Columbia Records is an American record label, owned by Sony Music Entertainment, operating under the Columbia Music Group with Aware Records. It was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company—successor to the Volta Graphophone Company.^[1] Columbia is the oldest brand name in pre-recorded sound,^[2] being the first record company to produce pre-recorded records as opposed to blank cylinders. Columbia Records went on to release records by an array of notable singers, instrumentalists, and bands. From 1961 to 1990, its recordings were released outside the U.S. and Canada on the CBS Records label (for Columbia Broadcasting System, its parent from 1938 to 1988) before adopting the Columbia name in most of the world.

Until 1989, Columbia Records had no connection to Columbia Pictures, which used various other names for record labels they owned, including Colpix and later Arista; rather, it was connected to the original owner, CBS, which stood for Columbia Broadcasting System. Though Arista was later sold to BMG, it is now a sister label to Columbia Records through Sony Music; both are connected to Columbia Pictures through Sony Corporation of America, worldwide parent of both the music and motion picture arms of Sony.

History[link]

Beginnings[link]

Original home of Columbia in Washington, D.C., in 1889

The Columbia Phonograph Company was originally the local company run by Edward Easton, distributing and selling Edison phonographs and phonograph cylinders in Washington, D.C., Maryland and Delaware, and derives its name from the District of Columbia, which was its headquarters. As was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, and its catalogue of musical records in 1891 was 10 pages long. Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup, and thereafter sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the "XP" record, a molded brown wax record, to use up old stock. Columbia introduced "black wax" records in 1903, and, according to Tim Gracyk, continued to mold brown waxes until 1904; the highest number known to Gracyk is 32601, "Heinie", which is a duet by Arthur Collins and Byron G. Harlan. According to Gracyk, the molded brown waxes may have been sold to Sears for distribution (possibly under Sears' "Oxford" trademark for Columbia products).^[3]

A Columbia type AT cylinder graphophone, first released in 1898^[4]

Columbia began selling disc records and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound.

In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings (from 1903 onwards). These stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings were not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, Edison, England's His Master's Voice or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety initially selling for 65 cents apiece. The firm also introduced the internal-horn "Grafonola" to compete with the extremely popular "Victrola" sold by the rival Victor Talking Machine Company.

During this era, Columbia used the famous "Magic Notes" logo—a pair of sixteenth notes (semiquavers) in a circle—both in the United States and overseas (where this particular logo would never substantially change).

Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate exclusively on disc records and stopped manufacturing cylinder phonographs although they continued selling Indestructible's cylinders under the Columbia name for a year or two more.

The label of an electrically recorded Columbia disc by Art Gillham from the mid-twenties

In late 1923, Columbia went into receivership. The company was bought by their English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, and recording process changed. (The "New Process" [still acoustic] was used on budget labels until 1930). See more at American Columbia single record cataloging systems. On February 25, 1925, Columbia began recording with the new electric recording process licensed from Western Electric. The new "Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the "78-rpm" era. The first electrical recordings were made by Art Gillham, the popular "Whispering Pianist". In a secret agreement with Victor, neither company made the new recording technology public knowledge for some months, in order not to hurt sales of their existing acoustically recorded catalog while a new electrically recorded catalog was being compiled.

In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. (Columbia has already built an impressive catalog of blues and jazz artists, including Bessie Smith). In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. That same year, Columbia executive Frank Buckley Walker pioneered some of the first country music or "hillbilly" genre recordings with the Johnson City sessions in Tennessee, including artists such as Clarence Horton Greene and the legendary fiddler and entertainer, "Fiddlin'" Charlie Bowman. He followed that with a return to Tennessee the next year, as well as recording sessions in other cities of the South. Nineteen twenty-nine saw industry legend Ben Selvin signing on as house bandleader and A. & R. director. Other favorites in the Viva-tonal era included Ruth Etting, Fletcher Henderson and Ted Lewis. Columbia kept using acoustic recording for "budget label" pop product well into 1929 on the labels Harmony, Velvet Tone (both general purpose labels) and Diva (sold exclusively at W.T. Grant stores). 1929 was the year that Columbia's older rival and former affiliate Edison Records folded, leaving Columbia as the oldest surviving record label.

Columbia ownership separation[link]

In 1931, the British Columbia Graphophone Company (itself originally a subsidiary of American Columbia Records, then to become independent, actually went on to purchase its former parent, American Columbia, in late 1929) merged with the Gramophone Company to form Electric & Musical Industries Ltd. (EMI). EMI was forced to sell its American Columbia operations (because of anti-trust concerns) to the Grigsby-Grunow Company, makers of the Majestic Radio. But Majestic soon fell on hard times. An abortive attempt in 1932 (around the same time that Victor was experimenting with their 33 1/3 "program transcriptions") was the "Longer Playing Record", a finer-grooved 10" 78 with 4:30 to 5:00 playing time per side. Columbia issued about 8 of these (in the 18000-D series), as well as a short-lived series of double-grooved "Longer Playing Record"s on its Harmony, Clarion and Velvet Tone labels. All of these experiments (and indeed the Harmony, Velvet Tone and Clarion labels) were discontinued by mid-1932.

A longer-lived marketing ploy was the Columbia "Royal Blue Record," a brilliant blue laminated product with matching label. Royal Blue issues, made from late 1932 through 1935, are particularly popular with collectors for their rarity and musical interest. The C.P. MacGregor Company, an independent recording studio in Oakland, California, did Columbia's pressings for sale west of the Rockies and continued using the Royal Blue material for these until about mid-1936. It was also used for their own radio-only music library.

With the Great Depression's tightened economic stranglehold on the country, in a day when the phonograph itself had become a passé luxury, nothing slowed Columbia's decline. It was still producing some of the most remarkable records of the day, especially on sessions produced by John Hammond and financed by EMI for overseas release. Grigsby-Grunow went under in 1934 and was forced to sell Columbia for a mere $70,000 to the American Record Corporation (ARC).^[5] This combine already included Brunswick as its premium label so Columbia was relegated to slower sellers such as the Hawaiian music of Andy Iona, the Irving Mills stable of artists and songs and the still unknown Benny Goodman. By late 1936, pop releases were discontinued, leaving the label essentially defunct.

In 1935, Herbert M. Greenspon, an 18-year-old shipping clerk, led a committee to organize the first trade union shop at the main manufacturing factory in Bridgeport, Connecticut. Elected as president of the Congress of Industrial Unions (CIO) local, Greenspon negotiated the first contract between factory workers and Columbia management. In a career with Columbia that lasted 30 years, Greenspon retired after achieving the position of executive vice president of the company.

As southern gospel developed, Columbia had astutely sought to record the artists associated with that aspiring genre; for example, Columbia was the first and only company to record Charles Davis Tillman. Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered into an exclusive recording contract with the Chuck Wagon Gang, a symbiotic relationship which continued into the 1970s. A signature group of southern gospel, the Chuck Wagon Gang became Columbia's bestsellers with at least 37 million records,^[6] many of them through the aegis of the Mull Singing Convention of the Air sponsored on radio (and later television) by southern gospel broadcaster J. Bazzel Mull (1914–2006).

CBS takes over 1938-1947[link]

In 1938 ARC, including the Columbia label in the USA, was bought by William S. Paley of the Columbia Broadcasting System for US$750,000.^[7] (Columbia Records had originally co-founded CBS in 1927 along with New York talent agent Arthur Judson, but soon cashed out of the partnership leaving only the name; Paley acquired the fledgling radio network in 1928.) CBS revived the Columbia label in the place of Brunswick and the Okeh label in the place of Vocalion. CBS retained control of all of ARC's past masters, but in a complicated move, the pre-1931 Brunswick and Vocalion masters, as well as trademarks of Brunswick and Vocalion reverted back to Warner Brothers (who had leased their whole recording operation to ARC in early 1932) and Warners sold the lot to Decca Records in 1941.^[8]

The Columbia trademark from this point until the late 1950s was two overlapping circles with the Magic Notes in the left circle and a CBS microphone in the right circle. The Royal Blue labels now disappeared in favor of a deep red, which caused RCA Victor to claim infringement on its "Red Seal" trademark. (RCA lost the case.) The blue Columbia label was kept for its classical music Columbia Masterworks Records line until it was later changed to a green label before switching to a gray label in the late 1950s, and then to the bronze that is familiar to owners of its classical and Broadway albums. Columbia Phonograph Company of Canada did not survive the Great Depression, so CBS made a distribution deal with Sparton Records in 1939 to release Columbia records in Canada under the Columbia name.

During the 1940s Columbia had a contract with Frank Sinatra. Sinatra helped boost Columbia in revenue. Sinatra recorded over 200 songs with Columbia which include his most popular songs from his early years. Other popular artists on Columbia were Benny Goodman (signed from Victor), Count Basie, Jimmie Lunceford (both signed from Decca), Eddy Duchin, Ray Noble (both moved to Columbia from Brunswick), Kate Smith, Mildred Bailey, Will Bradley, etc.

In 1947, CBS founded its Mexican record company, Discos Columbia de Mexico.^[9]

The LP record 1948-1959[link]

Columbia's president Ted Wallerstein, instrumental in steering Paley to the ARC purchase, at this time set his talents to the goal (as he saw it) of hearing an entire movement of a symphony on one side of an album. Ward Botsford writing for the Twenty-Fifth Anniversary Issue of "High Fidelity Magazine" relates, "He was no inventor—he was simply a man who seized an idea whose time was ripe and begged, ordered, and cajoled a thousand men into bringing into being the now accepted medium of the record business." Despite Wallerstein's stormy tenure, in 1948 Columbia introduced the Long Playing "microgroove" LP record format (sometimes written "Lp" in early advertisements), which rotated at 33⅓ revolutions per minute, to be the standard for the gramophone record for half a century. CBS research director Dr. Peter Goldmark played a managerial role in the collaborative effort, but Wallerstein credits engineer William Savory with the technical prowess that brought the long-playing disc to the public. By the early 1940s, Columbia had been experimenting with higher fidelity recordings, as well as longer masters, which paved the way for the successful release of the LPs in 1948. One such record that helped set a new standard for music listeners was the 10" LP reissue of The Voice of Frank Sinatra, originally released on March 4, 1946 as an album of four 78 rpm records, which was the first pop album issued in the new LP format. Sinatra was arguably Columbia's hottest commodity and his artistic vision combined with the direction Columbia were taking the medium of music, both popular and classic, were well suited. The Voice of Frank Sinatra was also considered to be the first genuine concept album.

Columbia's LPs were particularly well-suited to classical music's longer pieces, so some of the early albums featured such artists as Eugene Ormandy and the Philadelphia Orchestra, Bruno Walter and the New York Philharmonic Orchestra, and Sir Thomas Beecham and the Royal Philharmonic Orchestra. The success of these recordings eventually persuaded Capitol Records to begin releasing LPs in 1949. RCA Victor began releasing LPs in 1950, quickly followed by other major American labels. (Decca Records in the U.K. was the first to release LPs in Europe, beginning in 1949.)

An "original cast recording" of Rodgers & Hammerstein's South Pacific with Ezio Pinza and Mary Martin was recorded in 1949. Both conventional metal masters and tape were used in the sessions in New York City. For some reason, the taped version was not used until Sony released it as part of a set of CDs devoted to Columbia's Broadway albums.^[10] Over the years, Columbia joined Decca and RCA Victor in specializing in albums devoted to Broadway musicals with members of the original casts. In the 1950s, Columbia also began releasing LPs drawn from the soundtracks of popular films.

The 1950s[link]

In 1951, Columbia USA began issuing records in the 45 rpm format RCA had introduced two years earlier.^[11] Also in 1951, Ted Wallerstein retired as Columbia Records chairman;^[12] also, Columbia USA severed its decades-long distribution arrangement with EMI and signed a distribution deal with Philips Records to market Columbia recordings outside North America. EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy with EMI's reluctance to introduce long playing records.^[13]

Columbia became the most successful non-rock record company in the 1950s when they lured impresario Mitch Miller away from the Mercury label (Columbia remained largely uninterested in the teenage rock market until the early 1960s, despite a handful of crossover hits). Miller quickly signed on Mercury's biggest artist at the time, Frankie Laine, and discovered several of the decade's biggest recording stars including Tony Bennett, Jimmy Boyd, Guy Mitchell, Johnnie Ray, The Four Lads, Rosemary Clooney, Ray Conniff and Johnny Mathis. He also oversaw many of the early singles of the label's top female recording star of the decade, Doris Day. In 1953, CBS formed Columbia's sister label Epic Records. 1954 saw Columbia end its distribution arrangement with Sparton Records and form Columbia Records of Canada.^[14] Despite favoring a country music genre, Columbia bid $15,000 for Elvis Presley's contract from Sun Records in 1955.^[15] Miller made no secret of the fact that he was not a fan of rock music and was saved from having to deal with it when Presley's manager, Colonel Tom Parker, turned down their offer (Presley ended up signing with Columbia's now-sister label RCA Records).^[15] However, Columbia did sign two Sun artists in 1958: Johnny Cash and Carl Perkins.^[15]

With 1954, Columbia USA decisively broke with its past when it introduced its new, modernist-style "Walking Eye" logo,^[16] designed by Columbia's art director S. Neil Fujita. This logo actually depicts a stylus (the legs) on a record (the eye); however, the "eye" also subtly refers to CBS's main business in television, and that division's iconic Eye logo. Columbia continued to use the "notes and mike" logo on record labels and even used a promo label showing both logos until the "notes and mike" was phased out (along with the 78 in the US) in 1958. In Canada, Columbia 78s were pressed with the "Walking Eye" logo in 1958. The original Walking Eye was tall and solid; it was modified in 1960 to the familiar one still used today (pictured on this page), in spite the fact that the Walking Eye was not used during most of the 1990s.

Columbia changed distributors in Australia and New Zealand in 1956 when the Australian Record Company picked up distribution of U.S. Columbia product to replace the Capitol Records product which ARC lost when EMI bought Capitol. As EMI owned the Columbia trademark at that time, the U.S. Columbia material was issued in Australia and New Zealand on the CBS Coronet label.

In 1956, Columbia jazz producer George Avakian signed Miles Davis to the label. In 1958, Davis's sextet released Milestones, an influential alum which explored the techniques of modal jazz. In 1959, Davis's sextet released Kind of Blue, an album which has remained extremely popular and influential. In 2003, it appeared as number 12 in Rolling Stone's list of the "500 Greatest Albums Of All Time".^[17]

Stereo[link]

Although Columbia began recording in stereo in 1956, stereo LPs did not begin to be manufactured until 1958. One of Columbia's first stereo releases was an abridged and re-structured performance of Handel's Messiah by the New York Philharmonic and the Westminster Choir conducted by Leonard Bernstein (recorded on December 31, 1956, on 1/2 inch tape, using an Ampex 300-3 machine). Bernstein combined the Nativity and Resurrection sections, and ended the performance with the death of Christ. As with RCA Victor, most of the early stereo recordings were of classical artists, including the New York Philharmonic Orchestra conducted by Bruno Walter, Dmitri Mitropoulos, and Leonard Bernstein, and the Philadelphia Orchestra conducted by Eugene Ormandy, who also recorded an abridged Messiah for Columbia. Some sessions were made with the Columbia Symphony Orchestra, an ensemble drawn from leading New York musicians, which had first made recordings with Sir Thomas Beecham in 1949 in Columbia's famous New York City studios. George Szell and the Cleveland Orchestra recorded mostly for Epic. When Epic dropped classical music, the roster and catalogue was moved to Columbia Masterworks Records.

The 1960s[link]

In 1961, CBS ended its arrangement with Philips Records and formed its own international organization, CBS Records, in 1962, which released Columbia recordings outside the USA and Canada on the CBS label (until 1964 marketed by Philips in Britain).^[18] The recordings could not be released under the "Columbia Records" name because EMI operated a separate record label by that name outside North America. (This was the result of the legal maneuvers which had led to the creation of EMI in the early 1930s.)

Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.^[19]

With the formation of CBS Records' international arm, it started establishing its own distribution in the early 1960s beginning in Australia. In 1960 CBS took over its distributor in Australia and New Zealand, the Australian Record Company (founded in 1936) including Coronet Records, one of the leading Australian independent recording and distribution companies of the day. The CBS Coronet label was replaced by the CBS label with the 'walking eye' logo in 1963.^[20] ARC continued trading under that name until the late 1970s when it formally changed its business name to CBS Australia.

In 1962, Columbia joined in the then red-hot folk music genre when they released the debut album of The New Christy Minstrels, and CBS producer John Hammond signed Bob Dylan and released his eponymous debut album, Bob Dylan.

In September 1964, CBS established its own British distribution by purchasing the independent Oriole Records (UK) label, pressing plant and recording studio (as well as its sold-only-in-Woolworth's Embassy cover version label).^[21] The acquisition gave Columbia and its sister labels a British manufacturing arm, recording studio, and over time its own roster of British recording artists during the British Invasion such as Chad & Jeremy and The Tremeloes.

Mitch Miller left Columbia in 1965,^[22] and the company dipped a tentative toe into the emerging rock culture field by signing Paul Revere and the Raiders and The Byrds.

Following the appointment of Clive Davis as president in 1967 the Columbia label became more of a rock music label, thanks mainly to Davis's fortuitous decision to attend the Monterey International Pop Festival, where he spotted and signed several leading acts including Janis Joplin. Joplin led the way for several generations of female rock and rollers. However, Columbia/CBS still had a hand in traditional pop and jazz and one of its key acquisitions during this period was Barbra Streisand. She released her first solo album on Columbia in 1963 and remains with the label to this day.

Perhaps the most commercially successful Columbia pop act of this period was Simon & Garfunkel. The group broke through in 1965 when CBS producer Tom Wilson added drums and bass to the duo's recording of "The Sound of Silence" without their knowledge or approval. The dramatic success of the song ushered in the folk-rock boom of the mid-Sixties. Simon and Garfunkel's final studio album, Bridge Over Troubled Water reached number one in the US album charts in January 1970 and became one of the most successful albums of all time.^[23]

Over the course of the 1960s, Bob Dylan achieved a prominent position in Columbia. His early folk songs were recorded by many acts and became hits for Peter, Paul & Mary and The Turtles. Some of these cover versions became the foundation of the so-called folk rock genre. The Byrds achieved their pop breakthrough with a version of Dylan's "Mr. Tambourine Man".

In 1965, Dylan's controversial decision to 'go electric' and work with rock musicians divided his audience but catapulted him to greater commercial success with his 1965 hit single "Like a Rolling Stone". Following his withdrawal from touring in 1966, Dylan recorded a large group of songs with his backing group The Band which reached other artists as 'demo recordings'. These resulted in hits by Manfred Mann ("The Mighty Quinn") and Brian Auger, Julie Driscoll & Trinity ("This Wheel's On Fire"). Dylan's late sixties albums John Wesley Harding and Nashville Skyline became cornerstone recordings of the emergent country rock genre and influenced The Byrds and The Flying Burrito Brothers.

Miles Davis's late 1960s recordings, In A Silent Way and Bitches Brew, pioneered a new fusion of jazz and rock music.^[24]

The 1970s[link]

In September 1970, under the guidance of Clive Davis, Columbia Records entered the West Coast rock market with a vengeance, both opening a state-of-the art recording studio (CBS recording studio, 827 Folsom St, San Francisco, later the Automatt) and establishing an A&R head and office in San Francisco at Fisherman's Wharf, headed by ex Nils Lofgren and Roy Buchanan band mate, Monument records artist and producer George Daly. The recording studio operated under CBS until 1978.^[25]

During the early 1970s, Columbia began recording in a four-channel process called quadraphonic, using the "SQ" standard which used an electronic encoding process that could be decoded by special amplifiers and then played through four speakers, with each speaker placed in the corner of a room. Remarkably, RCA Victor countered with another quadraphonic process which required a special cartridge to play the "discrete" recordings for four-channel playback. Both Columbia and RCA's quadraphonic records could be played on conventional stereo equipment. Although the Columbia process required less equipment and was quite effective, many were confused by the competing systems and sales of both Columbia's matrix recordings and RCA's discrete recordings were disappointing. A few other companies also issued some matrix recordings for a few years. Quadraphonic recording was used by both classical artists, including Leonard Bernstein and Pierre Boulez, and popular artists such as Electric Light Orchestra, Billy Joel, Pink Floyd, Barbra Streisand, Carlos Santana, and Blue Öyster Cult. Columbia even released a soundtrack album of the movie version of Funny Girl in quadraphonic. Many of these recordings were later remastered and released in Dolby surround sound on CD.

In 1976, Columbia Records of Canada was renamed CBS Records Canada Ltd.^[26] The Columbia label continued to be used by CBS Canada, but the CBS label was introduced for Francophone recordings. On May 5, 1979, Columbia Masterworks began digital recording in a recording session of Stravinsky's Petrouchka by the New York Philharmonic Orchestra, conducted by Zubin Mehta, in New York (using 3M's 32-channel multitrack digital recorder).

The 1980s and sale to Sony[link]

The structure of US Columbia remained the same until 1980, when it spun off the classical/Broadway unit, Columbia Masterworks Records, into a separate imprint, CBS Masterworks Records (now Sony Classical).

In 1988, the CBS Records Group, including the Columbia Records unit, was acquired by Sony, which re-christened the parent division Sony Music Entertainment in 1991. As Sony only had a temporary license on the CBS Records name, it then acquired the rights to the Columbia trademarks (Columbia Graphophone) outside the U.S., Canada, Spain (trademark owned by BMG) and Japan (Nippon Columbia) from EMI, which generally had not been used by them since the early 1970s. The CBS Records label was officially renamed Columbia Records on January 1, 1991 worldwide except Spain (where Sony acquired the rights by 2004^[27]) and Japan.^[28] CBS Masterworks Records was renamed Sony Classical Records. In December 2006, CBS Corporation revived the CBS Records name for a new minor label closely linked with its television properties (coincidentally, the new CBS Records is currently distributed by another Sony Music division, RED Distribution).

Today[link]

Columbia Records remains a premier subsidiary label of Sony Music Entertainment. The label is headed by chairman Rob Stringer, along with co-presidents Rick Rubin and Steve Barnett. In 2009, during the reconsolidation of Sony Music, Columbia was partnered with its Epic Records sister to form the Columbia/Epic Label Group.^[29][30] under which it operated as an imprint. In July 2011, as part of further corporate restructuring, Epic was split from the Columbia/Epic Group as Epic took in multiple artists from Jive Records.^[31]

Logos and branding[link]

The acquisition of rights to the Columbia trademarks from EMI (including the "Magic Notes" logo) presented Sony Music with a dilemma of which logo to use. For much of the 1990s, Columbia released their albums without a logo, just the "COLUMBIA" word mark in the Bodoni Classic Bold typeface.^[32] Columbia experimented with bringing back the "notes and mike" logo but without the CBS mark on the microphone. That logo is currently used in the "Columbia Jazz" series of jazz releases and reissues.^[33] A modified "Magic Notes" is found on the logo for Sony Classical. In mid to late of 1999, it was eventually decided that the "Walking Eye" (previously the CBS Records logo outside North America) would be Columbia's logo, with the retained Columbia word mark design, world wide except in Japan where Columbia Music Entertainment has the rights to the Columbia trademark to this day and continues to use the "Magic Notes" logo. In Japan, CBS/Sony Records was renamed Sony Records and continues to use the "Walking Eye" logo.

List of Columbia Records artists[link]

Affiliated labels[link]

American Recording Company (ARC)[link]

In February 1979 Maurice White, founding member of the R&B group Earth, Wind and Fire, re-launched the American Recording Company (ARC). In addition to White's Earth, Wind and Fire, the Columbia Records-distributed label artist roster included successful R&B and pop singer Deniece Williams, jazz-fusion group Weather Report, and R&B trio the Emotions. The label's final release was in 1982.

Columbia Label Group (UK)[link]

In January 2006, Sony BMG UK split its frontline operations into 2 separate labels. RCA Label Group, mainly dealing with Pop and RnB and Columbia Label Group, mainly dealing with Rock, Dance and Alternative music. Mike Smith is the Managing Director of Columbia Label Group, Ian Dutt is Marketing Director and Alison Donald is Director of A&R.

Aware Records[link]

In 1997, Columbia made an affiliation with unsigned artist promotion label Aware Records to distribute Aware's artists music. Through this venture, Columbia has had success finding highly successful artists. In 2002, Columbia and Aware accepted the option to continue this relationship.

Columbia Nashville[link]

In 2007, Columbia formed Columbia Nashville and is part of Sony Music Nashville. This gave Columbia Nashville complete autonomy and managerial separation from Columbia in New York City. Columbia had given its country music department semi-autonomy for many years and through the 1950s, had a 20000 series catalog for country music singles while the rest of Columbia's output of singles had a 30000 then 40000 series catalog number.

Recording studios[link]

In 1913, Columbia moved into the Woolworth Building in New York City^[34] and housed its first recording studio there. In 1917, Columbia used this studio to make a recording of a dixieland band, the Original Dixieland Jass Band.^[35][36]

In New York City, Columbia Records had some of the most highly respected sound recording studios, including the Columbia 30th Street Studio at 207 East 30th Street ("Studio C" and "Studio D"), the CBS Studio Building at 49 East 52nd Street ("Studio B" on the second floor and "Studio E" on the sixth floor), and one of their earliest recording studios, "Studio A" at 799 Seventh Avenue near 52nd Street.^[37]

The Columbia 30th Street Studio was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history.^[37]

Columbia also had the highly respected Liederkranz Hall, at 111 East 58th Street between Park and Lexington Avenues, in New York City, a building built by and formerly belonging to a German cultural and musical society, The Liederkranz Society, and used as a recording studio.^{[37][38][39][40]} The producer Morty Palitz had been instrumental in convincing Columbia Records to begin to use the Liederkranz Hall studio for recording music, additionally convincing the conductor Andre Kostelanetz to make some of the first recordings in Liederkranz Hall which until then had only been used for CBS Symphony radio shows.^[41] In the late 1940s, the large Liederkranz Hall space was physically rearranged to make room for television studios.^[37][42]

See also[link]

• RCA Records
• Epic Records
• Sony Music Entertainment
• Sony BMG Music Entertainment
• Alex Steinweiss, the label's Art Director from 1938 to 1943, inventor of the illustrated album cover and the LP sleeve
• Jim Flora, successor to Alex Steinweiss and legendary illustrator for the label during the 1940s
• List of record labels

Executives[link]

• Rob Stringer—Chairman
• Rick Rubin, Steve Barnett—Co-Chairmen
• Mike Smith—Columbia UK Head of A&R

References[link]

Further reading[link]

• Cogan, Jim; Clark, William, Temples of sound : inside the great recording studios, San Francisco : Chronicle Books, 2003. ISBN 0-8118-3394-1. Cf. chapter on Columbia Studios, pp. 181–192.
• Hoffmann, Frank, Encyclopedia of Recorded Sound, New York & London : Routledge, 1993 & 2005, Volume 1. Cf. pp. 209–213, article on "Columbia (Label)"
• Koenigsberg, Allen, The Patent History of the Phonograph, 1877–1912, APM Press, 1990/1991, ISBN 0-937612-10-3.
• Revolution in Sound: A Biography of the Recording Industry. Little, Brown and Company, 1974. ISBN 0-316-77333-6.
• High Fidelity Magazine, ABC, Inc. April, 1976, "Creating the LP Record."
• Rust, Brian, (compiler), The Columbia Master Book Discography, Greenwood Press, 1999.
• Marmorstein, Gary. The Label: The Story of Columbia Records. New York: Thunder's Mouth Press; 2007. ISBN 1-56025-707-5
• Ramone, Phil; Granata, Charles L., Making records: the scenes behind the music, New York: Hyperion, 2007. ISBN 978-0-7868-6859-9. Many references to the Columbia Studios, especially when Ramone bought Studio A, 799 Seventh Avenue from Columbia. Cf. especially pp. 136–137.

External links[link]

Wikimedia Commons has media related to: Columbia Records

• Official site
• Columbia Records (UK)
• Columbia A&R team contact list
• Columbia Nashville Official Website
• See the Profile of Designer Alex Steinweiss

v t e Sony Corporation Primary businesses Sony Corporation (electronics & holding of the Sony group) · Sony Music Entertainment (music) · Sony Pictures Entertainment (motion pictures and television) · Sony Computer Entertainment (video games) · Sony Financial Holdings (financial services; 60%) · Sony Digital Audio Disc Corporation Technologies and brands α · Betacam · Blu-ray · BRAVIA · CD · Cyber-shot · Dash · Dream Machine · DVD · Handycam · HDCAM/HDCAM-SR · LocationFree · Memory Stick · MiniDisc · MiniDV · mylo · Reader · S/PDIF · SDDS · SXRD · Sony Tablet · UMD · VAIO · Video8/Hi8/Digital8 · Walkman · Walkman Phones · XDCAM · Xplōd · HMZ-T1 Historical products AIBO · CV-2000 · DAT · Betamax · Sony CLIÉ · Discman · JumboTron · Lissa · Mavica · NEWS · Qualia · Rolly · TR-55 · Trinitron · U-matic · Watchman · WEGA Electronics Sony EMCS · Sony Electronics (subsidiary in the US) · Sony Creative Software · Sony Mobile Communications  · S-LCD (50% minus 1 share) · Sony Mobile Display · Sony Optiarc · Sharp Display Products (7%) · Aiwa (former) Sony Music Entertainment Sony/ATV Music Publishing (50%) · Columbia Records · Epic Records · RCA Records · Sony Music Nashville (Arista Nashville, BNA Records, Columbia Nashville, RCA Records Nashville) · Provident Label Group · Verity Gospel Music Group · Sony Music Latin · Sony Masterworks  · Legacy Recordings  · RED Distribution  · IODA  · Syco Music  · Syco TV  · Syco Film  · Sony Music Australia · Sony Music Japan  · Gracenote · Aniplex · A-1 Pictures Sony Pictures Entertainment Columbia TriStar Motion Picture Group (Columbia Pictures · Sony Pictures Classics · Screen Gems · TriStar Pictures · Triumph Films) · Sony Pictures Worldwide Acquisitions (Destination Films · Stage 6 Films · Affirm Films) · Sony Pictures Television Group (Adelaide Productions · Culver Entertainment · Embassy Row · 2waytraffic · Lean-M  · Gogglebox Entertainment · Victory Television · Silver River Productions · Starling · Huaso · Floresta · Teleset) Sony Pictures Home Entertainment · Sony Wonder · Sony Pictures Family Entertainment Group · Sony Pictures Digital (Sony Pictures Imageworks · Sony Pictures Animation · Sony Pictures Mobile) · Sony Pictures Studios · Sony Pictures Consumer Marketing (Sony Pictures Consumer Products · Sony Pictures Loot) U.S. networks Sony Movie Channel · GSN (40%), joint venture with DirecTV · FEARnet HD (joint venture with Comcast and Lionsgate) · 3net (joint venture with Discovery Communications and IMAX) International networks Sony Entertainment Television (Asia, South East Asia, India, Latin America, South Africa, Portugal, Russia, Spain, Baltic and United Kingdom) · AXN · AXN HD · AXN HD+1 · AXN Asia · AXN India · AXN Pakistan · AXN White · AXN Crime · AXN Black · AXN Mystery · AXN Sci Fi · AXN Spin · Sony Aath · Multi Screen Media · Animax · Animax Asia · Animax India · Animax Pakistan · Animax Korea · Animax Eastern Europe · BeTV · Sony Spin · SET One · SET Max · Sony SIX · Sony MIX · SET PIX · SAB TV · Men&Movies · Movies4Men Sony Computer Entertainment Sony Online Entertainment · PlayStation · PSP · PlayStation Vita · Cellius (49%) · Square Enix (8.25%) · Sony Imagesoft (defunct) Online distribution platforms Sony Entertainment Network (Music Unlimited · Video Unlimited · PlayStation Network) · FEARnet · The Minisode Network · Crackle Financial services Sony Financial Holdings · Sony Life Insurance · Sony Assurance · Sony Bank · Sony Bank Securities Other businesses So-net Entertainment · Sony Broadcast & Professional Research Laboratories · Sony Sendai Other assets Sony Corporation of America (umbrella company in the US) · Other subsidiaries Joint ventures Sony/ATV · FeliCa Networks · Vevo · Cellius (49%) · Sharp Display Products (7.04%) Key personnel Kazuo Hirai · Masaru Ibuka · Nobuyuki Idei · Yasuo Kuroki · Ken Kutaragi · Michael Lynton · Akio Morita · Norio Ohga · Amy Pascal · Howard Stringer  · Nicole Seligman Category ·  Commons ·  Wikinews

Clive Davis
Clive Davis, November 13, 2007, New York City
Born	(1932-04-04) April 4, 1932 (age 80) New York City, New York
Nationality	American
Occupation	Record producer, Music executive

Clive Davis (born April 4, 1932) is an American record producer and music industry executive. He won five Grammy Awards and is a member of the Rock and Roll Hall of Fame as a non-performer.^[1] From 1967 to 1973 he was the President of Columbia Records. He was the founder and president of Arista Records from 1975 through 2000 until founding J Records. From 2002 until April 2008, Davis was the Chairman and CEO of the RCA Music Group (which included RCA Records, J Records and Arista Records), Chairman and CEO of J Records, and Chairman and CEO of BMG North America. Currently Davis is the Chief Creative Officer of Sony Music Entertainment.^[2] He currently plays a part in the careers of Alicia Keys, Rod Stewart, Jennifer Hudson, Christina Aguilera, Carlos Santana, Kelly Clarkson, Harry Connick, Jr., Leona Lewis, Barry Manilow, BC Jean and Seattle De Luca. Davis is credited with bringing Whitney Houston to prominence. Clive Davis is an alumnus of New York University, and the recorded music division of its Tisch School for the Arts is named after him.

Early life and education[link]

Davis was born in Brooklyn, New York to a Jewish family, the son of Herman and Florence Davis. Davis was raised in the middle-class neighborhood of Crown Heights, Brooklyn. His mother died, aged 47, and his father died the following year when Davis was only a teenager, leaving him an orphan with no money. He received a full scholarship to New York University College of Arts and Science, where he graduated magna cum laude, Phi Beta Kappa in 1953. He then received a full scholarship to Harvard Law School, where he was a member of the Board of Student Advisers and graduated in 1956.

Career[link]

The CBS years[link]

Davis practiced law in a small firm in New York, then moved on to the firm of Rosenman, Colin, Kaye, Petschek, and Freund two years later, where partner Ralph Colin had CBS as a client. Hired by a former colleague at the firm, Harvey Schein, Davis became assistant counsel of CBS subsidiary Columbia Records at the age of twenty-eight and general counsel the next year.^[3]

In a company reorganization of the operations of the Columbia Records Group, Goddard Lieberson, the president of the Group, appointed Davis Vice President and General Manager in 1966. In 1967 he was appointed President and became interested in the newest generation of folk rock and rock and roll. One of his earliest pop signings was the British folk-rock musician Donovan, who enjoyed a string of successful hit singles and albums released in the USA on the Epic label.

In June 1967, at the urging of his friend and business associate Lou Adler, Davis attended the Monterey Pop Festival. He immediately signed Janis Joplin with Big Brother & the Holding Company, and Columbia went on to sign Laura Nyro, Electric Flag, Santana, The Chambers Brothers, Bruce Springsteen, Chicago, Billy Joel, Blood, Sweat & Tears, Loggins & Messina and Pink Floyd. The company, which had previously avoided rock music (its few rock acts prior to the Davis presidency included The Byrds, Simon & Garfunkel, and Paul Revere and the Raiders), doubled its market share in three years. One of the biggest recordings released during Davis' tenure at Columbia was Lynn Anderson's "Rose Garden", in late 1970. It was Davis who insisted "Rose Garden" be the country singer's next single release. The song reached number one in 16 countries around the world and remained the biggest selling album by a female country artist for 27 years.

In 1972, Davis also signed Earth, Wind & Fire to Columbia Records. One of his most recognized accomplishments was signing the Boston group Aerosmith to Columbia Records in the early 1970s at New York City's Max's Kansas City, which was mentioned in the 1979 Aerosmith song "No Surprise", where Steven Tyler sings, "Old Clive Davis said he's surely gonna make you a star, just the way you are." ^[4] Starting on December 30, 1978,^[5] Bob Weir of The Grateful Dead occasionally changed the lyrics of the Dead standard Jack Straw in concert from "we used to play for silver, now we play for life," to "we used to play for acid now we play for Clive."

The Arista years[link]

After Davis was fired from CBS Records for allegedly using company funds to bankroll his son's bar mitzvah,^[6] Columbia Pictures (at the time unrelated to Columbia Records) hired him to be a consultant for the company's record and music operations. After taking time out to write his memoirs, he founded the company Arista Records (named after New York City's secondary school honor society of which he was a member).

At Arista, Davis signed Patti Smith, The Outlaws, Eric Carmen, Exposé, Ace of Base, Air Supply, Dionne Warwick, Ray Parker and Raydio, Aretha Franklin, and Alicia Keys, and he brought to the label Carly Simon, The Grateful Dead, The Kinks and Lou Reed. He founded Arista Nashville which became the home to Alan Jackson, Brooks & Dunn, Pam Tillis and Brad Paisley. Davis founded LaFace Records with L.A. Reid and Babyface. LaFace subsequently became became the home of TLC, Usher, Outkast, P!nk and Toni Braxton. He founded Bad Boy Records with Sean Combs and it became the home of the Notorious B.I.G., Puffy Combs, Mase, 112 and Faith Evans.

Davis was made aware of Cissy Houston's talented daughter Whitney Houston at a New York City nightclub. Impressed with what he heard, Davis signed her to Arista Records. Houston became one of the biggest selling artists in music history under the guidance of Davis at Arista Records.^[7] Davis left Arista in 2000 and started J Records, an independent label with financial backing from Arista parent Bertelsmann Music Group. BMG would buy a majority stake in J Records in 2002, and Davis would become president and CEO of the larger RCA Music Group.

Davis' continued success in breaking new artists was recognised by the music industry A&R site HitQuarters when the executive was named "world's No.1 A&R of 2001" based on worldwide chart data for that year.^[8]

Sony Music Entertainment[link]

In 2004, BMG merged with Sony Music Entertainment to form Sony BMG. With the assets of CBS Records now under Sony's ownership, the joint venture would mean a return of sorts for Davis to his former employer. Davis remained with RCA Label Group until 2008, when he was named chief creative officer for Sony BMG. Barry Weiss, head of Sony's Zomba Group of Companies, replaced Davis as RCA Label Group's chairman.^[9] Sony BMG became Sony Music Entertainment in late 2008 when BMG sold its shares to Sony.^[10] Arista Records and J Records which were both founded by Davis were dissolved in October 2011 through the restructuring of RCA Records. All artists under those labels have been moved to RCA Records.^[11]

Awards[link]

Grammy Awards[link]

Clive Davis has won four Grammy Awards as a Producer:

• 2009: Best R&B Album – Jennifer Hudson, Jennifer Hudson
• 2006: Best Pop Vocal Album – Breakaway, Kelly Clarkson
• 2000: Album of the Year – Supernatural, Santana
• 2000: Best Rock Album – Supernatural, Santana

Davis was also presented with the Recording Academy's Grammy Trustees Award in 2000 and the President's Merit Award in 2009.

Davis was inducted into the Rock and Roll Hall of Fame in 2000. The theater at the Grammy Museum was named the Clive Davis Theater in the year 2011.

References[link]

Further reading[link]

• Davis, Clive (1975). Clive: Inside the Record Business. William Morrow & Company, Inc.

Sarah Vaughan
Sarah Vaughan, c. 1946
Background information
Birth name	Sarah Lois Vaughan
Also known as	"Sassy" "The Divine One" "Sailor"
Born	(1924-03-27)March 27, 1924 Newark, New Jersey, United States
Died	April 3, 1990(1990-04-03) (aged 66) Hidden Hills, California
Genres	Vocal jazz, bebop, cool jazz, traditional pop
Occupations	Singer
Years active	1942–1989
Labels	Columbia, Mercury, Roulette, Pablo

Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century."^[1]

Nicknamed "Sailor" (for her salty speech),^[2] "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner.^[3] The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.^[4]

Biography[link]

Early life[link]

Beginnings: 1942–1943[link]

Biographies of Vaughan frequently stated that she was immediately thrust into stardom after a winning Amateur Night performance at Harlem's Zeus Theater. In fact, the story that biographer Renee relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Sometime in the fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was US$10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the spring of 1943 to open for Ella Fitzgerald.

Sometime during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Hines, although the exact details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines also claimed to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at the Apollo, Hines officially replaced his existing male singer with Vaughan on April 4, 1943.

With Earl Hines and Billy Eckstine: 1943–1944[link]

Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band that also featured baritone Billy Eckstine. Vaughan was hired as a pianist, reputedly so Hines could hire her under the jurisdiction of the musicians' union (American Federation of Musicians) rather than the singers union (American Guild of Variety Artists), but after Cliff Smalls joined the band as a trombonist and pianist, Sarah's duties became limited exclusively to singing. This Earl Hines band is best remembered today as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor saxophone rather than the alto saxophone that he would become famous with later) and trombonist Bennie Green. Gillespie also arranged for the band, although a recording ban by the musicians union prevented the band from recording and preserving its sound and style for posterity.

Eckstine left the Hines band in late 1943 and formed his own big band with Gillespie, leaving Hines to become the new band's musical director. Parker came along too, and the Eckstine band over the next few years would host a startling cast of jazz talent: Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, Dexter Gordon, among others.

Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz. Eckstine's band also afforded her first recording opportunity, a December 5, 1944 date that yielded the song "I'll Wait and Pray" for the Deluxe label. That date led to critic and producer Leonard Feather to ask her to cut four sides under her own name later that month for the Continental label, backed by a septet that included Dizzy Gillespie and Georgie Auld.

Band pianist John Malachi is credited with giving Vaughan the moniker "Sassy", a nickname that matched her personality. Vaughan liked it and the name (and its shortened variant "Sass") stuck with colleagues and, eventually, the press. In written communications, Vaughan often spelled it "Sassie".

Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded with him frequently throughout her life.

Early solo career: 1945–1948[link]

Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street such as the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan also hung around the Braddock Grill, next door to the Apollo Theater in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides.

After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx, although she would not begin recording as a leader for Musicraft until May 7, 1946. In the intervening time, Vaughan made a handful of recordings for the Crown and Gotham labels and began performing regularly at Cafe Society Downtown, an integrated club in New York's Sheridan Square.

While at Cafe Society, Vaughan became friends with trumpeter George Treadwell. Treadwell became Vaughan's manager and she ultimately delegated to him most of the musical director responsibilities for her recording sessions, leaving her free to focus almost entirely on singing. Over the next few years, Treadwell also made significant positive changes in Vaughan's stage appearance. Aside from an improved wardrobe and hair style, Vaughan had her teeth capped, eliminating an unsightly gap between her two front teeth.

Many of Vaughan's 1946 Musicraft recordings became quite well known among jazz aficionados and critics, including "If You Could See Me Now" (written and arranged by Tadd Dameron), "Don't Blame Me", "I've Got a Crush on You", "Everything I Have Is Yours" and "Body and Soul". With Vaughan and Treadwell's professional relationship on solid footing, the couple married on September 16, 1946.

Vaughan's recording success for Musicraft continued through 1947 and 1948. Her recording of "Tenderly" became an unexpected pop hit in late 1947. Her December 27, 1947, recording of "It's Magic" (from the Doris Day film Romance on the High Seas) found chart success in early 1948. Her recording of "Nature Boy" from April 8, 1948, became a hit around the same time as the release of the famous Nat King Cole recording of the same song. Because of yet another recording ban by the musicians union, "Nature Boy" was recorded with an a cappella choir as the only accompaniment, adding an ethereal air to a song with a vaguely mystical lyric and melody.

Stardom and the Columbia years: 1948–1953[link]

The musicians union ban pushed Musicraft to the brink of bankruptcy and Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia record label. Following the settling of the legal issues, her chart successes continued with the charting of "Black Coffee" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success: "That Lucky Old Sun", "Make Believe (You Are Glad When You're Sorry)", "I'm Crazy to Love You", "Our Very Own", "I Love the Guy", "Thinking of You" (with pianist Bud Powell), "I Cried for You", "These Things I Offer You", "Vanity", "I Ran All the Way Home", "Saint or Sinner", "My Tormented Heart", and "Time", among others.

Vaughan also achieved substantial critical acclaim. She won Esquire magazine's New Star Award for 1947 as well as awards from Down Beat magazine continuously from 1947 through 1952, and from Metronome magazine from 1948 through 1953. A handful of critics disliked her singing as being "over-stylized", reflecting the heated controversies of the time over the new musical trends of the late 40s. However, the critical reception to the young singer was generally positive.

Recording and critical success led to numerous performing opportunities, packing clubs around the country almost continuously throughout the years of the late 1940s and early 1950s. In the summer of 1949, Vaughan made her first appearance with a symphony orchestra in a benefit for the Philadelphia Orchestra entitled "100 Men and a Girl." Around this time, Chicago disk jockey Dave Garroway coined a second nickname for her, "The Divine One", that would follow her throughout her career. One of her early television appearances was on DuMont's variety show Stars on Parade (1953–54), in which she sang "My Funny Valentine" and "Linger Awhile".

With improving finances, in 1949 Vaughan and Treadwell purchased a three-story house on 21 Avon Avenue in Newark, occupying the top floor during their increasingly rare off-hours at home and relocating Vaughan's parents to the lower two floors. However, the business pressures and personality conflicts led to a cooling in the personal relationship between Treadwell and Vaughan. Treadwell hired a road manager to handle Vaughan's touring needs and opened a management office in Manhattan so he could work with clients in addition to Vaughan.

Vaughan's relationship with Columbia Records also soured as she became dissatisfied with the commercial material she was required to record and lackluster financial success of her records. A set of small group sides recorded in 1950 with Miles Davis and Bennie Green are among the best of her career, but they were atypical of her Columbia output.

The Mercury years: 1954–1958[link]

In 1953, Treadwell negotiated a unique contract for Vaughan with Mercury Records. She would record commercial material for the Mercury label and more jazz-oriented material for its subsidiary EmArcy. Vaughan was paired with producer Bob Shad and their excellent working relationship yielded strong commercial and artistic success. Her debut Mercury recording session took place in February 1954 and she stayed with the label through 1959. After a stint at Roulette Records (1960 to 1963), Vaughan returned to Mercury from 1964 to 1967.

Vaughan's commercial success at Mercury began with the 1954 hit, "Make Yourself Comfortable", recorded in the fall of 1954, and continued with a succession of hits, including: "How Important Can It Be" (with Count Basie), "Whatever Lola Wants", "The Banana Boat Song", "You Ought to Have A Wife" and "Misty". Her commercial success peaked in 1959 with "Broken Hearted Melody", a song she considered to be "corny", but, nonetheless, became her first gold record and a regular part of her concert repertoire for years to come. Vaughan was reunited with Billy Eckstine for a series of duet recordings in 1957 that yielded the hit "Passing Strangers". Vaughan's commercial recordings were handled by a number of different arrangers and conductors, primarily Hugo Peretti and Hal Mooney.

The jazz "track" of her recording career also proceeded apace, backed either by her working trio or various combinations of stellar jazz players. One of her own favorite albums was a 1954 sextet date that included Clifford Brown.

In the latter half of the 1950s she followed a schedule of almost non-stop touring, with many famous jazz musicians. She was featured at the first Newport Jazz Festival in the summer of 1954 and starred in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe successfully before embarking on a "Big Show" U. S. tour, a grueling succession of start-studded one-nighters that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra

Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite stunning income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided that amount and their personal assets, terminating their business relationship.

The 1960s[link]

The exit of Treadwell from Sarah Vaughan's life was also precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background whom she had met in Chicago and married on September 4, 1959. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional/personal relationship like the one she had with Treadwell. She made Atkins her personal manager, although she was still feeling the sting of the problems she had with Treadwell, and initially kept a slightly closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood Cliffs, New Jersey.^[5]

When Vaughan's contract with Mercury Records ended in late 1959, she immediately signed on with Roulette Records, a small label owned by Morris Levy, who was one of the backers of New York's Birdland, where she frequently appeared. Roulette's roster also included Count Basie, Joe Williams, Dinah Washington, Lambert, Hendricks and Ross and Maynard Ferguson.

Vaughan began recording for Roulette in April 1960, making a string of strong large ensemble albums arranged and/or conducted by Billy May, Jimmy Jones, Joe Reisman, Quincy Jones, Benny Carter, Lalo Schifrin, and Gerald Wilson. Surprisingly, she also had some pop chart success in 1960 with "Serenata" on Roulette and a couple of residual tracks from her Mercury contract, "Eternally" and "You're My Baby". She also made a pair of intimate vocal/guitar/double bass albums of jazz standards: After Hours (1961) with guitarist Mundell Lowe and double bassist George Duvivier and Sarah + 2 (1962) with guitarist Barney Kessell and double bassist Joe Comfort.

Vaughan was incapable of having children, so, in 1961, she and Atkins adopted a daughter, Debra Lois. However, the relationship with Atkins proved difficult and violent so, following a series of strange incidents, she filed for divorce in November 1963. She turned to two friends to help sort out the financial wreckage of the marriage: club owner John "Preacher" Wells, a childhood acquaintance, and Clyde "Pumpkin" Golden, Jr. Wells and Golden found that Atkins' gambling and profligate spending had put Vaughan around $150,000 in debt. The Englewood Cliffs house was ultimately seized by the IRS for nonpayment of taxes. Vaughan retained custody of their child and Golden essentially took Atkins place as Vaughan's manager and lover for the remainder of the decade.

Around the time of her second divorce, she also became disenchanted with Roulette Records. Roulette' finances were even more deceptive and opaque than usual in the record business and its recording artists often had little to show for their efforts other than some excellent records. When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury Records. In the summer of 1963, Vaughan went to Denmark with producer Quincy Jones to record four days of live performances with her trio, Sassy Swings the Tivoli, an excellent example of her live show from this period. The following year, she made her first appearance at the White House, for President Johnson.

Unfortunately, the Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz artists with shrinking audiences and inappropriate material. While Vaughan retained a following large and loyal enough to maintain her performing career, the quality and quantity of her recorded output dwindled even as her voice darkened and her skill remained undiminished. At the conclusion of her Mercury deal in 1967, she was left without a recording contract for the remainder of the decade.

In 1969, Vaughan terminated her professional relationship with Golden and relocated to the West Coast, settling first into a house near Benedict Canyon in Los Angeles and then into what would end up being her final home in Hidden Hills.

Rebirth in the 1970s[link]

Vaughan met Marshall Fisher after a 1970 performance at a casino in Las Vegas and Fisher soon fell into the familiar dual role as Vaughan's lover and manager. Fisher was another man of uncertain background with no musical or entertainment business experience, but—unlike some of her earlier associates—he was a genuine fan devoted to furthering her career.

The seventies also heralded a rebirth in Vaughan's recording activity. In 1971, Bob Shad, who had worked with her as producer at Mercury Records, asked her to record for his new record label, Mainstream Records. Basie veteran Ernie Wilkins arranged and conducted her first Mainstream album, A Time In My Life in November 1971. In April 1972, Vaughan recorded a collection of ballads written, arranged and conducted by Michel Legrand. Arrangers Legrand, Peter Matz, Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album, Feelin' Good. Vaughan also recorded Live in Japan, a live album in Tokyo with her trio in September 1973.

During her sessions with Legrand, Bob Shad presented "Send In The Clowns", a Stephen Sondheim song from the Broadway musical A Little Night Music, to Vaughan for consideration. The song would become her signature, replacing the chestnut "Tenderly" that had been with her from the beginning of her solo career.

Unfortunately, Vaughan's relationship with Mainstream soured in 1974, allegedly in a conflict precipitated by Fisher over an album cover photograph and/or unpaid royalties^{[citation needed]}. This left Vaughan again without a recording contract for three years.

In December 1974, Vaughan played a private concert for the United States President Gerald Ford and French president Giscard d'Estaing during their summit on Martinique.

Also in 1974, conductor Michael Tilson Thomas asked Vaughan to participate in an all-Gershwin show he was planning for a guest appearance with the Los Angeles Philharmonic at the Hollywood Bowl. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artists Dave Grusin on piano, Ray Brown on double bass, drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. The concert was a success and Thomas and Vaughan repeated the performance with Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with symphony orchestras around the country. These performances fulfilled a long-held interest by Vaughan in working with symphonies and she made orchestra performances without Thomas for the remainder of the decade.

In 1977, Vaughan terminated her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymond Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player and became her third husband in 1978.

In 1977, Tom Guy, a young filmmaker and public TV producer, followed Vaughan around on tour, interviewing numerous artists speaking about her and capturing both concert and behind-the-scenes footage. The resulting sixteen hours of footage was pared down into an hour-and-a-half documentary, Listen To The Sun, that aired on September 21, 1978, on New Jersey Public Television, but was never commercially released.

In 1977, Norman Granz, who was also Ella Fitzgerald's manager, signed Vaughan to his Pablo Records label. Vaughan had not had a recording contract for three years, although she had recorded a 1977 album of Beatles songs with contemporary pop arrangements for Atlantic Records that was eventually released in 1981. Vaughan's first Pablo release was I Love Brazil, recorded with an all-star cast of Brazilian musicians in Rio de Janeiro in the fall of 1977. It garnered a Grammy nomination.

1977 also saw the release of the Godley & Creme album "Consequences", on which Vaughan sang one of the few tracks to achieve popularity outside of the album: "Lost Weekend".

The Pablo contract resulted in a total of seven albums: a second and equally wondrous Brazilian record, "Copacabana", again recorded in Rio (1979), How Long Has This Been Going On? (1978) with a quartet that included pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louis Bellson; two Duke Ellington Songbook albums (1979); Send In The Clowns (1981) with the Count Basie orchestra playing arrangements primarily by Sammy Nestico; and Crazy and Mixed Up (1982), another quartet album featuring Sir Roland Hanna, piano, Joe Pass, guitar, Andy Simpkins, bass, and Harold Jones, drums.

Vaughan and Waymond Reed divorced in 1981.

Late career[link]

Vaughan remained quite active as a performer during the 1980s and began receiving awards recognizing her contribution to American music and status as an important elder stateswoman of jazz. In the summer of 1980, Vaughan received a plaque on 52nd Street outside the CBS Building (Black Rock) commemorating the jazz clubs she had once frequented on "Swing Street" and which had long since been demolished and replaced with office buildings.

A performance of her symphonic Gershwin program with the New Jersey Symphony in 1980 was broadcast on PBS and won her an Emmy Award in 1981 for "Individual Achievement - Special Class". She was reunited with Michael Tilson Thomas for slightly modified version of the Gershwin program with the Los Angeles Philharmonic and the CBS Records recording, Gershwin Live! won Vaughan the Grammy award for Best Jazz Vocal Performance, Female. In 1985, Vaughan received a star on the Hollywood Walk of Fame. In 1988, Vaughan was inducted into the American Jazz Hall of Fame.

After the conclusion of her Pablo contract in 1982, Vaughan did only a limited amount of studio recording. She made a guest appearance in 1984 on Barry Manilow's 2:00 AM Paradise Cafe, an album of original pastiche compositions that featured a number of established jazz artists. In 1984, Vaughan participated in one of the more unusual projects of her career, The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, the future Pope John Paul II. The recording was made in Germany with an English translation by writer Gene Lees and was released by Lees on his own private label after the recording was turned down by the major labels. In 1986, Vaughan sang two songs, "Happy Talk" and "Bali Ha'i", in the role of Bloody Mary on an otherwise stiff studio recording by opera stars Kiri Te Kanawa and José Carreras of the score of the Broadway musical South Pacific, while sitting on the studio floor.

Vaughan's final complete album was Brazilian Romance, produced and composed by Sérgio Mendes and recorded primarily in the early part of 1987 in New York and Detroit. In 1988, Vaughan contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald. This was Vaughan's final studio recording and, fittingly, it was Vaughan's only formal studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo.

Vaughan is featured in a number of video recordings from the 1980s. Sarah Vaughan Live from Monterey was taped in 1983 or 1984 and featured her working trio with guest soloists. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists, including Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS. Also in 1986, on Independence Day in a program nationally-televised on PBS she performed with the National Symphony Orchestra, conducted by Mstislav Rostropovich, in a medley of songs composed by George Gershwin^[6]

She was given the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.^[7]

Death[link]

In 1989, Vaughan's health began to decline, although she rarely revealed any hints in her performances. She canceled a series of engagements in Europe in 1989 citing the need to seek treatment for arthritis in the hand, although she was able to complete a later series of performances in Japan. During a run at New York's Blue Note jazz club in 1989, Vaughan received a diagnosis of lung cancer and was too ill to finish the final day of what would turn out to be her final series of public performances.

Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Vaughan grew weary of the struggle and demanded to be taken home, where she died on the evening of April 3, 1990, while watching a television movie featuring her daughter, a week after her 66th birthday.

Vaughan's funeral was held at Mount Zion Baptist Church at 208 Broadway in Newark, New Jersey, which was the same congregation she grew up in. Following the ceremony, a horse-drawn carriage transported her body to its final resting place in Glendale Cemetery in Bloomfield, New Jersey.^[8][9]

Grammy Hall of Fame[link]

Recordings of Sarah Vaughan were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

Style and influence[link]

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Although Vaughan is usually considered a "Jazz Singer", she avoided classifying herself as such. Indeed, her approach to her "Jazz" work and her commercial "Pop" material was not radically different. Vaughan stuck throughout her career to the jazz-infused style of music that she came of age with, only rarely dabbling in rock-era styles that usually did not suit her unique vocal talents. Vaughan discussed the label in an 1982 interview for Down Beat:

"I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer. Betty Bebop (Carter) is a jazz singer, because that's all she does. I've even been called a blues singer. I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues - just a right-out blues - but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music."

Vaughan was an accomplished pianist with a fine ear for bebop harmonies, but her most obvious gift was always her powerful voice. Her vocal range was vast in her youth, stretching from true female baritone lows to mezzo-soprano highs; as she aged, her lower register became stronger and her forays into her (still-strong) mezzo register became rare. Musicologist Henry Pleasants notes: "Sarah Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C."^[11] The dynamic range, tonal quality and sheer beauty of her voice were near-operatic, while she attended. Vaughan was proficient at scatting, the improvisatory aspect of her art was focused more on ornamentation, phrasing and variation on melodies, which were almost always jazz standards. Perhaps her most noticeable musical mannerism was the creative use of often widely "swooping" glissandi through her wide entire vocal range, which was most sonorous in a dark chest register that grew deeper as she aged. Vaughan approached her voice more as a melodic instrument than a vehicle for dramatic interpretation of lyrics, although the expressive qualities of her style did accentuate lyrical meaning and she would often find unique and memorable ways of articulating and coloring individual key words in a lyric. She mainly performed in the contralto range.^[12]

During her childhood in the 30s, Vaughan was strongly attracted to the popular music of the day, much to the consternation of her deeply religious father. She was certainly influenced by the gospel traditions that she grew up with in a Baptist church, but the more radically melismatic elements of those influences are less obvious than they would be in later generations of singers in the R&B and hip-hop genres. That Vaughan was also influenced by (and an influence on) her friend and mentor, Billy Eckstine, is obvious in the numerous duet recordings they made together. However, since no recordings exist of Vaughan prior to her joining Eckstine in the Earl Hines band (nor with the Hines band) it is difficult to know with any certainty what stylistic nuances she absorbed during the critical first years of her performing career.

Perhaps because of the individuality of her style, Vaughan has rarely been overtly imitated by subsequent generations of singers, unlike such contemporaries of hers as Ella Fitzgerald, Judy Garland, Frank Sinatra or, later, Aretha Franklin. Many modern artists, however, have claimed Sarah Vaughan as a major influence, chief among them Teena Marie, Anita Baker, Chaka Khan, Chrisette Michele, Amy Winehouse and Alison Goldfrapp. Even in death she retains a loyal following and attracts new fans through her recorded legacy, most of which remains in commercial release.