From: Myron Ort (email suppressed)
Date: Mon Dec 15 2008 - 10:04:57 PST
If he was using Monk recordings that would most likely be in the late
40s or early and mid 50s, and these would be pieces for band not
piano trio or solo piano. If he was using the first Blue Note 78s of
Monk those were first available after 1947. There were some very
rare 78s of Coleman Hawkins Quartet from 1944 on which Monk was the
pianist. Then there are the after-hour jam session recordings from
Minton's by Jerry Newman (ca. 1941), but I am not sure exactly when
those tapes were first made available on record (or how much one
would identify them as "Monk recordings"). Frame by frame synch with
jazz recordings? What was his technique for that? Was he known, back
in the early 40s, to be transferring old 78s to mag track, marking
that track, and then painting frames accordingly? Somehow I am having
trouble picturing this. Maybe a stop watch? We do know he was a bit
secretive about his painting techniques.
On Dec 14, 2008, at 9:27 PM, Chris Kennedy wrote:
> Any record of what those actual jazz tracks were?
> On 12/15/08 12:00 AM, "FRAMEWORKS automatic digest system"
> <email suppressed> wrote:
>> Harry Smith painstakingly painted those films to synch up frame by
>> frame with specific jazz recordings (thelonius monk and others). That
>> was in the early 40s.
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.