Re: 1963's Jewish Jazz Albums

[Mattflight <Mattflight...>]

    The Terry Gibbs album was recorded on January 11 and 12, 1963, just weeks 
after the December 17, 18, & 20 1962 sessions that produced 'Shelly Manne: 
"My Son the Jazz Drummer."' They are a very east coast vs. west coast 
interpretation of the music. (Yes, Terry Gibbs was a west coast based 
musician at the time, but the session was recorded on the East coast (in New 
York City by then Mercury Musical Director Quincy Jones) and have much more 
of a split personality. I feel that the Shelly Manne album is the more 
cohesive of the two recordings.
    The Terry Gibbs album has that very early stereo feel where everything is 
panned either hard left or hard right.  For most practical purposes it is two 
bands playing on the same recording, but not at the same time. 
    Shelly Manne's album is a collection of Yiddish Theater tunes, and 
Israeli tunes. The Terry Gibbs album on the other hand has no Israeli tunes 
on it and is just made up of Yiddish Theater and Dance tunes (including two 
brand new tunes written by Terry Gibbs). Both albums also feature great 
linear notes, written by Lester Koenig for Shelly Manne, and Les Davis for 
the Terry Gibbs album.

Shelly Manne: "My Son the Jazz Drummer" Contemporary S7609
Terry Gibbs Plays Jewish Melodies in Jazztime  Mercury SR60812

    I think it was in this weekends NYtimes, but may have been elsewhere that 
was commenting on how record companies are not allowing new Jazz artists to 
develop. The record companies are looking for sales right off the bat, and if 
the artist doesn't move enough product they get let go. This problem is 
effecting all styles of music, from classical to Jewish. I believe that Andy 
Statman is one of the few, if not the only artist to be playing under the 
Klezmer Umbrella to be on a major label. 
    We can make all the noise that we want to on the list about our mistrusts 
for labels, both big and small. For better or worse a majority of recordings 
that have been released have never sold enough copies to break even. (Another 
example of industries where long term profits are impossible to find is the 
airline industry.) The difference that we see now from earlier times is that 
companies no longer feel the need/the ability to be able to have artists for 
the prestige factor of having them on their label.
    Record stores can also be blamed for part of the problem. I know that I 
have had trouble finding record stores with David Krakauer's "A New Hot One," 
and Mikvah's album when I wanted to. (I won't mention the number of major 
chain record stores and Book/record stores that didn't even have these albums 
in their catalog so that I could order a copy.) And even beyond the product 
that gets stocked, don't even start me on the level of service that is 
working in the stores.  I think that is enough of that, we can go back to 
talking about all things Jewish Music Related.


My collection also includes a number of other crossover or fusion albums from 
that feature Jewish Music with early Rock and Roll (both are "twist" albums), 
and Latin - both big band and small combo. This doesn't even include the 
couple of tracks here and their that can be found on Baja Marimba Band 
albums. The version of Sunrise, Sunset starts with an amazing Donia and goes 
from there. And of course the standard Sing-A-Long, and Jewish Dance music 
that must collections of post World War II record collections of Jewish Music 
have.
     I am available for presentations, and the such, just contact me off the 
list. My presentations are very adaptable to be able to talk about what you 
are interested in hearing.

---------------------- jewish-music (at) shamash(dot)org ---------------------+