The single mic used was probably a Western Electric 640A condenser mic. Surmise that because the U-47 arrived via Telefunken exporting in 1948, and Reeves not only got one right away but also was featured in an article in Audio Engineering magazine that had their U-47 on the cover. Later Mercury chamber-music recordings made by my father at Reeves describe using an "Altec" microphone, which may have been a type 639 hybrid ribbon/dynamic, although I suspect it was actually the WECO condenser mic. Both mics are described here: http://tinyurl.com/nm8feup -- Tom Fine ----- Original Message ----- From: "Tom Fine" <[log in to unmask]> To: <[log in to unmask]> Sent: Thursday, October 22, 2015 2:36 PM Subject: Re: [ARSCLIST] Nice Sonora Article > Yes, now that I pulled the original Keynote album, that is all correct. So my father left Majestic > early 1947 or late 1946. I thought he was there longer. He didn't join them until after he got > discharged from the Marines, finished recouperating in a hospital in San Francisco and came back > home. So I doubt he worked for Majestic more than a year or so. Anyway, the exact timeframe isn't > that important. The main point I was making is, he and Hammond first worked together at Majestic. > See Hammond's autobiography. > > -- Tom Fine > > ----- Original Message ----- > From: "David Lewis" <[log in to unmask]> > To: <[log in to unmask]> > Sent: Thursday, October 22, 2015 2:30 PM > Subject: Re: [ARSCLIST] Nice Sonora Article > > > Sorry, April 28th, according to this article. And they say it was waxed at > Reeves. > > UD > > On Thu, Oct 22, 2015 at 2:29 PM, David Lewis <[log in to unmask]> wrote: > >> April 25, 1947 >> >> >> http://www.doaks.org/library-archives/dumbarton-oaks-archives/from-the-archives/dumbarton-oaks-concerto >> >> UD >> >> On Thu, Oct 22, 2015 at 2:06 PM, Tom Fine <[log in to unmask]> >> wrote: >> >>> When was Stravinsky conducting "Dumbarton Oaks" recorded? That was >>> originally released on Keynote and recorded at Majestic, I am pretty sure. >>> >>> -- Tom Fine >>> >>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]> >>> To: <[log in to unmask]> >>> Sent: Thursday, October 22, 2015 2:03 PM >>> >>> Subject: Re: [ARSCLIST] Nice Sonora Article >>> >>> >>> The latest Keynote session I can find is from May 1947, and these turn out >>> to be records I well know, via their Mercury 78 album set issue "Lennie >>> Tristano" >>> >>> Lennie Tristano Trio >>> >>> Lennie Tristano (p), Billy Bauer (g), Bob Leininger (b) >>> >>> New York, May 23, 1947 >>> >>> KH200 BLUE BOY (2:52) >>> >>> KH201 ATONEMENT (2:33) >>> >>> KH202-1 COOLIN’ OFF WITH ULANOV (2:51) >>> >>> KH202-2 COOLIN’ OFF WITH ULANOV (2:32) (*) >>> >>> Dave Lewis >>> >>> >>> On Thu, Oct 22, 2015 at 1:39 PM, Tom Fine <[log in to unmask]> >>> wrote: >>> >>> Dave, Hammond did a bunch of Keynote sessions at Majestic Studio, he talks >>>> about it in his autobiography. He worked there up until the studio >>>> closed. >>>> Keynote was bought by Mercury right about the time Majestic closed up, >>>> and >>>> some of the Keynote titles were quickly reissued as Mercury records. The >>>> reason so much Mercury work was done at Reeves in the late 78 era/early >>>> LP >>>> era/dawn of tape as a master media in the US timeframe was the connection >>>> of Reeves hiring my father and John Hammond taking the Mercury work >>>> there. >>>> Mitch Miller was hired by Hammond, as was David Hall. In addition to all >>>> of >>>> Mercury's early self-produced classical content, Reeves was the recording >>>> site for Norman Granz produced sessions with Charlie Parker ("With >>>> Strings," which was arranged and conducted by Mitch Miller) and Machito, >>>> parts of "The Jazz Scene," among others. Granz started working with my >>>> father at Reeves, and they continued to work together into the 50s. Granz >>>> started doing more of his recording on the west coast and at smaller NYC >>>> studios later on, but he still did occasional sessions with my father up >>>> to >>>> the time he sold Verve to MGM. My father always singled out Hammond and >>>> Granz as two people who taught him a lot about music and how sound and >>>> music work together. For those interested in the history of recorded >>>> jazz, >>>> and how the jazz business works within the record business, it's very >>>> worthwhile to read John Hammond's autobiography "On The Record" and the >>>> recent book about Normal Granz by Tad Hershorn. Hammond and Granz were >>>> probably the original "frienemies," highly inter-connected, respectful of >>>> each other's accomplishments but rarely able to be friendly to each other >>>> because of rivalries and jealousies. >>>> >>>> -- Tom Fine >>>> >>>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]> >>>> To: <[log in to unmask]> >>>> Sent: Thursday, October 22, 2015 1:22 PM >>>> Subject: Re: [ARSCLIST] Nice Sonora Article >>>> >>>> >>>> >>>> Tom, >>>> >>>>> >>>>> "Just as" they were failing is about right, as Majestic filed for >>>>> bankruptcy in February 1948. Hammond was fired by Majestic in January >>>>> 1947, >>>>> but I'm sure by this time >>>>> no one cared who was in there. I wish I knew which session this was; >>>>> Hammond, of course, was subsequently hired by Mercury and maybe that's >>>>> where this session >>>>> ended up as well. >>>>> >>>>> My ARSC Journal article about Majestic is in AMP, but it is currently >>>>> mis-linked. >>>>> >>>>> best, >>>>> >>>>> Dave >>>>> >>>>> On Thu, Oct 22, 2015 at 7:09 AM, Tom Fine <[log in to unmask]> >>>>> wrote: >>>>> >>>>> Majestic's NYC studio was still operating in 1948. I know this because >>>>> my >>>>> >>>>>> father was chief engineer there and he made recordings with John >>>>>> Hammond >>>>>> there in 1948, shortly before moving to Reeves Sound Studios. The >>>>>> story I >>>>>> always heard was that he was hired by Reeves just as Majestic was >>>>>> failing. >>>>>> Mercury ended up buying Majestic's catalog, along with Keynote, Swan >>>>>> and >>>>>> some other small NYC labels. >>>>>> >>>>>> -- Tom Fine >>>>>> >>>>>> ----- Original Message ----- From: "David Lewis" <[log in to unmask]> >>>>>> To: <[log in to unmask]> >>>>>> Sent: Wednesday, October 21, 2015 11:22 PM >>>>>> Subject: [ARSCLIST] Nice Sonora Article >>>>>> >>>>>> >>>>>> >>>>>> One post-war label definitely on my radar is Sonora, "Clear as a Bell" >>>>>> >>>>>> (not.) I haven't seen this before; Robert L. Campbell's study, >>>>>>> published in June. Our own David Diehl helped out with it. >>>>>>> >>>>>>> http://myweb.clemson.edu/~campber/sonora.html >>>>>>> >>>>>>> One thing: The Majestic label did fold at the end of 1947, not in >>>>>>> early >>>>>>> 1949. By February 1948 they were already being dissolved in the >>>>>>> courts. >>>>>>> However, they did do the same thing Sonora did; stripped the record >>>>>>> label >>>>>>> out of the Radio and Television interest and saved the latter. >>>>>>> >>>>>>> Dave Lewis >>>>>>> Hamilton, OH >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>> >>>>> >> > >