 15, 1954 (pages 9 & 10). Thorbjørn Sjøgren’s hardbound discography (1993) does list TTIG (instrumental version) in his entry for the October 3, 1953 session (page 28). His listing for TTIG (vocal version) on page 29 lists it with the October 27, 1953 session that had Mondragon and Manne. Once again I cite the source material liner notes on the backs of the original albums that clearly identify Carson Smith and Bob Neel backing Chet and Russ on the vocal version, and Carson Smith and Larry Bunker on the instrumental versions. We can only guess why Sjøgren changed the placement of the recording date for the vocal version that was February 15, 1954 in the first paperback edition with Lerfeldt to October 27, 1953 in his solo revision in 1993?

One of my favourites is the Baker/Twardzik Barclay session(s) recorded in Paris (Oct 55) - these were leased by Pacific Jazz & most titles released on the PJ LP Chet Baker In Europe (1218) Universal France released this in 2003 in its original cover design; it's also in the big Baker Barclay box (excuse the alliteration) IMHO any of the Baker/Twardzik recordings (live or studio) are worth picking up CB/DT - The Lost Holland Concert - RLR 88621 CB/DT - Koln Concert - RLR 88618 CB/DT - Indian Summer - Dutch Jazz Archives 901665 Lars Gullin featuring CB - Vol. 1 (55/56) - Dragon 224 regarding the "The Thrill Is Gone" confusion, I've sent an email to James Harrod who is currently in the process of writing a book on the PJ label. I tend to go along with original source material as the best information. The liner notes for PJLP-6 (10" instrumental version) and WP-1249 (12" instrumental version) of TTIG both credit Carson Smith and Larry Bunker. Thus the information listed in the Mosaic set was in error and Michael corrected this when he reissued the material in the WCC series where he lists the date as October 3, 1953. Similarly the liner notes for TTIG vocal version on PJLP-11 credit Carson Smith and Bob Neel and PJ-1222 also credits these two with a date, February 15, 1954. Let's Get Lost - The Best of Chet Baker Sings (CDP 7 92932 2 issued in 1989) that listed the wrong date has been corrected on recent Japanese reissues of the vocal version, TOCJ-5951 and TOCJ-6111 both list the February 15, 1954 date. A correction: Stephen has just pointed out to me that the Mosaic set does list the correct date for the instrumental versions of TTIG. I looked at the LP Mosaic set and should have checked the CD set as well that has an errata sheet listing the 10” and 12” versions (although the LP set does list the 10” version and correct date – apologies to MC). A bit too hasty in my response.

The current President of IAJRC, Geoffrey Wheeler, wrote a history of Jazztone, JAZZ BY MAIL, published by the Hillbrook Press. I believe copies are still available directly from Wheeler who can be contacted at: dialjazz@verizon.net Paul Bacon designed the cover of the book, and my copy is signed by Bacon. Jim

This was a journal focusing on discography. The Institute of Jazz Studies at Rutgers has copies. Jim

I believe that the asterisk (*) beside the three tunes in the liner note on the LP is tied to the public performance clearance ASCAP BMI (*). Bob Weir's Teddy Edwards Discography also attributes all of the arrangements to Teddy Edwards. A footnote states that Mark Gardner was present at the 13 September 1967 session and reported in Discographical Forum No. 23, March 1971, that up to seven takes were recorded on some tunes, many of them complete. Those tunes were: KANSAS CITY, I LOST MY SUGAR IN SALT LAKE CITY and EAST DALLAS SPECIAL. None of these appear as alternates on the CD reissue. Ervin's earlier session for Pacific Jazz, STRUCTURALLY SOUND (PJ-10119 - ST-20119), was reissued on CD in 2001 on the Blue Note label imprint as part of the Connoisseur CD Series with four previously unissued bonus tracks. Jim

Hello, I am looking for issues of Jazz Hot to complete my collection in certain years. Have some early issues of Jazz Magazine (France) to sell or trade. Also interested in the following French jazz journals: Jazz News, Hot-Jazz, and La Revue Du Jazz. Please get in touch off list: jaharrod at cox dot com. Thanks, Jim

Here are the details for the next Los Angeles Jazz Institute presentation over the Memorial Day Weekend. Regular attendees should note that the festival will now be headquartered at the Los Angeles Airport Marriott, NOT the Four Points Sheraton. The new (temporary) phone number for tickets and information is: (562) 200-5477. The new brochure is at the printer and will be in the mail by the end of the month. I am forwarding this information to the Kenton list, the JWC list and the Organissimo Jazz Forum. Apologies to those of you belonging to all of the above for duplication. East Coast Sounds Out of the Cool and Into the Hot Los Angeles Airport Marriott May 27-30 2010 Thursday, May 27 10:30-11:30 Film 1 East Coast Cool featuring rare footage of Claude Thornhill, Gil Evans, Miles Davis, Lennie Tristano, Lee Konitz, Warne Marsh, MJQ, Red Norvo, George Shearing, and more 12:00-1:00 Pool Concert 1 The Sam Most Quintet 1:30-2:30 Concert 2 The Los Angeles Jazz Orchestra The Music of Gil Evans New Bottles Old Wine 3:00-4:00 Panel 1 : The Birdland Dreamband Panelists: Don Menza, Bobby Shew, Lanny Morgan, Don Rader 4:30-5:30 Concert 3 Western Reunion: Music of the Gerry Mulligan Sextet featuring Bob Brookmeyer and Scott Robinson 8:00-9:00 Concert 4 Message From Birdland Maynard Ferguson’s Birdland Dreamband Alumni band directed by Don Menza featuring Bobby Shew, Lanny Morgan and Don Rader Friday, May 28 9:00-10:00 Film 2 Brothers and Other Mothers featuring rare footage of Lester Young, Woody Herman, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Brew Moore, Phil Woods and more 10:30-11:30 Panel 2 Produced By Jack Lewis Ken Poston pays tribute to legendary producer Jack Lewis 12:00-1:00 Pool Concert 5 The Music of Manny Albam Fullerton College Big Band Directed by Bruce Babad 1:30-2:30 Concert 6 Don Menza Saxtet Tribute to Stan Getz 3:00-4:00 Panel 3 Mr. Music Al Cohn Panelists: Mose Allison, Johnny Mandel, Bob Brookmeyer and Terry Gibbs 4:30-5:30 Concert 7 Med Flory Jazz Wave Big Band featuring Supersax 8:00-10:00 Concert 8 Nights at the Half Note Remembering Al Cohn and Zoot Sims featuring Harry Allen and Grant Stewart with special guest Mose Allison Saturday, May 29 9:00-10:00 Film 3 From Birdland to Bohemia featuring rare footage of Gerry Mulligan, Bob Brookmeyer, Teddy Charles, Art Farmer, Jon Eardley, Clark Terry, Bill Crow, Zoot Sims, Mundell Lowe, Bill Evans and more 10:30-11:30 Panel 4 East Coast Sounds Panelists: Sam Most, Teddy Charles, Ed Shaughnessy, Mundell Lowe 12:00-1:00 Pool Concert 9 Scott’s Fling: Celebrating the Music of Tony Scott 1:30-2:30 Concert 10 Tacet for Neurotics The Mundell Lowe Orchestra plays Alec Wilder with special guest Ed Shaughnessy 3:00-4:00 Panel 5 Portrait of An Artist Bob Brookmeyer with Kirk Silsbee 4:30-5:30 Concert 11 Johnny Mandel Big Band 8:00-10:30 Concert 12 50th Anniversary Celebration of Gerry Mulligan’s Concert Jazz Band Directed by Bob Brookmeyer with special guest Scott Robinson Sunday, May 30 9:00-10:00 Film 4 The Arranger’s Touch featuring rare footage of the music of The Sauter Finegan Orchestra, Johnny Mandel, George Russell, Manny Albam, Ralph Burns, Neal Hefti, Nat Pierce, Gary McFarland, Quincy Jones, Thad Jones, and more 10:30-11:30 Panel 6 A Conversation with Teddy Charles Teddy Charles with Kirk Silsbee 12:00-1:00 Pool Concert 13 Bohemia After Dark Luther Hughes’ Cannonball-Coltrane Project 1:30-2:30 Concert 14 The Teddy Charles Tentet 3:00-4:00 Panel 7 Tiny’s Blues- Remembering Tiny Kahn Panelists: Terry Gibbs, Johnny Mandel, Med Flory, Dick Hafer 4:30-5:30 Concert 14 Terry Gibbs Plays Tiny Kahn All-Star Big Band with special guest Jeff Hamilton 8:00-10:30 Concert 15 Bob Brookmeyer New Art Orchestra

You are absolutely correct. My goof, should have said "Bones For Zoot" - should also proof read my posts before hitting the reply key. Thanks. Jim