530:, Command Classics and other recordings. A Mercury CD release by Robert Fennell of Gershwin and Cole Porter (434 327-2/1993) contains the following information on the inside of the booklet: "The songs of Cole Porter were recorded in the Bayside Studio of Fine Recording, N.Y., on November 20 and 21, 1961, on 3-track 35mm film, 3-track half inch tape, and 2 track quarter-inch tape..on this CD the 3-track half inch master was used as the 35mm was unavailable." This would indicate, if true, that Mercury Records had commenced 35mm recording using at least some of the Belock equipment in late 1961.
507:(Ernst von Dohnanyi), died in 1960 while recording piano compositions for Everest. Dohnányi made few recordings, not caring much for the process. He was attempting to complete a huge recording assignment in January, 1960 when he fell ill at a session. His condition deteriorated quickly and in a matter of hours he was stricken with a heart attack. Correctly believing that this was his final opportunity to record, Dohnányi continued with the session, and he died two days later. Everest issued a memorial album to the composer, on SDBR 3061.
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issues. The plan now is for one further digital remastering using modified
Westrex record/playback machines with added laser guidance to eliminate these problems in the age of the masters. The 35mm film masters and magnetic tapes are reported to be in a very good condition due to only light use to date. {correspondence with Countdown Media/David Murphy }
265:) titled "Won't You Spend Christmas with Me?" Scott released several instrumental albums for the label, and teamed with Dorothy Collins for a joint effort, "Singin' and Swingin'", which was never released, although initial promotional efforts were made via television appearances by Collins. Other pop and jazz artists on the label included
259:, to record for the label. MacKenzie was featured on a popular live recording done during her night club engagement at The Empire Room of The Waldorf-Astoria, while Collins was featured on an ambitious collection of holiday tunes with the Joe Lily Singers and Nathan VanCleve's orchestra (both alumnae from the Bing Crosby film classic
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in New York's Tin Pan Alley in 1957 where they were on the lookout for a vocalist. According to Lynne: "Harry was the money man and
Raymond was the creative guy. They were talking in such technical terms that I didn't understand all of the mechanics of what they were proposing, but they were going to
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Many audiophiles feel that the only
Everest LPs worth collecting are those that were recorded and pressed while Belock was at the company. Identifying these records is relatively easy: the first issues sport a silver/turquoise label (with the earliest of these having a wood dowel on the outside edge
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was made by
Everest at Walthamstow on the morning of the composer's death, August 26, 1958. The composer planned to attend the Everest sessions just as he had attended the earlier Decca sessions for the first eight symphonies. As before, Adrian Boult conducted the London Philharmonic Orchestra, but
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in 1960. By this time, Harry Belock owned only 22% of the business and the board removed him from control. Belock (who died in 1999) left the record business and sold his interest in
Everest to his accountant, Bernard Solomon, in 1962. The studio and all its recording equipment was sold in 1961 to
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in Japan are currently in the process of releasing all titles on SACD discs. A previous all tube reissue and remastering by
Classic Records in the 1990s of a small number of 35mm film masters to both high quality vinyl repressings and DVD-Audio did unfortunately suffer from some wow and flutter
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and
Raymond Scott. Much of the pop and jazz masters remained in the Liberty vault, until the label was purchased by EMI. The classical catalogue comprising all the original 35mm film masters and half inch magnetic tapes are currently archived under controlled conditions in the Hamburg vaults of
398:. Stokowski believed that the recording philosophy of Everest was contrary to music making, and more in line with mathematics and engineering. None of the records he made with the company seemed to satisfy him. However, most are still considered technically exceptional. Stokowski discovered
223:. We're not shooting marbles." Belock Instrument Corporation, a manufacturer of precision equipment (particularly missile electronics) was the parent of the Everest label 1958-1960 (operated as the Belock Recording Company). Everest would issue its recordings on
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of the inner sleeve). The silver paper used on these covers usually becomes brittle and deteriorates with age. The second label is a purple mountain. The entire classical catalog of Belock
Everests is relatively small, fewer than 100 LPs.
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in Italy to issue that label's extensive catalog of complete opera recordings in the United States. Several of these recordings were of obscure or rarely performed operas, many of them issued on records for the first, or only time.
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The studio operated for a few more years as Fine
Recording Bayside but was closed in the mid-1960s. The 35 mm equipment was absorbed into Fine Recording's main facility in Manhattan. One of the original machines was used by
215:: "The more of them I heard, the more I felt that nobody had a good stereo library. So I decided to get into the business myself." The plan was to record repertory that was new to stereo. Belock was very ambitious, and told
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were purchased to go with the film recorders. Everest’s recording philosophy was to make minimally-miked three-channel recordings using 35 mm film recorders in the specially designed Belock
Recording Studio in
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The rights to the Jazz and Popular catalogue are now also held in Japan, though reissues using excellent remastering from the original tapes continue to be released by Universal Music and Essential Media.
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of his Everest records being issued on the Tiara label. These included both his name and the name of the Houston Symphony Orchestra. He wrote Bernard Solomon at Everest to ask how this could be possible.
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Stokowski signed a contract to record with Everest on September 26, 1958. Among the first Everest recordings were a group with Stokowski conducting the "Stadium Symphony Orchestra of New York" (a
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316:. Ruth, his wife, was the assistant engineer. Belock and Whyte decided to record music on 35 mm magnetic film, which they believed was an improvement over half-inch tape.
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Everest also developed a popular and jazz division that issued albums in the LPBR 5000 series (mono) and SDBR 1000 series that, for several years, had composer/conductor
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Countdown Media/BMG Music who purchased the copyright from Grammercy in the 1990s. Prior to that the copyright was owned, it is believed, by
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Kiszely, Deborah "An Analysis of Ernő Dohnányi's Ruralia hungarica" in Studia Musicologica: Academiae Scientiarum Hungaricae 1995, page 79.
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to remaster Mercury 35 mm recordings for CD in the 1990s. When Everest was being sold off, the popular recordings were purchased by
293:, among others. The label also entered the singles market with some non-LP 45 rpm releases by their contracted pop and jazz performers.
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394:.) Stokowski recorded eleven albums for Everest during 1958-59. Six were made with the spurious Stadium Symphony and five with the
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678:"BMG forms alliance with Universal Music Group; plans to move physical distribution to UMG's Commercial Services division"
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and in a portable version on location in the USA and Europe. In May 1959, Edward Wallerstein (formerly president of
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Everest prospered for only a few years. The label may have been hurt financially by Whyte's recording the complete
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Verna, Paul. "Everest Masters Restored from 35mm via SBM System", Billboard, October 8, 1994, page 90.
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built this equipment to their specifications, at a cost then of about $ 20,000 for each recorder.
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717:"The Journal of The Society of Motion Pictures and Television Engineers," August, 1965, Vol. 74.
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Gelatt, Roland, "Music Makers" High Fidelity, November 1958, page 53 and February 1959, page 47
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613:. In recent years, some of Everest's audiophile recordings of the Belock/Whyte era have been
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This article is about a record label. For the list of records related to Mount Everest, see
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who undertook the first modern digital remastering released by Vanguard Classics.
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artists. Everest managed to engage the services of several major
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as soloist. In 1967, Everest issued the first performance of
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in the 1930s) to Roland Gelatt in the February 1959 issue of
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this time he began by recording a tribute to the composer.
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Robinson, Paul. Stokowski. New York: Vanguard Press, 1977
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The idea for starting a label was related by electronics
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A number of Everest recordings were also issued by the
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pay me five hundred dollars, and I understood that."
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and Bert Whyte in May 1958. It was devoted mainly to
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engineer C. Robert Fine, who used the equipment for
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476:conducting their violin concertos, each with
296:Gloria Lynne relates in her autobiography,
741:Defunct record labels of the United States
542:, who issued some of them on their budget
76:Learn how and when to remove this message
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464:. In addition, one LP featured historic
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255:(who was Scott's wife at the time) and
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601:The Everest masters were located in a
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