Hi - I produced these recordings. The guy at the harpsichord is Edward Brewer who was the technician for the Zukerman album. That recording was never released or even edited for some unknown reason. The harpsichordist (shown in the B&W photo) is the late Samuel Sanders. The flutist was Eugenia Zukerman, Pinky's wife at the time and the cellist was Tim Eddy. The other photos above are from a Juilliard Quartet recording. I see that this was a sextet with 2 none Julliard artists. This would have been a recording of the Schoenberg Verklaerte Nacht which was supposed to go with the complete Schoenberg Quartets but was never even edited! The complete Quartets received the 1978 Grammy for best Chamber Music album.
The top photo is a recording of Firkusny/Juilliard Dvorak Piano Quintet. We also recorded the 2 Dvorak Piano Quartets a later sessions, I believe. Below that is a photo from sessions with the Leonard DePaur Singers which was part of a bicentennial release on Masterworks which also featured the Goldman Band recorded at Manhattan Center circa 1975. Below that is Buddy postioing a mic for Joel Krosnick of the Juilliard Qt. Buddy was a brilliant engineer and incredible fun to work with.
The top photo isn't Chapman. His name is Arthur but I can't remember his last name. The 2nd one down is Pete Durea. That is David Oppenheim and Bob Waller with, I believe a youngPhillipe Entremont. Bottom pic is Frank Bruno
WOW!! Thank You for this thread post... Simply AMAZING indeed! No question I will be on this for days. Very happy I happened across this today, never saw before. What a shame it was demolished, an outrage to me. It's all so superb. No doubt... Gotta say first thing that came to mind was John "Hammond's Folly" The incomparable BOB DYLAN.
I have nothing to add other than its been a joy to be an audience member at this thread. Thanks to all who contribute!
Hmm... well I may have been misinformed. Apparently Dylan did not record here, but the other CBS studio on 7th I was under the impression that he did do the first LP "Bob Dylan" here at 30th St. then worked at the other. No matter, the info and pics of Frank, Ali, Duke, and Monk, etc.. have been fantastic!
He wasn't present, but there was an overdub session there on December 8, 1964. "Although the next Bob Dylan recording session was scheduled for January 1965 for Bringing It All Back Home, there was actually a session in December 1964, at which Dylan himself was not present, when four of his earlier recordings were taken into the studio to have new "folk-rock" backing added - producer Tom Wilson having already had some sucess doing a similar job tinkering with Simon & Garfunkel's original acoustic recording of Sounds Of Silence. This "overdubbing" session is interesting for two reasons: It preceded the Bringing It All Back Home sessions, where the solo versions of the songs done the first day were done with electric back-up on the two following days. It's also the source of the CD-ROM misunderstanding about the apparent recording of an electric version of House of the Risin' Sun as early as 1962 - long before The Animals' famous version. Of course, Dylan never did make any such recording. Instead, an acoustic take of House of the Risin' Sun from his first album was put together with three "electric" songs recorded in October/November 1962 for this overdub session. The final result was four "electric" tracks with continuous CO-numbers. At first glance at the tape boxes and the CO-numbers, it seemed logical to assume that the electric House of the Risin' Sun had also been recorded in 1962, along with the other three tracks that were given the overdub treatment. Only a careful study of the Artists Contract Card sorts out the true origin of the basic tracks." Bob Dylan: The Recording Sessions (part 1) »
Thanks. That was it. I remembered the Simon & Garfunkel/Tom Wilson connection after I posted my extremely poorly researched reply.
Lukpac... just back from googling away. I found the exact info that you just posted basically. Tom Wilson and Dylan were there in late 1964 doing some experimental type hodge podge thing with HOTRS. Amounted to nothing, and was not released.
Truly amazing thread............. Interestingly I just read that three tracks from Ornette Coleman's Science Fiction album were recorded at Studio C in 30th Street, including the great opening track "What Reason Could I Give." The other tracks were recorded at Studio E, which I believe is in the 52nd street building. I would love to see how they set up in the studio for those tracks.....
Well, I see conflicting info on whether a date for "Science Fiction" was done at 30th st or not. The following image is from the session and from the date in question. Pictured is singer Asha Puthli, who only appeared on those tracks in question. Also pictured are Dewey Redman and Ornette. Possibly September 13, 1971. Those don't seem to be m49's which I thought were predominantly used at the studio, though maybe not in that era. Interestingly, everyone is set up pretty close together, but you can see a pair of headphones resting on the music stand, presumably for Ms. Puthli.
30th Street was apparently mostly using U67s by that time. Unfortunately it's hard to tell what studio that is based on the photo. I just spent a few minutes looking for other photos from the session and haven't found any that are overly helpful.
Lukpac, Can you tell me where you saw other photos from the session ? I'd be very interested, even if they didn't shed light on the studio identity. Thank you.
A few things I found via Google Images: Not sure if those are on the same day or not. If it's any help, in the photo you posted, the mic on the left is a U87, while the mic on the right is a U67. I guess one could see if U87s were ever used at 30th Street.
Revisiting this: I see several U67s, but no U87s. Maybe @MLutthans can see if I'm missing anything. It seems likely the photo with Asha Puthli wasn't at 30th Street, but I can't say anything definitively.
It's a little tough (at least for me) to tell the two apart at a distance like that. Looks like there is also a KM84 (or something along those lines) and Sennheiser 441 thrown in.
I was basing the difference on the mount. The mic on the left is clearly a U87, as there's an XLR cable attached. I assumed the other must be a U67 based on the integrated mount (straight from the base, cable comes out the side), but I guess there was a similar mount for the U87 as well: So much for that.
Yup, those weren't uncommon, but people tend to just use whatever cable is easiest. The studio where I work has both U87s and U67s, but we are no longer using the old "U67 style" cable mounts.
Hi guys, I just bought the Kind of Blue Legacy Edition 2-CD+DVD set from 2008 and on the first CD is a PDF with some pretty rare Miles Davis-related photos. Here is one I haven't seen before, a colour shot of the 30th Street Studio exterior. And on the right, that's the mixing console from when they were still recording 3-track, right? (Unfortunately, they aren't in higher resolution in the PDF. According to the credits, at least one of those photos was taken by Don Huntstein.)
