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Mather said:
Just reading up on it and that 56 concert was not recorded at all because the British Musicians Union forbade it. But as the article states: "Trumpeter Humphrey Lyttelton had a feeling this was going to be an important night and wanting a souvenir, placed a reel-to-reel tape recorder in a backstage dressing room, capturing the sounds onstage as piped through a monitor."

The quality is uh, not good.

So yeah uh, this is why you have copy editors kids.
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There's also the more obvious issue of What A Wonderful World not being recorded or released until '67 to factor in.
 
Mather said:
Just reading up on it and that 56 concert was not recorded at all because the British Musicians Union forbade it. But as the article states: "Trumpeter Humphrey Lyttelton had a feeling this was going to be an important night and wanting a souvenir, placed a reel-to-reel tape recorder in a backstage dressing room, capturing the sounds onstage as piped through a monitor."

The quality is uh, not good.

So yeah uh, this is why you have copy editors kids.
Click to expand...
This was really common and why we now have a lot of contemporary releases of historical recordings popping up (i.e. the RSD Mingus at Ronnies, Bill Evans at Ronnies, etc).

Essentially the British Musicians Union seemed to do more harm than good by preventing American Musicians performing in the UK (the idea being that they were protecting British jobs), but most of the British musicians on the scene actually wanted the chance to play alongside and see these musicians perform. In fact, many British musicians joined "Geraldo's Navy" which was a transatlantic cruiseliner that would hire British musicians to perform on the journey. The musicians used it as an opportunity to get to New York to see the American jazz musicians perform. Fast forward a few years and Ronnie Scott and Pete King convinced the union to allow American musicians to visit on a swap system (1 American musician playing in the UK for 1 British musician playing in the States). This is why we see jazz albums that were released with the location being a key factor, such as Tubby Hayes' "Tubbs in N.Y." and Zoot Sims' "Zoot At Ronnie Scott's".

Anyway, part of the deal was that many of these performances were not to be recorded unless a secondary deal was made. There are examples of this being done, as mentioned above, but for the most part amateur recordings would be made and traded over the years until they get into the hands of label owners that reissued them (such as Gearbox Records here in London). I bought several hundred tapes that belonged to a British jazz journalist who was mates with Ronnie Scott and would set up his recorder in the club on the stage, and the story goes that he was given special permission by Ronnie to record despite it being a violation.

Anyway, there's some useless info that nobody asked for. There will be a quiz before morning break time on Friday.
 
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