The Jazz Scene By Norman Granz    Limited #1,292 of 5,000 Made.

The Duke Ellington Sides – “Sono” and “Frustration” – arranged by Duke Ellington featuring Harry Carney (baritone saxophone), Billy Strayhorn (piano), Fred Guy (guitar), Oscar Pettiford (bass) Sonny Greer (drums) – Recorded 1949
The Neal Hefti Sides – “Repetition” and “Rhumbacito” – arranged and conducted by Neal Hefti featuring Bill Harris (trombone), Charlie Parker (alto saxophone on “Repetition”), Flip Phillips (tenor saxophone), Manny Albam (baritone saxophone), Shelly Manne (drums) – Recorded “Repetition” December 1947, and “Rhumbacito” autumn 1948
The Lester Young Side – “I Want To Be Happy” – Lester Young (tenor saxophone), Nat King Cole (piano), Buddy Rich (drums) – Recorded March–April 1946
The Coleman Hawkins Side – “Picasso” – Coleman Hawkins (tenor saxophone) – Recorded 1948
The Ralph Burns Side – “Introspection” – arranged by Ralph Burns featuring Sonny Berman (trumpet), Bill Harris, Lucky Thompson (tenor saxophone) and a large orchestra – Recorded October 1946
The George Handy Side – “The Bloos” – arranged by George Handy featuring Sonny Berman (trumpet), Bill Harris, Lucky Thompson (tenor saxophone) and a full orchestra – Recorded November 1947
The Charlie Parker Side – “The Bird” – Charlie Parker (alto saxophone), Hank Jones (piano) Ray Brown (bass), Shelly Manne (drums) – Recorded 10 February, 1949
The Willie Smith Side – “Sophisticated Lady” – Willie Smith (alto saxophone), Dodo Marmarosa (piano), Barney Kessel (guitar), Red Callender (bass), Jo Jones (drums) – Recorded November 1947
The Machito Side – “Tanga” – arranged and conducted by Machito with his orchestra, including Flip Phillips (tenor saxophone) – Recorded January 1949
The Bud Powell Side – “Cherokee” – Bud Powell (piano), Ray Brown (Bass) Max Roach (drums) – Recorded February 1949

 

The Jazz Scene – Most important Album You’ve Never Heard

By Richard Havers   September 30, 2014
In April 1949, Mercury Records announced that it was soon to release a $25 jazz album made up of six 12-inch 78-rpm records, together with thirty-two 12 x 12 in. photos of top jazz stars taken by Life photographer Gjon Milli. They confirmed that material for this project had been in preparation for the last three years by Norman Granz. Granz having started the Jazz at the Philharmonic concert series in 1944 had become a record producer and was heading up Mercury’s jazz division as well as issuing records under his own label Clef, through Mercury.

This is without question one of the most important albums to be issued in the 78-rpm album era, and it arguably created a template for much that followed in the recording industry, from LP box sets to the deluxe editions of today with books, CDs and all kinds of other attractive ephemeral assets that appeal to the collector. Granz and Mercury limited the output to just 5,000 numbered limited editions.

Soon, in those days, was nine months away. The release of The Jazz Scene, as this package was called, was in the week before Christmas 1949 and just as today the first question the music press was asking was, ‘Is it worth it?’ Billboard emphatically declared ‘Mercury unveils “Jazz Scene” – $25, But It’s Worth It’. The reason that it took so long to appear is that its production was being underwritten in ‘pre-sales’. The appeal of the photos and the unbreakable discs, along with Granz’s own notes and biographies of the artists really did make this a working template.

‘The entire production is out of the top drawer in taste and conception. It leans towards the modern, both in the Milli-conceived photography and the Granz-supervised Wax.’ – Billboard

‘I was just beginning and I didn’t have a lot of money, I wanted to do something that reflected what was going on in jazz at the time.’ – Norman Granz

• Pressed By – Scranton Record Company
• Recorded At – Radio Recorders
• Recorded At – Asch Studios, New York City
• Recorded At – Reeves Sound Studios
• Recorded At – Carnegie Hall Recording Studios
• Printed By – George F. McKiernan & Company

Credits

• Design [Label], Typography [Front Cover Lettering] – George Maas
• Illustration [Original Drawing] – David Stone Martin
• Photography By – Gjon Mili
• Photography By [Bud Powell & Max Roach] – Paul Nodler
• Photography By [Ralph Burns] – Harold Trudeau
• Producer, Liner Notes, Supervised By – Norman Granz
• Typography – George F. McKiernan & Company

Notes

• 78-rpm album-folio with a sturdy cloth cover, built like a loose leaf notebook so that the contents may be removed if desired.
• Six 12-inch "vinylite" records (not shellac... these are "unbreakable"). Each record is in an envelope protected by an envelope-flap on top.
• Limited, hand-numbered edition of 5,000.
• Hand-signed/numbered by Norman Granz on title page.

[Liner]
Of this Edition of The Jazz Scene
Five Thousand Copies have been made under the supervision of Norman Granz 
• Who Signs Here
[Liner]

All written matter, artwork and photographys copyright 1949 by Norman Granz.

Recording studios used were:
- The Duke Ellington, Lester Young, Ralph Burns, George Handy, and Willie Smith sides were done at Radio Recorders, Hollywood, California.
- The Coleman Hawkins side was done at Asch Studios, New York City.
- The Machito and Bud Powell sides were done at Reeves Sound Studios, New York City.
- The Neal Hefti and Charlie Parker sides were done at Carnegie Hall Recorders, New York City.

- The Duke Ellington Sides recorded in 1949.
- The Neal Hefti Sides recorded “Repetition” December 1947, and “Rhumbacito” Autumn 1948.
- The Lester Young Side recorded March–April 1946.
- The Coleman Hawkins Side recorded 1948.
- The Ralph Burns Side recorded October 1946.
- The George Handy Side recorded November 1947.
- The Charlie Parker Side recorded 10 February, 1949.
- The Willie Smith Side recorded November 1947.
- The Machito Side recorded January, 1949.
- The Bud Powell Side recorded February, 1949.

Album Condition: (look at album grading key below)

VINYL is visually NM.            

COVER is VG++.

 _______________________________________________________
GRADING SYSTEM (Goldmine scale with in-between grades added):  

Mint [M], or Still Sealed [SS]: Only sealed records will be deemed "Mint".

 

Near Mint [NM]: The record shows no obvious sign of wear, appearing unplayed. An LP jacket has no creases, folds, seam splits or any other noticeable similar defect. No cut-out holes, either. Basically, Near Mint looks as if you just got it home from a new record store and removed the shrink wrap.

 

Near Mint Minus [NM-], and [VG++]: Same as above, yet shows only faint paper scuffs on the surface only. A VG++ record will just have more than NM- and less than VG+. No noise from scuffs will be heard unless from the pressing itself (in which most of the time is the case. Rarely does vinyl have no noise). VG++ is for an LP with only a medium amount of paper scuffs, still no effect on play besides that of the pressing itself (no loud pops nor skips).

Very Good Plus [VG+]: Shows some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sound are OK yet will be noted. Besides light background noise, a VG+ record should have no loud pops nor skips. An LP jacket my have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple of minor things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

Very Good [VG]: Many of the defects found in a VG+ record are more pronounced in a VG disc. Surface noise is evident upon playing, especially in soft passages and during the song's intro and fade, but will not overpower the music otherwise (no skips). Groove wear will start to be noticeable, as will light scratches deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them. A VG- grading is when a record has even more wear and noise, but still plays with no skips.

Good [G], Good Plus [G+]: My lowest level, I do not list below this level unless exceptionally rare: A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve has seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. 

 

Poor [P], Fair [F]: I do not list records in this category with skips, cracks and/or noise that prevents the enjoyment of the music.

Own Arguably the Single Most Important Jazz Compilation in MUSIC, ARTISTS, and PHOTGRAPHS in HISTORY!

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