Acetate recordings

Vendu
£ 2 394
Date de l'enchèreClassic
29.09.2023 11:00UTC +01:00
Auctioneer
CHRISTIE'S
Lieu de l'événement
Royaume-Uni, London
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Archive
ID 1029213
Lot 562 | Acetate recordings
JAZZ

Two 12-inch double-sided acetates of the complete soundtrack for The Sound of Jazz television show, originally aired by CBS on 8 December 1957, the studio labels over original Presto labels with typewritten details ‘The Sound of Jazz’ and numbered ‘Part 1’ to ‘Part 4’, the labels additionally inscribed in blue ballpoint pen with artist and track listings and dated ‘12/8/57’, the tracks comprise Open All Night and The Count Blues by the Count Basie All Stars, Wild Man Blues and Rosetta by Red Allen, Blue Monk by Thelonious Monk, I Left My Baby by Jimmy Rushing with the Count Basie All Stars, Dickie’s Dream by the Count Basie All Stars, Fine and Mellow by Billie Holiday with Lester Young, The Train and the River by the Jimmy Giuffre Trio, and Blues My Naughty Sweetie Gave to Me by Giuffre and Pee Wee Russell, in modern sleeves and liners, with original orange Presto paper sleeve.

Thelonious Monk’s Blue Monk and two numbers by the Basie All Stars were not included on the album released by Columbia in 1958, which had been recorded at the rehearsal four days earlier. The Sound of Jazz was the 1957 edition of the CBS television series The Seven Lively Arts and was one of the first major programmes featuring jazz to air on American network television, featuring a remarkable roster of jazz giants. Monk biographer Robin D. G. Kelley notes that Monk missed the rehearsal: ‘Monk had lost so much sleep fretting over his performance that he collapsed in a state of nervous exhaustion… But when it came time to ‘hit’ for the cameras, Thelonious arrived at the Town Theater, aka CBS Studio 58, on 55th Street and Ninth Avenue on time and ready to play. And, as usual, he made a sartorial statement few viewers could forget: He donned a hip plaid jacket, white shirt and tie, a sporty driving cap, bamboo sunglasses, and a pair of Hush Puppies that never stayed still as he pounded out a characteristically angular yet swinging rendition of Blue Monk.’ Kelley, 238.
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