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Friday, July 6, 2012





As noted in the previous post covering Calliope CAL 3018 we are continuing our presentation of an interview that Will Thornbury conducted with Ray Avery regarding Ray’s background in photography.


               RAY AVERY                                                            WILL THORNBURY

WT: Do you develop a relationship with somebody there (the photo finishing lab) where they can, where you can say this is what I want?

RA: Pretty much, if you get a good lab, you know, the lab I have now and I've had 12 or 15 years, well, they were so much better than what I ever printed that I couldn't very well criticize them much, once in a while I'll take back a print and say I would of liked this a littler darker. I turned in some Billie Holiday pictures and one of them they tried to retain Bobby Troup which was at the far side of the picture and it came out kind of grey and I said, this picture isn't going to match the rest so I'd rather lose Bobby Troup a little bit and get the same type of picture, so it matches better.

WT: Now in film making, ultimately you always blame something on the lab, they always mess it up, even when they don't and they of course are capable of that but they're often accused of ruining something when in fact the cinematographer ruined it, or something else. Have you had any major disappointments with that?

RA: Oh, I don't think anything that, the nice thing in my case was that I mostly wasn't working on assignments, I was working for myself.  So now years later I Just go back and use the pictures that turned out good, so if I, the few assignments that I have had and things have gone wrong have been very hard on me because I just hated to tell anybody I just screwed it up because; in most cases, when you shoot a session of that sort, you don't get another chance, you know, it's a recording session or it's a festival. So, I had the luxury of just shooting the stuff for fun, for myself, and going back later getting the stuff out I liked.

WT: We talked about your early friendship with Dave Stewart and the Erteguns, and your love of traditional music, you going back from the Swing era to Bunk Johnson and Kid Ory and the Beverly Cavern and all of that, when did you start moving toward more contemporary sounds, 1950 say is when you think about at that time when the bands broke up, when people were coming out of Woody's band, Kenton, Herman and early '50's were a time when the more modern musicians were settling here and looking for work, is that a transition period for you as well?

RA: I think at the same time I came back to Big Bands for a while and there were still some very good big bands and I was always very interested in the Basie band and the Ellington band and they were always around back then, nearly, so I came back to that for awhile and then as they became harder and harder to hear, not coming to California that much, then I began noticing the groups that would come to the Lighthouse or play at The Haig or the many small clubs, none of them lasted very long, but we had all these young guys coming out of the Kenton band, coming out of the Herman band and other bands we don't even think of now but there were so many good musicians that came here to work and to live that there was lots of opportunities.

Many of the Stars of Jazz guest jazz artists had recently recorded for Mode Records.  The following newsletter from Mode details LP releases by Al Viola, Doris Drew and Don Fagerquist among others.

This publicity release notes that Bob Crosby would be hosting this edition of Stars of jazz while Bobby Troup was on vacation.  As seen below this was not the case as Mel Tormé was the host for the November 18, 1957 show.

Calliope Records Production Credits:
Executive Producers: Heyward Collins, Rick Donovan, Lee D. Weisel
Production and Coordination: Jim Pewter
Technical Assistance: Mike Jordan for Krishane Enterprises
Mastering: Jack Skinner for Keyser-Century Corporation
Art Direction and Photography: Jeffrey Weisel

SHOW #72
NOVEMBER 18, 1957
The Don Fagerquist Octet: Don Fagerquist, trumpet; Bob Enevoldsen, v-trb; Vince DeRosa, French horn; Herb Geller, Med Flory, reeds; Marty Paich, piano; Buddy Clark, acoustic double bass; Mel Lewis, drums. Al Viola, Manolo Vasquez, guitar. Doris Drew, vocal. Mel Tormé as host.

Production credits for this show:
Host: Mel Tormé
Executive Producer: Peter Robinson
Producer: Jimmie Baker
Writer: Bob Arbogast, Bruce Lansbury
Director: Leo G. “Hap” Weyman
Audio: Noel Frame
Cameramen: Jack Denton, Ernie Buttleman
Technical Director: Gene Lukowski
Lighting Director: Vince Cilurzo
Video: George Hillas


(Video courtesy Dave Pell Jazz Archive)

(Video courtesy Dave Pell Jazz Archive)

SHOW #95
APRIL 28, 1958
The Dave Pell Octet: Jack Sheldon, trumpet; Bob Enevoldsen, v-trb; Dave Pell, tenor sax; Marty Berman, baritone sax; Paul Moer, piano; Tommy Tedesco, guitar; Buddy Clark, acoustic double bass; Frankie Capp, drums. Marty Paich, piano. Les Thompson, harmonica. Peggy King, vocal, Marty Paich, piano.

Production credits for this show:
Host: Bobby Troup
Executive Producer: Peter Robinson
Producer: Jimmie Baker
Writer: Bob Arbogast
Director: Leo G. “Hap” Weyman
Audio: Chuck Lewis
Cameramen: Sal Folino, Jack Denton, Ernie Buttleman
Technical Director: Gene Lukowski
Lighting Director: Vince Cilurzo
Video: Noble Moore


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