Follow by Email

Sunday, August 5, 2012




As noted in the previous post covering Calliope CAL 3019 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:  What are the problems of getting what you want mechanically in terms of mobility, position so on, do you have to map it out before you begin?

RA: No, it's just more or less luck. Some places they won't let you use strobe, which is fine but it's too dark to take pictures so you can try to take pictures with minimum light and then pushing the film to great heights to get a picture, but generally, I go places I've been before and. I know where it's possible to stand, if there's a pit like at the old Shrine Auditorium, they have a pit with an old organ and everything down there, I could walk around down there.  Every situation is sort of different, you just almost have to plan it when you get there because you don't know what the
situation is going to be and how the management is going to feel about you taking pictures.

WT: Lot of photographers have the reputation for being very aggressive, push people out of the way, do all that, out of necessity sometimes, did you have trouble with that?

RA: Well, I think because I was not on an assignment I didn't really push, I could get the pictures without bothering anybody I took them, but I didn't have to have them, so that was a big advantage in my case.  But it is true, most photographers are very aggressive, not so much in jazz, but when you see the photographers at the Grammy's or at the various functions of that sort, you see them just almost knocking each other over, but they have to get that picture.

WT: Were musicians troubled sometimes by the presence of a photographer?

RA: I never had any one of them say anything, I guess I'm just very careful I just try to give them plenty of room. That's also why I don't talk to themmuch and have been shy because even in a recording session, even if it'between sets, they’re trying to figure out what was done wrong and how to do right the next time so they don't have a lot of time to visit.

WT: The difficulties in using some equipment when is there such a thing as a silent strobe? Or was there then?

RA: The strobe doesn't make the noise. There are some times when it is very quiet you might hear the shutter going off, but the strobe itself is quiet, it makes a flash but it doesn't have any real noise to it. But some cameras have a rather noisy shutter and that can be heard, if I was standing near a microphone when they were recording in a quiet place, they could pick that up.

WT:  Did the Rolleiflex make any noise?

RA: The Rolleiflex wasn't too noisy, no. It made a little noise but not much. But it is true, like Bill Claxton said, you do try to shoot when the music is fairly loud.

WT: This is the title page as you envisioned it?

RA:  Well, it was a suggestion for the cover, they may want to put someone that's a little wider known than Bobby Troup is in Europe. They may wish to put someone else on the cover because he was in every show and I thought it was important and might be a good idea for a cover.

WT: Now this one, this is Bobby's group at the time, if I remember correctly.

RA: Bob Enevoldsen and Howard Roberts, was that a group. I think he had several groups and that could of been one of them.

WT: How much did Bobby perform on the show? Do you remember?

RA: Not every show, but be quite often did a number or did a duet with someone, but not very often, and once in a while he sang, I think he is singing his famous "Lemon Twist" here. I can almost read his lips.

WE:  Did you know Bobby very well before this began?

RA: No. I really didn't. I'd seen him in clubs a couple of times but I really didn't know him at all, but I got to know him later and after the show was over he ordered quite a large set of the prints for his own album, so I got to know him a little bit at that time.

WT:  You were familiar with his tunes?

RA:  Yes, yes I knew the songs and of course "Route 66" we all loved and wish to travel someday.

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 #16
OCTOBER 8, 1956
The Barney Kessel Quartet: Barney Kessel, guitar; Jimmy Rowles, piano; Leroy Vinnegar, acoustic double bass; Irv Kluger, drums.  The Bill Hitchcock Sextet (including Bill Hitchcock, Murray McEachern trombone; Hymie Gunkler, Gene Cipriano, reeds; Gene Estes, perc), Ruth OLay, vocal.

Production credits for this show:
Host: Bobby Troup
Producer: Jimmie Baker
Director: Norman Abbott
Audio: Chuck Lewis
Technical Director: Ted Hurley
Lighting Director: Grant Veeley

Harry Babasin played bass with this Benny Carter group that included Barney Kessel at the Club Morocco in the late 1940s (pianist unknown).

Show #83
FEBRUARY 3, 1958
Harry Babasin and his Jazz Pickers: Harry Babasin, cello; unknown, guitar; unknown, bass; unknown, piano; unknown, drums. Pat Morrisey, vocal.

Production credits for this show:
Host: Bobby Troup
Producer: Jimmie Baker
Director: Leo G. “Hap” Weyman
Audio: Chuck Lewis
Camera: Bob Haley, Ernie Buttleman
Technical Director: Gene Lukowski
Lighting Director: Jimmy Morris
Video: Vince Mahoney

No comments:

Post a Comment