History of CBS Records 30th Street Studio NYC (many pictures)

Discussion in 'Music Corner' started by DMortensen, Oct 21, 2014.

  1. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    TOTALLY looks like him!

    Cool!! He was in "North by Northwest", which we watched again a few weeks ago. I KNEW I'd seen this fellow before...

    And it's also pretty cool if it's Sir Thomas Beecham; that's quite the Wikipedia article about him.

    Among other bon mots, although not listed in the Wikipedia article, he famously referred to Seattle in the 194o's as a cultural dustbin, probably not inaccurately. He was our symphony's conductor for 3 years.

    Oh, and the guy on the left in the Beecham picture is in several pictures in the Plaut collection, source of your two pictures.
     
  2. Chris C

    Chris C Music was my first love and it will be my last!

    Location:
    Ohio
    Thanks and as for not posting more ..., dear friend this thread would not exist if not for you and all of your hard work! Please feel free to take some well deserved vacation!
     
  3. W.B.

    W.B. The Collector's Collector

    Location:
    New York, NY, USA
    That reciprocal arrangement made Paul Simon's later appropriation of a Philips master - "El Condor Pasa" by Los Incas (recorded c.1963) - and adding of his own lyrics, and his and Art Garfunkel's voices to it, all the more ironic, coming as it did long after that deal ended.
     
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  4. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Hi Everyone,

    I'm happy to report that one of the things I've been working on recently is a video interview of the recording engineer Don Puluse, who worked with Sly and the Family Stone, Chicago, Billy Joel, Laura Nyro, Mahavishnu Orchestra, and a ton of other great musicians. It is done now and approved by Don, and is live at



    We talked at the last Audio Engineering Society Convention in NYC in 2015, and I'm sorry to say it's taken this long to complete. Don worked sporadically at 30th St, including in Studio D, which he says in the video was a complete studio and describes it a little.

    He asked me a bit about what we've found, in response to my questions about what was upstairs and downstairs, and I made a couple of what I think are cool video animations on some pictures to show where the studio and control room areas were in the building.

    I hope you enjoy it.

    Off-topic but related to video, I also completed another video that is a tour of the Harry Partch unusual musical instrument collection, which is a bunch of homemade instruments with tunings, scales, and playing techniques that he invented entirely. Partch lived largely in the Southwest in the 40's through 60's, which is when he largely made the instruments and composed the music for them, but they are now housed in Seattle at the University of Washington. The curator, Charles Corey, gave us a tour in May and I recorded it. If you like strange sounds (MLutthans, looking at you!) you might enjoy this collection.

    If you click on my channel, "DansoundSeattle" at Don's video linked above, you should see the list of all videos including the Partch one. They are almost all 45 minutes to an hour long.
     
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  5. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    I've been meaning to write this note for quite a while about interesting books I've been reading and now is a good time.

    "Listen to This: Miles Davis and Bitches Brew" is by Victor Svorinich, who posts in this thread periodically. He came to a gathering I had in NYC last April and gave me a copy of the completed book, which I had read in excerpts previously but not the whole thing in its complete version.

    I have to say that it was a wonderful read, and totally takes the reader into the studio while the records were being recorded. There are discussions about Teo's and Miles' methodologies to get the players together and the tracks recorded, how the players were trying to find their way in the absence of almost any direction from Miles other than to play what you feel (paraphrasing by me), and how Miles got a lot of young players and threw them into the deep end to sink or swim.

    It was recorded (almost?) entirely in Studio B and not 30th St, undoubtedly because B was smaller and more controllable sound for electric instruments, so it's not strictly part of this thread, but Miles, Teo, and many of the players and engineers also worked in 30th St. so there is that connection.

    Victor did a lot of great interviews and it was fun hearing how the players were as bewildered as anyone else to hear the album as released, since those songs did not exist in that form while they were recording them. I have been able to work a few times with Dave Holland and a few of the others involved, so it was fun reading their stories and hearing their voices telling them.

    There are copies of the kinds of memos and documents that we love in this thread, and although I'm not a musician and didn't at all understand them, it was still cool to see transcriptions of many of the solos and basic sheet music (I'm sure there's a more technical and descriptive term than that).

    He also talks about the album's and Miles' influence on the players' later careers and that was pretty neat, too.

    I heartily recommend this book for people whose interests align with what we find in this thread, and not just because Victor is a good guy. I enjoyed reading it a lot.
     
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  6. lukpac

    lukpac Senior Member

    Location:
    Milwaukee, WI
    Hey Dan, there's some discussion about the floors being refinished. You indicated that you thought they were refinished in the mid-60s or so. Do you recall what photos led you to that conclusion? My previous recollection was the most likely time would have been in the mid-70s when the old control room was removed. I know there are some photos after that time that look like the floors may have been shinier.

    It would be interesting to see if Don could remember anything about the old control room being removed.
     
  7. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    There are a few photos that I don't have time to look for now which show shiny floors, to my eye.

    I'm also recalling Frank Laico's comments that when he did his first recording in the new control room after the floors had been refinished and the walls painted, he didn't recognize the sound of the room.

    That's about it.
     
  8. lukpac

    lukpac Senior Member

    Location:
    Milwaukee, WI
    I remember Frank's comment, and he indicated the change was made after Mitch Miller left in 1965. But we later surmised it was likely he was thinking of an edict from Goddard, which could have been overridden after his retirement in 1975, which is around when the old control room was removed.
     
  9. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    As I said earlier, I've been enjoying reading several books lately and want to share them with you in separate posts.

    The next one is "Clark", by the amazing trumpeter, composer, singer, teacher, and probably several other vocations, Clark Terry, with his final wife, Gwen Terry.

    He really tells his life story without pulling any punches, and you can see many instances where he was extraordinary and others where he was less than admirable. He was a human being, in other words.

    His achievements were remarkable and he was really unrelenting in his pursuit of musical excellence. He also benefitted from being in a position to benefit from being in the right place at the right time and from knowing and being known by the right people. He was in the Basie band during its roaring period, in the Ellington band for many years, in the Tonight show band for many years, and in many other seminal and important and unimportant bands since his beginnings in St. Louis.

    You really get a feeling for a musician's lifestyle with its many ups and many downs and being away from family and friends for very extended periods of time. His time away from his son for most of the son's life, with periodic parachuting in to try to get acquainted but failing was perhaps the saddest part, but it was just another element in the blur of life in that lifestyle.

    He was in 30th St many times and I think I have some pictures of him and the Ellington band that I can post if there's interest, but he says not one word about recording anyplace or at any time, so that part was disappointing from our perspective.

    Still, he is an interesting storyteller and had a lot of stories to tell. I enjoyed it a lot.

    Before getting the book, we watched a documentary about him on Netflix that was also enjoyable and had a lot of pictures of his life and movies of his later life, made by someone who had been in CT's band for many years. I might have mentioned the documentary itt.
     
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  10. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Another book I enjoyed reading that is perhaps more tangentially related is called "Not Just The Beatles", and is an autobiography by Sid Bernstein, as told to Arthur Aaron.

    Sid was a promoter whose enduring claim to fame was being the first promoter to bring the Beatles to America and present them in concerts in NYC, which was how they were on the Sullivan show that first time. He presented them again and again, and tried for years after they broke up to get them to do another show together, and was friends with all of them.

    He did a lot of other shows, too, including helping the revival of Tony Bennett's career, Judy Garland, Abba, The Rascals, Jimi Hendrix, Grand Funk Railroad, The Rolling Stones, Tina Turner, Frank Sinatra, Dave Clark Five, Woody Allen (as a comic), Joan Baez, Elvis Presley, Tito Puente, Bay City Rollers, The Animals, Glen Campbell, Tito Puente, Marvin Gaye, Miles Davis, Paul Anka, and lots more.

    How's that for a list, just from the cover?

    It was interesting reading how he kept getting handed lemons and made lemonade out of them and did good for himself and for the musicians as well. (Since it is an autobiography, it is not at all unbiased, of course.)

    Here is the only relevant part of the book to this thread (p. 205):

    "My fondest memory of the Rascals' time at Columbia actually has nothing to do with them. One day at the beginning of the contract (edit: with the Rascals) I went over to the Columbia recording studios on East 52nd Street to see how things were going. The building housed many recording studios and rehearsal rooms. Even though I had directions to the studio where the Rascals were, I got a little lost. I began opening doors, looking for them. The third or fourth door I opened was in semi-darkness. I saw two adults and two children on the floor, sitting on a blanket, having a picnic. Not wanting to disturb anyone, I quickly turned to leave I heard a familiar voice say, 'Hello, Sid'. I turned back to see who was speaking to me. I saw Linda and Paul McCartney, having a picnic with their children, taking a break from recording. We said hello and talked about the Rascals on Columbia. They wished me luck with the Rascals' new deal.

    "When I left to continue my search for the Rascals' studio, I thought to myself that I had just witnessed a wonderful scene. Linda and Paul might have been the biggest stars in the universe. But to those young children, they were just Mom and Dad."

    I thought that was sweet, and is a good example of the writing style. I had no problem getting past that and enjoying what he had to say. It might have helped that I met him once, as my sister was a fixture in an Upper West Side flea market every week, with a booth outside in the spring, summer, and fall, and inside in the winters. For some extended period, the Bernstein family had a booth adjoining hers, and I met them one year when I was there. He gave my sister this book, with a nice inscription on the cover, and I picked it up on my last visit to NYC.

    Regarding the Rascals, just before the quoted passage is a discussion of him finding them playing parties in the Hamptons and having important people go nuts for them, him becoming their manager, and Clive Davis giving them a million-dollar recording contract at Columbia, only to have lead singer Eddie Brigatti quit the group at the contract signing. The Rascals continued and recorded but did not achieve the heights he expected.

    Lots of inside show business in this book. I liked it and couldn't stop reading.
     
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  11. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Finally in this little series, I'm currently reading "The Street That Never Slept", by Arnold Shaw.

    It's about 52nd Street in Manhattan, which over several decades housed all these clubs, large and small: Leon and Eddies, 21, The Three Deuces, Carousel, Kelly's Stable, Club Samoa, B.S. Pully's, Hickory House, Jimmy Ryan's Bar, Onyx, Tony's Restaurant, and dozens more. Its heyday seemed to be from the late 30's to the mid to late 50's or early 60's, and everybody who was anybody in the world of jazz would come there to jam and listen to the jams. It's a real in depth look at jazz and the players of those times who would go there before checking into their hotel when visiting, or would rent an apartment on the block so they didn't have to stagger home so far after a night and morning of blowing.

    Arnold Shaw seems to be an author who was there a lot and loved it, and the book is presented with a chapter on each club and its beginnings, history, and demise, followed by what seem to be transcriptions of taped recollections of people who worked, ran, and/or played in those clubs. Seems like dozens of those transcriptions although there couldn't be that many. Marian McPartland held the record for duration at clubs on the street, but lots of others were there a lot: Zutty Singleton, Eddie Condon, Ben Webster, Mezz Mezzrow, Art Tatum, and George Shearing, to name only a few and thus insult all the hundreds of other names in the book.

    I'm liking this one a lot, too, and am about 2/3 through it. It is only relevant to the thread in that many of the people who played there also recorded at 30th St.

    I wanted to share these with you in case you are looking for something to read.
     
  12. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    One movie for your consideration:

    Regarding the jazz lifestyle, Robert Altman made a movie called "Kansas City" in which a large part of the action takes place in a nightclub owned by a gangster (Harry Belafonte) in the 30's, with a live band playing at length in the movie with players like Joshua Redman, Curtis Fowlkes, Olu Dara, Geri Allen, Kevin Mahogany, Ron Carter, Cyrus Chestnut, Don Byron, David 'Fathead' Newman, and many more playing hard almost continuously, at all hours of the day and night, while many horrible things happen just the other side of the wall.

    That must have been what it was like in many places back then, and while it's not an endearing move thematically it is really well done and Belafonte is really cool while being tremendously evil.

    That is even more tenuously connected to 30th St, so my apologies to purists for even bringing it up. That said, you really get a vibe of what it was like to be a jazz musician at that time and probably a lot of places.
     
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  13. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    OK, now that that's out of my system I thought I'd post more pictures.

    But, while looking for some to show I came across a few of Frank Sinatra with Manie Sacks from that series in Liederkranz where I had the negatives backwards. Apple Photos now has the horizontal flip that iPhoto (which I otherwise prefer) doesn't, so a quick export, flip, and reimport turned them around.

    So here is Manie with Frank:

    [[​IMG]

    I had known that the spelling I had of Manie's name was wrong, so looking him up found this really great article that put a lot into perspective:

    Everybody's Father | www.totaltheater.com

    Quoting a bit from that wonderful article on the Total Theater website, which I'd never heard of, written by Steve Cohen, who did a really great job researching and writing:

    =====================================

    Everybody's Father

    Emanuel Sacks modestly said that he was "strictly a no-talent guy." He kept himself out of the public eye when he built the careers of big-name performers as a vice president at Columbia Records and, later, of RCA Victor and NBC. Despite his staying out of the limelight, Sacks was a very strong presence at both companies and in the lives of everyone who knew him. When he died at age 56 in 1958, a remarkable array of stars performed on a television memorial tribute.

    Sacks was instrumental in introducing long-playing records and stereo, and he produced some important early Broadway show albums. Because he did his work behind the scenes and used his talent to promote the careers of others, his name is largely unknown to today's public.

    Manie (pronounced "Manny") Sacks was born in 1902. This, by the way, is the correct spelling of the family name. It was misspelled "Sachs" in a Sinatra biography and on one Columbia record jacket. He worked briefly as a clothing salesman for his dad, who owned several stores, but left to go into the entertainment business. Manie had an ear for music and knew how to pick material for singers. Even more important was his talent for befriending people, his helpfulness and sympathetic understanding.

    Columnist Earl Wilson called him "the saint of show business." Sacks' nephew, Herman Rush, wrote that Manie gave encouragement and confidence to performers. Consider these examples involving four celebrities:

    When the young Sacks was working for a talent agency, he was assigned to meet Jack Benny as the star's boat landed in New York City. As Manie grabbed Benny's luggage, got him through customs and into a limo, the star assumed Sacks was a porter, and Benny thrust some tip money into his hand. Later on, they became friends and Sacks threw a surprise birthday party for Benny on a cross-country train. "I've never seen anyone like this in my life. He's so sweet and generous," said Jack.

    A few years later, when Sacks worked at Columbia Records, president William Paley asked if he had any ideas for increasing CBS's radio ratings. Manie called Jack Benny and convinced the comedian to transfer his top-rated show from NBC to CBS. Not only that, Benny recommended that his friends George Burns and Edgar Bergen also switch to CBS, and these programs soon made it the top-rated network.

    Manie met Harry James, a trumpet player in Benny Goodman's band in the 1930s. Manie was as kind to James as others might be towards big stars. James played up-tempo swing instrumentals. When he formed his own band, Manie signed him for his label, Columbia, and talked James into making a total change in image by adding a string section and playing ballads with schmaltzy trumpet solos. This led to James becoming a romantic movie star and meeting the glamorous Betty Grable. When Harry married Grable, he asked Manie to be best man, and the couple picked Manie to be godfather of their first child.

    Manie helped Frank Sinatra get out of a restrictive contract with bandleader Tommy Dorsey in 1942. In return, Frank started his solo career with Sacks' record company. Later, Sacks stood by Sinatra when the singer had family problems and, in 1950, Sacks turned off the gas burners when Frank attempted suicide. When Sinatra married Ava Gardner, Manie made all the arrangements, and the wedding was at the home of Manie's brother in Philadelphia. Sinatra said: "There's a little bit of Manie in everything good that has ever happened to me...Whenever I was in trouble and needed help, I yelled for Manie."

    ===========================

    That's about a third of it, and the rest is even more informative.

    Now I'll be spelling it Manie Sacks and looking for him in pictures.
     
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  14. Bob F

    Bob F Senior Member

    Location:
    Massachusetts USA
    There is still some question about whether his first name was spelled Emanuel (as in that article) or Emmanuel (with two "m"s). See these posts at the SFF about the middle name of Manie's godson, Frank Sinatra, Jr.:

    Frank Jr. & Steve Tyrell : Francis Wayne Emmanuel Sinatra (post #16)
    Frank Jr. & Steve Tyrell (post #18)
     
    Last edited: Jul 18, 2017
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  15. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    OK, last for today.

    I looked for the pictures of Clark Terry that I know I have but couldn't find them. Same for floor pictures showing shiny floor after 1949 and before 1970-ish. So here are some that get us playing "Mystery Pictures" again.

    [​IMG]

    [​IMG]

    I believe the index has the fellow on the right as Harry Belafonte, but I don't think that's right. And the fellow on the left looks like the guy in the Hugh Downs pictures who was thought here maybe was Mundell Lowe, but I wasn't convinced of that.

    Any more ideas?

    These next three

    [​IMG] [​IMG] [​IMG]

    may be the only ones from whatever session it was.

    I'm getting an Elvis Presley/Marlon Brando vibe from him, but it's definitely not either of those. But maybe that time?

    These pictures are from MSS 52, The Frederick and Rose Plaut Papers in the Irving S. Gilmore Music Library of Yale University, gathered with the help of Richard Boursey and Emily Ferrigno, wonderful librarians.

    Edit: Oh, and I like the handwritten note taped on the fuse box door.
     
  16. Ronald Sarbo

    Ronald Sarbo Forum Resident

    Location:
    NY, NY, USA
    Sachs resembled Sinatra.

    That is Roy Hamilton not Harry Belafonte.

    The next 3 photos are of Buddy Greco.

    I believe the arranger with Roy Hamilton is Marion Evans.

    Hamilton and Greco both recorded for Epic; Columbia subsidiary.
     
    Last edited: Jul 19, 2017
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  17. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    You win the prize for the day, although I think you only get two out of three.

    Definitely, that's Roy Hamilton and Buddy Greco. But I don't think that's Marion Evans, who was the arranger for the Ted McNab and Friends record that was described way earlier in the thread. Here's the only picture of Marion that I could easily find, although I have a blowup of the McNab album cover pictures.

    [​IMG]

    Since that's ambiguous, here is the McNab cover shot

    [​IMG]

    The first one, with Tony Bennett, is from 1967. The second one is from 1959, and is clearly the same guy. He stayed pretty consistent-looking for 8 years.

    This one, with Roy Hamilton,

    [​IMG]

    Well, maybe. The glasses and facial proportions are right, although the known Marion Evans pictures have a more moon-faced pudgy fellow. The guy with Roy is much more lean and hungry looking to me.

    What do you think? Ronald, you may have gotten 3 for 3, but I'd like more proof....

    Anybody able to find an earlier picture of Marion Evans where he looks mean and lean? Or to date the Roy Hamilton pictures? We know it was after they started using M49's, which could put it around 1959. If it is, then I don't think that's Marion Evans with Roy.

    Regardless, I'm adding Roy's and Buddy's names to the photo archive and am very grateful for the ID's.
     
  18. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Here's the guy in the Hugh Downs session(s) again:

    [[​IMG]

    Edit: This looks like the same guy as with Roy, to me.

    Looking back at page 60 of the thread where MLutthans ID'd Hugh Downs, that session was in 1959, too, so I don't think this fellow is Marion Evans, since that's the same year as the McNab sessions.

    Good guess, though; any others? This fellow definitely got around.
     
    Last edited: Jul 19, 2017
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  19. on7green

    on7green Senior Patron

    Location:
    NY & TN
    Hugh Downs talks about making music.

     
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  20. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    [​IMG] [​IMG]
    Chuck Sagle? Epic A&R?
     
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  21. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Well. That's a good guess, but I'm not sure it's correct.

    How certain are you that the Hugh Downs session was in 1959?

    I looked up Chuck Sagle images and found a link to this Youtube video



    with a nice description of how that record came about, as well as recording date and the info that it was recorded in 30th St.

    However, the picture of Chuck with Neil and Carole does not seem to be the fellow who looked like he did in the Hugh Downs pictures.

    If that session with Hugh was much earlier than 1959, though, bets are off and it could be the same person.

    You gave me a good lead, though yet unfilled, in that thanks to W.B.'s and 2uexl's work the last time I was in the Sony archives, I have the names of many of the A&R people who might be in pictures, and I should hunt down pics of them to have a Rogues Gallery to compare people in pictures to.

    Those names, in no order, are:

    Chuck Sagle
    Jim Fogelsong
    Tony Piano
    Ernie Altschüler
    --- Kasha
    --- Burr
    B. Cohen
    --- Komm
    --- Brooks
    --- Morgan
    --- Frances
    P. Myers
    --- Shapiro
    (Don?) Law
    Cliff Snyder
    --- Scianni?
    --- Mersey
    --- Driggs
    --- Kane?
    Jane Friedman
    --- Towb?
    --- Lecamb?
    Al(?) Nevins - Don Kirshner
    --- Rosaly
    Carl Davis
    Mike Berniker
    Stan Kahn

    Those are all from about 3 months in 1962. I need to put them in alphabetical order.

    Pictures of any of those people, other than Don Kirshner, would be welcomed.

    I wonder if "Rosaly" is Gerry Roslie who was and I think is with The Sonics? It was for a couple of auditions.

    And actually one person spelled it "Rosaly" and the other spelled it "Rasoly".
     
  22. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    My suspicion is that it *may* be Chuck, either pre- or post-horn-rims.

    I forget where I got that date for Hugh Downs. Maybe I can dig more later tonight.
     
  23. lukpac

    lukpac Senior Member

    Location:
    Milwaukee, WI
    That's when the album came out:

    Hugh Downs - An Evening With Hugh Downs - Hugh Sings

    It was released in stereo, which means it was recorded in stereo, so even if it was held in the can for a while for some reason, it couldn't have been recorded earlier than mid 1957 or so.
     
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  24. marmil

    marmil It's such a long story...

    yes and yes
     
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  25. DMortensen

    DMortensen Forum Resident Thread Starter

    Location:
    Seattle, WA USA
    Huh. He looks a lot older on that album cover than he does in the pictures I posted.

    I looked through the AFM information I've so far put into a spreadsheet, which is only through mid- June of 1954 (skipping then to 1959 and then March 1962) and Hugh wasn't in there, the pre-mid-June 1954 part.

    Working on this instead of what I'm supposed to be doing, I'm going through the AFM reports for 1959. Haven't yet found Hugh Downs, but found several sessions with Roy Hamilton and the Marion Evans orchestra. Also found a session with Roy Hamilton and the Joe Sherman Orchestra! So Joe is another possibility.

    And a couple of Duke Ellington sessions with Clark Terry on Trumpet!

    Only one picture of Joe Sherman (and the Arena Brass) and he doesn't look like our mystery fellow at all.

    OK, Hugh Downs with Mundell Lowe and his trio recorded on April 7, 1959, from midnight to 3:30am (!). Tracks were: Drink to Me Only With Thine Eyes; Venezuela; and Lord of All Hopefulness.

    Mundell Lowe was the leader and played guitar. George Duvivier, Bass, and Millard Thomas, also on guitar.

    They also recorded 4/22/59, from 11:30pm-3:30am. Same musicians plus Herbert Mann on flute! Tracks recorded were: Look To The Rainbow; I Wonder As I Wander Out Under The Sky; So Long, Blue Valley; and Scarlet Ribbons.

    Miles Davis recorded All Blues that same day in a 3.5 hour session but no times given. Rats.

    Hugh and Mundell also recorded 4/30/59 from 11:30pm-4am with the same group minus Herbie plus Ed Shaughnessy on drums, Charles Leighton on Harmonica, and Stan Free(man?) on accordion. Songs recorded were: Two Brothers; The Ride Back from Boot Hill; The Delaware Light; The E-R-I-E Was A-Risin'; and Sweet Lil' Jesus Boy.

    Gee, with great song titles like that I don't know why that album wasn't a hit!

    Now I need to stop, that must be the full album.

    And on those AFM sheets but not on most others, Hugh's contract didn't start until 2/17/59, so there must not have been earlier sessions.

    The sessions in the Plaut pictures and the picture of Hugh on the album cover must have been contemporaneous.
     
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