Jazz at the Philharmonic

Jazz at the Philharmonic, or JATP (1944–1983), was the title of a series of jazz concerts, tours and recordings produced by Norman Granz.[1]

JATP concert announcement 1956

Over the years, "Jazz at the Philharmonic" featured many of the era's preeminent musicians, including Louie Bellson, Ray Brown, Benny Carter, Nat King Cole, Sonny Criss, Buddy DeFranco, Harry "Sweets" Edison, Roy Eldridge, Herb Ellis, Ella Fitzgerald, Stan Getz, Dizzy Gillespie, Lionel Hampton, Bill Harris, Coleman Hawkins, J. C. Heard, Billie Holiday, Helen Humes, the Modern Jazz Quartet, Illinois Jacquet, J. J. Johnson, Hank Jones, Jo Jones, Barney Kessel, Kenny Kersey, Gene Krupa, Lou Levy, Meade Lux Lewis, Shelly Manne, Fats Navarro, Charlie Parker, Oscar Peterson, Flip Phillips, Buddy Rich, Charlie Shavers, Willie Smith, Sonny Stitt, Slim Gaillard, Clark Terry, Tommy Turk, T-Bone Walker, Ben Webster, Lee Young, Lester Young, and Trummy Young.

Concerts and tours

The very first concert was held on Sunday, July 2, 1944, at the Philharmonic Auditorium, Los Angeles, and featured Illinois Jacquet, Jack McVea, J. J. Johnson, Shorty Sherock, Nat King Cole, Les Paul, Johnny Miller, Meade Lux Lewis, Bumps Myers, Joe Sullivan, Buddy Rich, Randall Miller, Bud Hatch, Marie Bryant, Red Callender, Lee Young, and Carolyn Richards. Illinois Jacquet, Nat King Cole and Les Paul, in particular, created a sensation. The title of the concert had been shortened by the printer of the advertising supplements from "A Jazz Concert at the Philharmonic Auditorium" to "Jazz at the Philharmonic". Norman Granz organized the concert with about $300 of borrowed money. Only one copy of the first concert program is known to exist.[2]

Jazz tenor saxophonist Flip Phillips played at all the JATP concerts from 1946-1957.

Norman Granz recorded many JATP concerts, and sold or leased (from 1945 to 1947) the recordings to Asch/Disc/Stinson Records (record producer Moses Asch's labels). Later, from 1948 to 1953, Granz leased the Jazz at the Philharmonic recordings to Mercury Records, and later issued/reissued them on Norgran (founded 1953), from 1953 on Clef (founded 1946), and from 1956 on Verve (founded 1956), which at the time, were his own labels.

In 1961, Granz sold Verve (which by then had absorbed the catalogues of his earlier labels, Clef Records and Norgran Records, as well as material previously licensed to Mercury Records) to MGM Records for $3.1 million.

In the 1970s, Granz kept the spirit of the JATP alive on his many jam session style records for his Pablo label (founded 1973), also used for previously unissued JATP concerts. In 1987, he sold Pablo to Fantasy Records.

The JATP concerts featured Swing and Bop musicians. They were among the first high-profile performances to feature racially integrated bands, and Granz cancelled some bookings rather than have the musicians perform for segregated audiences.

JATP Tours - USA and Canada (1945–1957):

1st National Tour: Late Fall/Winter of 1945-46. 2nd National Tour: Spring, 1946. 3rd National Tour: Fall, 1946. 4th National Tour: Spring, 1947. 5th National Tour: Fall, 1947. 6th National Tour: Spring, 1948. 7th National Tour: Fall, 1948. 8th National Tour: Spring, 1949. 9th National Tour: Fall, 1949. 10th National Tour: Fall, 1950. 11th National Tour: Fall, 1951. 12th National Tour: Fall, 1952. 13th National Tour (USA, Canada, Hawaii, Australia and Japan): Fall, 1953. 14th National Tour: Fall, 1954. 16th National Tour (Note: the 15th National Tour, in the fall of 1955, was renamed: 16th National Tour, just weeks before the start of the JATP Tour): Fall, 1955. 17th National Tour: Fall, 1956. 18th National Tour: Fall, 1957.

JATP Tours - Europe (1952–1959):

1st European Tour: Spring, 1952. 2nd European Tour (Only two concerts in the UK: London, March 8 at Gaumont State Kilburn): Spring, 1953. 3rd European Tour: Spring, 1954. 4th European Tour: Spring, 1955. 5th European Tour: Spring, 1956. 6th European Tour: Spring, 1957. 7th European Tour (1st UK Tour!): Spring, 1958. 8th European Tour: Spring, 1959.

After the JATP concerts in the fall of 1957, "Jazz at the Philharmonic" ceased touring the United States and Canada (with the exception of one final North American Tour in 1967), but continued intermittently mainly in Europe and Japan until 1983, with the very last JATP concerts being performed in October, 1983, in Tokyo, Japan.

Recordings held by Verve Records of the first five years (1944–1949) of JATP have been issued in a Deluxe 10 CD Box Set.

The Jazz at the Philharmonic recordings were selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are "culturally, historically, or aesthetically significant".[3]

gollark: I think this is technically possible to implement, so bee⁻¹ you.

gollark: This is underspecified because bee² you, yes.

gollark: All numbers are two's complement because bee you.

gollark: The rest of the instruction consists of variable-width (for fun) target specifiers. The first N target specifiers in an operation are used as destinations and the remaining ones as sources. N varies per opcode. They can be of the form `000DDD` (pop/push from/to stack index DDD), `001EEE` (peek stack index EEE if source, if destination then push onto EEE if it is empty), `010FFFFFFFF` (8-bit immediate value FFFFFFFF; writes are discarded), `011GGGGGGGGGGGGGGGG` (16-bit immediate value GGGGGGGGGGGGGGGG; writes are also discarded), `100[H 31 times]` (31-bit immediate because bee you), `101IIIIIIIIIIIIIIII` (16 bits of memory location relative to the base memory address register of the stack the operation is conditional on), `110JJJJJJJJJJJJJJJJ` (16 bit memory location relative to the top value on that stack instead), `1111LLLMMM` (memory address equal to base memory address of stack LLL plus top of stack MMM), or `1110NNN` (base memory address register of stack MMM).Opcodes (numbered from 0 in order): MOV (1 source, as many destinations as can be parsed validly; the value is copied to all of them), ADD (1 destination, multiple sources), JMP (1 source), NOT (same as MOV), WR (write to output port; multiple sources, first is port number), RE (read from input port; one source for port number, multiple destinations), SUB, AND, OR, XOR, SHR, SHL (bitwise operations), MUL, ROR, ROL, NOP, MUL2 (multiplication with two outputs).

gollark: osmarksISA™️-2028 is a VLIW stack machine. Specifically, it executes a 384-bit instruction composed of 8 48-bit operations in parallel. There are 8 stacks, for safety. Each stack also has an associated base memory address register, which is used in some "addressing modes". Each stack holds 64-bit integers; popping/peeking an empty stack simply returns 0, and the stacks can hold at most 32 items. Exceeding a stack's capacity is runtime undefined behaviour. The operation encoding is: `AABBBCCCCCCCCC`:A = 2-bit conditional operation mode - 0 is "run unconditionally", 1 is "run if top value on stack is 0", 2 is "run if not 0", 3 is "run if first bit is ~~negative~~ 1".B = 3-bit index for the stack to use for the conditional.C = 9-bit opcode (for extensibility).

References

Maxwell, Tom (November 2016). "The Story of 'Ella and Louis,' 60 Years Later". Longreads. Longreads.com. Retrieved 21 November 2016.
"Jazz at the Philharmonic: the sound of America". 27 November 2013.
"The National Recording Registry 2010". Library of Congress. Retrieved April 10, 2011.

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[Longreads-1] Maxwell, Tom (November 2016). "The Story of 'Ella and Louis,' 60 Years Later". Longreads. Longreads.com. Retrieved 21 November 2016.

[2] "Jazz at the Philharmonic: the sound of America". 27 November 2013.

[3] "The National Recording Registry 2010". Library of Congress. Retrieved April 10, 2011.