Two comments. One, Sony Archives has most of the run of The Columbia Record, and Insight. The former was mostly like a highschool paper for Columbia employees, with a little story about some corner of the business (Columbia House, Fender Musical Instruments, etc.) and always pictures and news (service awards, retirements, etc.) from the various pressing plants. I've looked through them all and there was very little about the studios. Insight was a glossy, full-color publication to keep the distributors and sales staff up to date on new artists and releases. There might be a recording session shot or three in there; it only lasted a couple of years. To my knowledge, neither collection has been digitized. Sony Archives is just not set up for large-scale digitization. (We should all be thankful there is still an actual company archive, staffed by people who care.) Second, looking through all the images and floorplans in this thread, it's apparent that just about every square inch of the 30th Street studio, control room, and exterior has been documented (although probably not the echo chambers or anything upstairs). What you need to do is hook up with some 3D-modeling hotshot who knows their way around Blender or other such application, and create a 3-D scale replica of the facility in and around which viewers can take a virtual tour, with or without a headset. Sure, this and that had changed as the years progressed, but choose a point in time and let us "walk around" the place to finally get a sense of being there. Hope this finds everyone well. Happy holidays to you all. Al Q.
Thanks for that, Al. Nice to hear from you, and sorry to take so long to reply. I agree that we know most of the studio and the control room but not all yet, and there are only a few pictures of the exterior while it was a studio that I've been able to find, and most of them from one session by one photographer standing across the street on a porch or something. No pics of the roof or the West side, and particularly nothing of the rear of the building. And only a few partial glimpses of anything South of the new control room; most of that is terra incognita. Still, I agree it would be cool to have some kind of 3D rendering that we could fly through. I know zilch about creating such a thing, and to my knowledge don't know anyone who does. So that limits my capabilities in that direction... Regarding The Columbia Record, I thought Luke had found an article in it by Vin Liebler who wrote in detail about the construction of the studio but without pictures, IIRC. So it was good for that. I completely agree with your comment about the Sony Archives "(We should all be thankful there is still an actual company archive, staffed by people who care.)" Tom Tierney is a prince as far as I'm concerned, and that place is a great resource. I wish I were closer to it, but things are as they are. Don't have any idea when I'll get back to there. Thanks for all you've done to keep that era alive and to make photos and other documents from it findable. You have been immensely helpful in fleshing out who was doing what there.
Here is something that I've been wanting to post for a month or more, but circumstances have prevented that. I did look for another existing thread that would be more appropriate, perhaps, than this one, but the only one I could find The Miles Davis Kind of Blue Song by Song Thread is locked to further replies, although it contained a relevant post to what I wanted to post, and was by the thread-starter, Rose River Bear: "The title So What came to Miles from conversations he had with Dennis Hopper." Since KoB was recorded in 30th St, I'm posting what I wanted to say here. I have been doing a fair amount of research into the original Woodstock festival, some of which resulted in that video and meeting. Lisa Law, who was behind the free kitchen at the festival and who is in that video, wrote a book called "Interviews with Icons." Among many thought provoking interviews she did with people from the '60's was one with Dennis Hopper in which she asked him: "You were really into jazz at an early age, weren't you?" and he answered: "I was involved in jazz in the 50s. Miles Davis was a friend, and he had a group with John Coltrane, Cannonball Adderly, Philly Jo Jones, Red Garland, Paul Chambers, and so on. One day I came in to Miles, and he said, 'I just wrote a song for you.' I said 'So what, Miles.' Miles would say something, and I would say 'So what.' I'd just say 'So what.' 'So what' was just something I would say all the time, because I had no ****ing answers, so I just said 'So what.' So I came in one night and he said, 'I just wrote a song, and I wrote it for you, and it's called "So What". Really a good song.' The album was called Kind of Blue and 'So What' was on it" (p. 182) I thought that was pretty cool, and wanted to post it somewhere here. @Rose River Bear , you were right! But you knew that already. Edit: Hah, you can't say "****" here. I'll remember that.... I'm reading another book now that has a first hand account of being in 30th St., and one of the side characters is named "Lipshitz". Does that get edited, too? Edit4: Nope. Frankly, I'm OK either way, although I'll give Mr. Lipshitz more attention when I pass on that book to you. It's opening a whole new world at Columbia for me, and I'm pleased to have found it and have reached out to the author for future comments and information to be posted here. There was a whole world internal to Columbia that made huge profits for the company that hasn't been addressed at all in this thread. So far.
I'm lousy at posting photos on this forum, but Sony Classical posted a lovely photo of classical pianist Gary Graffman recording in what's obviously the 30th Street studio. From the post: “The recording that realizes Chopin’s style most completely is by Gary Graffman,” wrote The New York Times in 1973. The paper was singing the praises of a recording that’s just turned 50 years old: “Graffman Plays Chopin,” released on Columbia, which features two Préludes, two Nocturnes, the Second Scherzo, First Ballade, and the Andante spianato and Grande Polonaise brillante. “He is not so much interested in putting his own impress on a score,” the review went on, “as in SonyClassical.lnk.to/GraffmanChopinLF Here's the link: Log into Facebook
Thanks for posting it. Not sure if it's already been put up here, but it's nice to see anyway. Great shot, I assume by Don Hunstein. dan c
Nice find, thanks, Matt! So in August 1962 they had already moved to the new control room, but, as we know, the old control room was still in place for another 10-ish years. That's it in the background, and the lit sign to its left, past the entry door to the old control room, was the Exit sign for the SW Exit door, which is mostly hidden behind that boom with its mic just behind the guitar player's head. Carol's back is to the North wall, and it's interesting that they were able to create some atmosphere by turning off some lights and leaving some on. I can't tell there's any added performance lights. Also, you can see an Altec utility speaker box with its left edge in line with the left edge of the old control room window, and that must have been the PA for the session? That puts that speaker quite a ways from the band, which would minimize spill into the recording, but still allow audience to hear better, even though the localization goes to crap. Presumably there's one more on the other side of the audience? It looks like maybe the right hand big boom is facing the audience, while the left one is over the drums. I think the guy sitting next to the guitarist is a drummer, as the kick drum is visible in front of the guitarist. Why is there a tympani in front of that?? Maybe it's a cymbal with some unrelated Schmutz below it making it look like a tympani? Pure speculation, of course. My music copying is finished, so on to the next project. Thanks again for posting this.
I think these photos are from sessions for matita perê [aka Jobim]. tom jobim - matita perê [Discogs] Engenheiro de som: Frank Laico Gravado em New York, especialmente para a PHONOGRAM DO BRASIL em janeiro* de 1973 nos Estúdios da Columbia. * The MCA Jobim LP has the recording dates as "December 11, 12 and 13th, 1972 at Columbia Recording Studios, New York City" - the Verve re-issue says "December 11 - 14"!
Here are some more pictures from the matita perê album sessions: with Claus Ogerman with João Palma, Claus Ogerman and Frank Laico Album launch party, May 1973: [Carlos Drummond de Andrade - Wikipedia]
I didn't know Antonio Carlos was also known as Tom. However, his appearance is different in the 2 sets of photos; he seems to have a small beard/soul patch in Dan's set of photos, plus a regular shirt. In the Matita photos, the beard seems gone, and he wears a polo shirt. Of course, he could have changed clothes and shaved on different session days.
My guess is that the photos without the beard are from the original tracking sessions - likely mid December 1972. By the time of the photos with the beard we are into 1973 somewhere. There's the mention of "January" on the sleeve for the original Philips LP - which makes me wonder if more work was done then. Of course, there could be many reasons for Tom to be at 30th Street with an album in preparation. One other thing to consider is the English language recording of "Waters Of March" that was added for the US LP. It is a distinctly different vocal overdub and mix so maybe he came back in to do that at some point. Anyway, by 1974 the facial hair was gone (never to return as far as I can recall) and I don't think he was back at 30th Street until 1975 for urubu so I think it's safe to say that these photos all likely relate to the matita perê project one way or another. 1974 (recorded at MGM, Los Angeles):
Dunno, to me he looks younger in Fred's pictures than in the ones you found, and the shirts are different for what that's worth (not much). He was born in January 1927, so in December 1972 he would have been nearly 46. He looks impish in the shots Fred took, much more serious (and older) in the ones you posted and especially in the Elis & Tom pic from Youtube. Other than that, I have no reason to disbelieve that the pics are all from the same period. His hair looks the same in all, too. In the credits for the Jobim and Matita Pere albums, there is an asterisk after some people's names that vary depending on the release, what is that about? Thanks for finding this and the pics.
I see it but I put the more youthful appearance down to the lighting, mainly. He doesn't look dissimilar to how he looks at the launch party though, so maybe it's just the addition of the beard? As for the asterisks - you mean on the Discogs pages? I think that just mean that the name on that particular release appears as a variant of the name for the same person used on other separate releases in their career.
Applying Occam's razor to Tom's beard... I'm assuming that bearded Tom (seen both at the studio and the launch party) is all in the months after the photos at 30th Street without the beard.
Newbie to the group - I've enjoyed reading the entire thread. I wanted to run a recording studio, but sold out to the computer & telecom industries, doing recording and audio restoration/preservation work as a hobby instead. Looking back 6+ years to post #1499 (May 9, 2017), I can identify some (if not all) of the people. The trombone player is Henry Charles Smith, who was principal trombone player in the Philadelphia Orchestra under Eugene Ormandy. He joined the orchestra in 1956 at the age of 23 and stayed until 1967. At that point he jumped to teaching, with postings including Indiana U, Arizona State and U of Texas. He was the Associate Conductor of the Minnesota Orchestra from 1971 to 1988, and made Minnesota his home for most of the rest of his life. He passed away here in 2021. He conducted and/or guest-conducted a number of bands and orchestras in the Midwest. I was fortunate to have him as a conductor a number of times (I play trumpet). But back to the pictures in #1499. The brass section of the Philadelphia Orchestra recorded a number of albums for Columbia and won two Grammies. (They recorded under the name of the Philadelphia Brass Ensemble). The rest of the players would be Gilbert Johnson and Seymour Rosenfeld, trumpets; Mason Jones, french horn; and Abe Torchinsky, tuba. I can't tell from the back of his head, but the "kid" is likely M. Dee Stewart, euphonium. Note what is probably his horn sitting in the open case behind him. Henry would often double on euphonium, but I suspect for these recordings it is probably Dee. He would have been in his mid-late twenties around this time (which I am guessing is the early-mid 6o's. IIRC there is a picture of "the kid" - if it can be posted I might be able to confirm his identity. I have tried to identify which album they are working on but have been unsuccessful thus far. With the drummer and guitar player visible I was guessing their Christmas album (which was released in1 1967), but the tracks I have been able to play on-line are strictly the brass. And I doubt that their purely classical albums (such as Gabrielli) would have guitar and drums. So I'm a little baffled. Hope I've helped solve a minor mystery.
FYI: History of CBS Records 30th Street Studio NYC (many pictures) As far as the date goes, unless I'm missing something early this morning, it has to be pre-mid-1962, as the new control room is not yet present on the south wall. Oddly, I don't see anything on Discogs for the Philadelphia Brass Ensemble prior to 1967. Looks like it's probably The Torchy Jones Brass Quintet from 1960: The Torchy Jones Brass Quintet - Catch The Brass Ring Trumpets: Gil Johnson, Si Rosenfeld French Horn: Mason Jones Trombone: Hank Smith Tuba: Torchy Jones Art Ryerson: guitar Bill Lee: bass Oliver Jackson Jr.: drums Liner notes by Howard Scott
Regarding the drummer: Philly Joe Jones? (It may have already been answered since way back on page 60!)
I would agree that there is a resemble but I'd say no, and it looks like @lukpac has confirmed this. BTW, those are such great pics of Philly.
I am in complete agreement with lukpac regarding the album identification. The (very!) thinly disguised alter-egos of the musicians nails it! It's interesting that the tuba player (Abe Torchinsky aka Torchy Jones) gets top billing. I suspect they had to steer clear of the Philadelphia Orchestra ID for contractual reasons. I had never heard of this album before. I wish Henry was still around to ask about it. I just ordered the LP (there were four available on Discogs). Knowing the players I'm sure it will be great. If DMortensen can post the other pictures from the session I might have a lead on the "kid". A friend of mine was college roommate with Henry's son, who might be able to help ID. The son is too young to be the kid in the picture, but he might recognize the face. Hopefully there's a shot of the quintet from the front as well. Thanks to all - nice teamwork!
Thanks for this new chunk of info, ARHans!! It's going to take me a while to go to the computer with the pictures and find these out of the 9000+, although my indexing system should help, given the clues in the 6+ y.o. posts you cited. While I'm doing that I'll update the info on the pics, thanks to you! It's funny looking back at these pictures that were mysteries then but have since been ID'd. I'm feeling sure now that the drummer was Art Taylor and the bassist Wendell Marshall, in those pics. And I recognize Art Ryerson now when he was a mystery then. And in the earlier Hugh Downs series, #1484, the guy with glasses is producer Jim Foglesong. I think that later came out, too. Thanks again!
You mean you thought at the time it was Art Taylor and Wendell Marshall? Or you think that now? Because it appears it was Oliver Jackson and Bill Lee, respectively.
