Billy Byers (trb) Hal McKusick (as, ts, clar) Eddie Costa (p) Paul Chambers (b) Charlie Persip (d) recorded Rudy Van Gelder Studio, Hackensack, NJ, December 27, 1957
A very obscure recording made for Prestige in the Van Gelder’s Hackensack home studio two days after Christmas 1957. More turkey anyone? Two talented but largely forgotten bop-based improvisers: Hal McKusick, who switches between his Paul Desmond-inspired alto, tenor and cool-toned clarinet, and trombonist Billy Byers. The “Triple” theme is echoed on other records, such as Jimmy Heath’s “Triple Threat”, an expression peculiar to a certain period to boast of the ability to play three different horns, topped of course by Roland Kirk, playing all three simultaneously. In his later years McCusick disappeared into music education, unlike many contemporaries, dying of natural causes, at the age of 87, last year, 2012
Cover: Esquire play fast and loose in the art department with a cheeky line drawing based on the Prestige original. I think the hat was ill-advised.
Vinyl: Esquire 32-073 UK release of PRLP 7135
RVG original US metalwork, no obvious indication of originating pressing plant.
The mystery of the 9M
No-one appears to know the meaning of the “9M” engraving that appears on many early Plastylite Blue Note pressings, around 1957-8, not even the Fred Cohen, author of the collectors bible, Blue Note Guide to First Pressings. My working hypothesis has been the M referred to a mother lacquer and the 9 indicated a clock position for aligning the metalwork in a press. No other variant has ever been seen, only ever 9M. That is, until now. The Prestige metalwork for this Hal McCusick recording has a “8J” etched in the run-out. So that’s my theory blown straight out of the water.
Any other explanation welcome, as I sure don’t have one. Not that it matters, but sometimes these thing are nice to know.
Collectors Corner: What’s in a name?
It’s a Schmidt! This brings to around a half-dozen or more of my records that bear the great collectors mark.
Dealers have told me the Schmidt collection was well-known in the business, circulating first in the 1990’s. It takes a certain amount of courage or arrogance to write your name on all your record covers. In the Fifties and Sixties it was prudent to write your name on the cover, if you took records to parties and ever wanted to see them again. Even then, there was a casualty rate. I used to write my own name on the inner sleeves, for the same reason. Schmidt’s motives are less clear, as I suspect he was a more modern collector. His taste was impeccable, that is for sure.
I wonder how many of us have a Schmidt on the record shelf, and how far around the world his records have flown. It is rise and decay: for many years records flowed from many collectors into one collection, then they flow out to many other collections, the undocumented migration of vinyl.