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77  

Mark Gardner

Record company and label. The company was established in 1957 by Doug Dobell (b London, 1918; d Nice, France, 10 July 1987), the owner of a record store in London. The first discs to be released were 10-inch EPs, which were put out in limited quantities. Later the catalogue was expanded to include 12-inch LPs; by the mid-1970s the company had issued more than 50 albums, mostly of traditional and mainstream jazz. The catalogue included recordings made by such English musicians as Tubby Hayes, Bruce Turner, Dick Morrissey, Keith Smith, Kenny Baker, and Tony Coe and items by visiting Americans, among them Bud Freeman, Eddie Miller, Buck Clayton, Albert Nicholas, and George Lewis (i). In 1962 the company sponsored and issued the results of Jack McVea’s first session as a leader in 15 years. Much of the repertory was produced by Dobell, who, as a pianist himself, was responsible for recording albums by Dick Wellstood, Dill Jones, Brian Lemon, Don Ewell, Dick Katz, Joe Turner (i), and Ralph Sutton. In addition 77 issued some albums first put out by Delmark and other small American labels....

Article

A (iii)  

Gary W. Kennedy

Record company and label. It was established in 1975 by Trevor Watts and John Stevens and released only three recordings, two by the Spontaneous Music Ensemble and one by the group Amalgam.

Article

Discography in the United States: Jazz discographies  

Edward Berger and Jim Farrington

Accurate information about recorded performances is essential in jazz, where recordings rather than scores or sheet music are the principal sources for study. Take numbers are particularly important to the study of jazz, since two versions of the same piece, recorded only minutes apart, may differ significantly. With the advent of the LP tape mastering in the late 1940s (and subsequent elimination of unique disc masters), the discographically convenient use of matrix and take designations was lost; an LP may contain many unrelated performances of diverse origins (even within the same track), the identification of which poses particular problems for the discographer. These difficulties are often compounded by insufficient or misleading information supplied by record manufacturers.

The first extensive discographical works were devoted to jazz. The term “discography” itself was introduced in the 1930s as growing numbers of jazz enthusiasts sought to establish accurate information about personnel and recording dates. Early researchers also had to contend with the pseudonymous issuing of numerous recordings by well-known jazz bands. The field of jazz discography has been dominated from the start by Europeans. Two pioneering discographical works were published in ...

Article

East Wind (i)  

Article

East Wind (ii)  

Record label. It was owned by the East Wind Trade Associates company, founded in 1984 in Hartford, Connecticut, by Steve Boulay, Ted Everts, and David Barrick with the assistance of Gerald A. Friedman. Its catalogue was devoted to Russian jazz in styles ranging from bop to jazz-rock. (E. Schmitt: “3 in Hartford Importing Records of Russian Jazz,” ...

Article

Epic  

Christopher Doll

Record company. It was established by CBS in 1953 as a subsidiary of Columbia Records. Although from the start its issues included jazz and pop, Epic for many years was known primarily for its recordings of George Szell conducting the Cleveland Orchestra (including those made with a young Leon Fleisher as piano soloist). In the latter part of the 1950s, as rock and roll began to overtake the industry, the company struggled to find itself artistically and commercially, accumulating an odd assortment of American, Australian, and European performers representing a wide array of classical, jazz, and popular styles.

The label’s fortunes began to change in 1964 with its participation in the British Invasion. Epic distributed the American releases of the Dave Clark Five and the Yardbirds and later those of the Hollies and Donovan. The true turning point for the company was the signing in 1967 of Sly and the Family Stone, whose critical and financial success helped redefine the label as a youth-oriented powerhouse. The company expanded through the 1970s, achieving unimaginable heights in the 1980s with Michael Jackson’s mature solo work (...

Article

In + Out  

Gary W. Kennedy

Record company and label formed around 1989 in Freiburg, Germany, by Frank Kleinschmidt and Jürgen Schwab; it appears to have started recording operations in 1987, but its first issues began to appear only in early 1990. Featured artists include Chico Freeman, both as the leader of his own group, Brainstorm, and as a member of the group Roots (with Arthur Blythe, Sam Rivers, Nathan Davis, and Don Pullen, among others), as well as James “Blood” Ulmer, Buster Williams, and Urszula Dudziak. In the mid-1990s In + Out issued a 15-disc historical anthology (three boxed volumes of five CDs each) entitled ...

Article

Inner City  

Barry Kernfeld

Record company and label. The company was founded in New York in 1976 by Irv (Irving) Kratka. A subsidiary of the MMO (Music Minus One) Music Group, Inc., it owned three labels, two of which were devoted to jazz. These were Classic Jazz (which should not be confused with the Swedish label Classic Jazz Masters) and Inner City. Although the company was concerned largely with reissuing material first made available by other companies in the USA, Japan (East Wind), and Europe (principally Enja), it also put out new recordings in early swing and bop styles on Classic Jazz and material ranging in style from bop to free jazz and jazz-rock. The company later became enmeshed in a legal dispute which ended its activities. Inner City should not be confused with a pop music label of the same name which was established in the late 1980s. (M. Segell: “Once More, Jazz is Big Business,” ...

Article

Marsalis, (Ferdinand) Delfeayo  

Gary W. Kennedy

Member of Marsalis family

(b New Orleans, July 28, 1965). Trombonist and record producer, son of Ellis Marsalis. He played electric bass guitar and took up trombone at the age of 12, and later studied record production and trombone at the Berklee College of Music. After graduating (spring 1989) he performed around New Orleans, and at some point he read English at the University of New Orleans. Having worked with Ray Charles, Fats Domino, Abdullah Ibrahim’s septet Ekaya, and Art Blakey’s Jazz Messengers, around spring 1991 Marsalis began leading his own quintet, which has included Mark Turner, the pianist Victor “Red” Atkins, the double bass player Greg Williams, Brian Blade, and his brother Jason Marsalis; in September 1992 he led the group at the reopening of Kimball’s in San Francisco. Between 1993 and 1998 he was a member of Elvin Jones’s Jazz Machine. He moved to New York in ...

Article

Ramsey, (Charles) Fred(eric, Jr.)  

Alex Harris Stein

(b Pittsburgh, PA, Jan 29, 1915; d Paterson, NJ, March 18, 1995). American writer on jazz, record producer, and folklorist. He coedited one of the first scholarly books on jazz with Charles Edward Smith, Jazzmen: the Story of Hot Jazz Told in the Lives of the Men who Created It (New York, 1939). Supported in part by Guggenheim Fellowships (1953, 1955), Ramsey conducted extensive fieldwork throughout the American South, photographing African American life and recording interviews and music. The results of his travels are detailed in his books Been Here and Gone (New Brunswick, NJ, 1960) and Where the Music Started (New Brunswick, NJ, 1970). Many of his field recordings were released by Folkways Records as Music of the South (1954). He produced a historical anthology of recordings for Folkways titled Jazz (1950–53). Later, grants from the National Endowment for the Humanities (...

Article

Sweatman, Wilbur  

Mark Berresford

(Coleman )

(b Brunswick, MO, Feb 7, 1882; d New York, NY, March 9, 1961). American clarinetist, bandleader, composer, and music publisher. His first professional engagement (c1897–8) was with a “pickaninny” band led by Nathaniel Clark Smith. In 1902 he was assistant leader of P.G. Lowery’s band with Forepaugh and Sells Circus and later that year joined Mahara’s Minstrels band under the leadership of W.C. Handy. In 1903 he formed his own band in Minneapolis, where he made the first recordings by an African American band. Sweatman moved to Chicago in 1908, where he led trios at the Grand and Monogram theaters. In 1911 he made his first vaudeville appearance, and in late 1916 made the first records recognizable as jazz performances. In 1918 Sweatman’s band was signed to an exclusive recording contract with Columbia, their records rivalling those by the Original Dixieland Jazz Band. He continued to work through the 1920s and early 1930s in vaudeville, and in ...

Article

United Artists  

Mark Gardner

Record company and label. The company was established in New York in 1958 as a subsidiary of the film company of the same name. It quickly assembled a remarkably comprehensive catalogue that contained a wide variety of mainstream and modern jazz. Among its most notable recordings were the excellent album Money Jungle by Duke Ellington, Charles Mingus, and Max Roach, and the only recording made jointly by John Coltrane and Cecil Taylor. In addition the company released albums by Art Blakey, Roy Ayers, Count Basie, Billie Holiday, Bill Potts, Art Farmer, Curtis Fuller, Thad Jones, Mose Allison, Ruby Braff, Gerry Mulligan, the Modern Jazz Quartet, Betty Carter, Dave Lambert, Rex Stewart, Oliver Nelson, Benny Golson, Herb Pomeroy, Booker Little, Milt Jackson, Howard McGhee, Bud Freeman, Teddy Charles, Kenny Dorham, Zoot Sims, and Billy Strayhorn. This extensive repertory was produced by Tom Wilson, Jack Lewis, Alan Douglas, and George Wein. Around ...