#Nesuhi Ertegun

[jazzdailyblog]

"The Wonderful World of Jazz:" Exploring John Lewis' 1961 Masterpiece

Introduction: John Lewis, best known for his work with the Modern Jazz Quartet (MJQ), carved out a significant niche for himself in the jazz world with his sophisticated compositions and distinctive piano style. One of his most rewarding endeavors outside the MJQ is the album “The Wonderful World of Jazz,” released in 1961. This album not only showcases Lewis’ prowess as a pianist and composer…

[teledyn]

How John Coltrane’s ‘My Favorite Things’ Changed American Music:

"… composed by the grandsons of German and Russian Jews, about an Austrian family fleeing the Nazis on their way to America, played by an African American genius in a vernacular American style, produced by one Turkish American for a record label owned by another Turkish American. The recording is not in or of the melting pot. It is the melting pot."

[odk-2]

Herbie Mann - Philly Dog (1966) Rufus Thomas from: "Philly Dog" / "Frere Jacques" (Single) "Our Mann Flute" (LP)

Jazz | Instrumental | Soul Jazz Mar-Keys Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Herbie Mann: Flute

King Curtis: Saxophone, Tenor and Baritone Pepper Adams: Baritone Saxophone Quentin Jackson: Trombone and Bass Trombone

Trumpet: Marky Markowitz Joe Newman

Jimmy Wisner: Piano

Guitar: Al Gorgoni Charles Macey

Warren Smith: Percussion Joe Mack: Electric Bass Bernard Purdie: Drums

Arranged by Conducted by: Jimmy Wisner Produced by Nesuhi Ertegun

Recorded: @ The Atlantic Records Studios in New York City, New York USA on May 26, 1966

Released: 1966

Atlantic Records

[usedcarheaven]

Bubblegum of the Highest Order..on Bang records                                      “Bang Records was created by Bert Berns in 1965 together with his partners from Atlantic Records: Ahmet Ertegun, Nesuhi Ertegun and Jerry Wexler. The first letters of their names (Bert, Ahmet, Nesuhi, Gerald) formed the label's name.. Berns had been staff producer at Atlantic Records for several years when he and Atlantic chief executives set out to create a new independent label. In 1966, Berns took sole control of the company. At Bang he had an immediate string of hit records, including "I Want Candy" by the Strangeloves, "Hang On Sloopy" by the McCoys, "Brown Eyed Girl" by Van Morrison and "Solitary Man" and "Kentucky Woman" by Neil Diamond..”

[hellocanticle]

Ilhan Mimaroglu and Agitprop (Political Classical Again)

İlhan Kemaleddin Mimaroğlu (1926-2012) photo credit unknown, fair use Portrait of Ahmet M. Ertegun and Nesuhi Ertegun, Turkish Embassy (record room), Washington, D.C., 193- (Photo credit: Wikipedia) It would be difficult to underestimate the impact of Turkish immigrant brothers Ahmet and Nesuhi Ertegun on the American music industry in the last half of the 20th century with their promotion and…

[ausetkmt]

SWISS MOVEMENT -  Compared to What (Live at Montreux Jazz Festival)

Trumpet: Benny Bailey Drums: Donald Dean Tenor  Saxophone: Eddie Harris Producer: Joel Dorn Bass  Guitar: Leroy Vinnegar Piano, Vocals: Les Mccann Producer: Nesuhi Ertegun Writer: Gene McDaniels

[kdo-three]

Bobby Darin - Beyond the Sea (Stereo) (1959) Bobby Darin with The Richard Wess’ Orchestra Music: Charles Trenet / English Lyrics: Jack Lawrence from: "That's All" (LP) "Beyond the Sea" / "That's the Way Love Is" (Single)

Traditional Pop | Big Band

JukeHostUK (left click = play) (320kbps)

Personnel: Bobby Darin: Vocals

Moe Wechsler: Piano Mundell Lowe: Guitar

Trumpets: Joe Cabot Mel Davis Al DeRisi Doc Severinsen

Trombones: Billy Byers Cutty Cutshall Frank Rehak Chauncey Welsch

Reeds: Leon Cohen Walt Levinsky Seldon Powell Jerry Sanfino

Strings: Unidentified

Eddie Safranski: Bass Don Lamond: Drums

Richard Wess: Arranger / Conductor Produced by Ahmet Ertegun / Nesuhi Ertegun / Jerry Wexler

Recorded: @ The Atlantic Studios in New York City, New York USA on December 24, 1958

Released: in October of 1959

ATCO Records Atlantic Records

Bobby Darin: Beyond The Sea

[plus-low-overthrow]

Carmen McRae - I Love You More Than You'll Ever Know (Atlantic)

wrt. Al Kooper, arr. Arif Mardin & prod. Nesuhi Ertegun.

[nofatclips]

But not for me (Ginger Rogers cover) by John Coltrane from the album My Favorite Things

[mosaicrecords]

"A Social Revolution:" How the Turkish Embassy Desegregated Jazz in Washington DC

I worked for Nesuhi and Ahmet Ertegun in the early ‘70s. They were highly educated sons of a Turkish ambassador, who led a privileged life style in Paris and then in Washington, D.C. They loved jazz and blues and the African-Americans who made it. They broke segregation barriers at events that celebrated their love of jazz. They soon became major forces in the recording field with Atlantic Records, and became champions of Black American culture. They lived as well-to-do citizens of the world, but their roots in American music was their life’s mission.

-Michael Cuscuna

Listen… Follow: Mosaic Records Facebook Tumblr Twitter

[jazzdailyblog]

"Beauty Is a Rare Thing": Ornette Coleman's Sonic Odyssey Through Avant-Garde Jazz

Introduction: On November 16, 1993, Rhino Records unveiled a musical treasure trove that transcended the boundaries of jazz. “Beauty Is a Rare Thing: The Complete Atlantic Recordings” by Ornette Coleman, a pioneering saxophonist and composer, stands as a testament to the avant-garde movement that swept through the jazz landscape in the late 1950s and early 1960s. This box set, meticulously…

[auskultu]

LP Perils Single In Bowing Acts

Mike Gross, Billboard, 19 August 1967

NEW YORK — The LP is threatening the single's long-held dominance in the launching of pop artists. Record company executives have discovered that the new type of groups being launched on disks don’t need single hits to sell albums, that the young people who are buying records today are more album conscious, that the adult album-buying consumer has become more aware of the new pop groups, and that albums by these groups often outsell their singles.

Nesuhi Ertegun, Atlantic Records vice-president in charge of album product, is especially bullish about the pop LP market. The emergence of rhythm and blues artists as album sellers has been one of the key factors in Atlantic’s upward sales spiral, and Ertegun points out that the big sales potential is working to the product’s advantage. “We can now take more care in the preparation of an album,” he said, “and work for more quality. It’s no longer a slap-dash matter of putting 11 or 12 songs together. A lot of thought now goes into the production of an LP.”

As an example of r&b’s move-in on the pop album market, Ertegun cited Wilson Pickett. “Just a few years ago," he said, "a good-selling Pickett album sold between 15,000 and 25,000 copies. Now our Pickett albums sell about 250,000 copies." The pop move-in also applies to such artists as Otis Redding, Percy Sledge and Sam and Dave. “The most phenomenal of all, though," said Ertegun, “is Aretha Franklin who is making a sweep of both the r&b and pop fields.”

As far as the new groups are concerned, Ertegun said that in many instances he’s seen singles sales of 60,000 copies matched by album sales of 90,000 to 100,000 copies by the same group. “The Cream, for example," he said, “have a top selling LP but their single release didn’t quite make it.” He also predicts that Bee Gee’s first album will sell more copies than their single.

Aware of LP’s The groups themselves are now more aware of albums than ever before. According to Ertegun, they want to have a hand in all phases of the album’s preparation. He said that the Young Rascals, who are not due to cut their next LP until September, have already held several meetings at Atlantic on the presentation of the album.

The groups are setting up their own style of album presentation, said Ertegun. They seem to be moving away from lengthy liner notes to stress artwork, decoration, color and photographs.

Another reason for the in-roads being made by the LP, according to Ertegun, is that many of the groups have cuts that run from six to seven minutes, which cannot be put on a single, so the LP remains the only showcase. “And because of this,” said Ertegun, “the record business is beginning to change the broadcasting business.” Stations, which never before played records that ran over three minutes, are now spinning these seven-minute sides and thus giving more exposure to album product than ever before.

Albums First Now that the pop album potential has become so great, Ertegun is plotting LP’s for the label’s new groups even before the first single is released. He plans to be ready with albums by such groups as the Vagrants and Aesop’s Fables even before their singles take off.

In addition to the r&b artists and the pop groups, Ertegun is continuing to build the album catalog of such standard artists as Leslie Uggams, Carmen McRae, Bobby Darin, Bent Fabric and Acker Bilk, as well as his jazz roster.

Ertegun is on the Coast this week to record a new album with Sergio Mendes, who is free to record for Atlantic even though his group, Brazil 66, is signed to A&M Records.

[odk-2]

Herbie Mann - The Wailing Dervishes (Stereo) (1967) Herbie Mann from: "The Wailing Dervishes" (LP)

Jazz | Ethno Jazz | World Music

JukeHostUK (left click = play) (320kbps)

Personnel: Herbie Mann: Flute Roy Ayers: Vibraphone [Vibraharp] Chick Ganimian: Oud Reggie Workman: Bass Moulay “Ali” Hafid: Goblet Drum [Dümbek] Bruno Carr: Drums

Produced by Nesuhi Ertegun

Recorded Live: @ The Village Theater in New York City, New York, USA on June 3, 1967

Released: in March of 1968

Atlantic Records

"Herbie Mann, was an American jazz flute player and important early practitioner of world music." - Wikipedia Herbie Mann: https://en.wikipedia.org/wiki/Herbie_Mann

[1962dude420-blog]

Today we remember the passing of Jerry Wexler who Died: August 15, 2008 in Sarasota, Florida

Gerald "Jerry" Wexler (January 10, 1917 – August 15, 2008) was a music journalist turned music producer, and was one of the main record industry players behind music from the 1950s through the 1980s. He coined the term "rhythm and blues", and was integral in signing and/or producing many of the biggest acts of the time, including Ray Charles, the Allman Brothers, Chris Connor, Aretha Franklin, Led Zeppelin, Wilson Pickett, Dire Straits, Dusty Springfield and Bob Dylan. Wexler was inducted to the Rock and Roll Hall of Fame in 1987 and in 2017 to the National Rhythm & Blues Hall of Fame.

Wexler was born in The Bronx, New York City, the son of a German Jewish father and a Polish Jewish mother; he grew up in the Washington Heights neighborhood of Upper Manhattan. Despite graduating from George Washington High School at age 15, he dropped out of the City College of New York after two semesters. In 1935, Wexler enrolled at what is now Kansas State University, where he studied intermittently for several years. Following his service in the Army, Wexler became a serious student, and he graduated from Kansas State with a B.A. in journalism in 1946.

During his time as an editor, reporter, and writer for Billboard Magazine, Wexler coined the term "rhythm and blues". In June 1949, at his suggestion, the magazine changed the name of the Race Records chart to Rhythm & Blues Records. Wexler wrote, "'Race' was a common term then, a self-referral used by blacks...On the other hand, 'Race Records' didn't sit well...I came up with a handle I thought suited the music well – 'rhythm and blues.'... It was a label more appropriate to more enlightened times."

Wexler became a partner in Atlantic Records in 1953. There followed classic recordings with Ray Charles, the Drifters and Ruth Brown. With Ahmet and Nesuhi Ertegun, he built Atlantic Records into a major force in the recording industry.

In the 1960s, he recorded Wilson Pickett and Aretha Franklin, and oversaw production of Dusty Springfield's highly acclaimed Dusty in Memphis and Lulu's New Routes albums. He also cultivated a tight relationship with Stax Records, was an enthusiastic proponent of the then-developing Muscle Shoals Sound and launched the fortunes of Muscle Shoals Sound Studios and the Muscle Shoals Rhythm Section. In 1967 he was named Record Executive of the Year for turning Aretha Franklin's career around. In November 1966, Franklin's Columbia recording contract expired; at that time, she owed the company money because record sales had not met expectations. Working with Wexler and Atlantic, Franklin was "the most successful singer in the nation" by 1968.  His work in this decade put Atlantic at the forefront of soul music.

In 1968, he and Ahmet Ertegun signed Led Zeppelin to Atlantic Records on the recommendation of singer Dusty Springfield and from what they knew of the band's guitarist, Jimmy Page, from his performances with the Yardbirds. With its strong catalog, Atlantic Records was purchased by Warner Bros. Records in 1968. In 1975, Wexler moved from Atlantic to its parent Warner Records.

In 1979, Wexler produced Bob Dylan's controversial first "born again" album, Slow Train Coming at Muscle Shoals; a single from that album, "Gotta Serve Somebody", won a Grammy Award in 1980. When Wexler agreed to produce, he was unaware of the nature of the material that awaited him. "Naturally, I wanted to do the album in Muscle Shoals - as Bob did - but we decided to prep it in L.A., where Bob lived", recalled Wexler. "That's when I learned what the songs were about: born-again Christians in the old corral... I like the irony of Bob coming to me, the Wandering Jew, to get the Jesus feel... But I had no idea he was on this born-again Christian trip until he started to evangelize me. I said, 'Bob, you're dealing with a sixty-two-year-old confirmed Jewish atheist. I'm hopeless. Let's just make an album.'"

In 1983, Wexler recorded with UK pop star George Michael. The most famous out-take of these sessions would prove to be a rare early version of "Careless Whisper", recorded in Muscle Shoals.

In 1987, Wexler was inducted into the Rock and Roll Hall of Fame. He retired from the music business in the late 1990s.

For most of the 1990s, Wexler lived on David's Lane in East Hampton, New York, where he shared living space with a Chinese family who aided him with daily functions and kept him company.

He died at his home in Sarasota, Florida, on August 15, 2008, from congestive heart failure. Asked by a documentary filmmaker several years before his death what he wanted on his tombstone, Wexler replied "Two words: 'More bass'."

[yesterdaysanswers]

“A lot of the bands would be taking drugs, but our big thing was food,” Djivas says. “The bands we were playing with would often stay at the same hotel, and would come over to our room, attracted by this great smell. We’d be cooking spaghetti, we’d have a little wine and all start singing. Aerosmith used to come to our room every night for spaghetti. Steven Tyler would be singing and laughing all the time. We used to do little theatre pieces in our room, where we did imitations of Elvis Presley and Sha Na Na, and they were having so much fun.

“The two brothers at Atlantic Records, Ahmet and Nesuhi [Ertegun], were big enemies at the time and hadn’t talked to each other in years.

But they got together one night on our floor, eating spaghetti with plastic forks and having a good time. And all the other people at Atlantic were freaking out. We had so many times like that. Girls would be going past our room: ‘Hello, is there a party over here?’”

PFM captured their blazing live shows of ’74 on Cook, released later that year. Recorded in Toronto and New York, and topped off with the 15-minute free jam Alta Loma 5 ’Till 9, it was titled Live In U.S.A. for the European market. The press junket for Cook, fittingly, was held at a top restaurant, where 200 invited guests were served risotto and pasta – made by Mussida and Di Cioccio – in the colours of the Italian flag.

(from Classic Rock magazine, May 2018)