I have several volumes of JATP on Mercury 78's. They are definitely
badged Mercury and have "Norman Granz Presents" on the label.
----- Original Message ----- From: "David Lennick" <dlennick@xxxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Tuesday, July 08, 2008 2:48 PM
Subject: Re: [ARSCLIST] Granz and JATP (Was:Sinatra & Ella)
The first JATP album was definitely on Asch-Stinson (did it ever
appear on pre-Stinson Asch?). Granz took the masters to Moe. Disc
got Volume II (did this appear in various forms on ten-inch and
twelve-inch and with 2 discs and 3? I seem to remember variant
versions of it). Then, over to Clef for remaining volumes, and
there were some sets that appeared both on Disc and Clef (like The
Groove Juice Symphony).
dl
John Ross wrote:
Were first JATP releases on Mercury? I have a Fall 1946 Disc
Catalog that includes about half a dozen Norman Granz productions,
including "Jazz at the Philharmonic--Vol 2" (Disc Album 501) and
several other "-- at the Philharmonic" items. There's no "Vol. 1"
in the catalog, which suggests that it might have been issued by
somebody else. I don't think Moe Asch ever took anything out of
his catalog voluntarily.
Disc was Moe Asch's label before he established Folkways. At some
point, he went into a partnership with Stinson, which led to many
of the early "Folksay" things appearing on both labels after they
split apart. There were several JATP releases on Stinson, probably
with some of the same material as the Norgran/Verve titles.
How did Disc and Stinson fit into the release history of the JATP
recordings?
John Ross
At 7/8/2008 05:50 AM, Tom Fine wrote:
One man's opinion here -- Norman Granz never gets the credit he
deserves. I think there were some animosities with the
self-appointed "experts" and "critics" back in the Verve days,
and that might have something to do with it. He also didn't write
an autobiography (at least that I know of), unfortunately. This
guy built three distinct and great catalogs of jazz -- 1) the
Jazz at the Philharmonic live recordings, and the related
in-studio jam sessions (first released through Mercury and then
through Norgran/Verve), 2) the excellent Verve studio recordings
of the 50's that continued even after Granz sold the label to
MGM, 3) and then, out of retirement, the Pablo catalog, which has
some weak spots but also proves the amazing longevity of some of
the jazz greats.