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And on this other page, they credit Tom's dad as engineer.

http://www.doaks.org/library-archives/dumbarton-oaks-archives/blissiana-files-and-artifacts/series-6-artifacts-recordings

UD

On Thu, Oct 22, 2015 at 2:30 PM, David Lewis <[log in to unmask]> wrote:

> 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
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>
>>>>>
>>
>