Verve Records - Revision history

Jason.Kreitzer at 13:07, 15 September 2021

2021-09-15T13:07:43Z

Duncan: Rm defunct link. Current version lists Velvet Underground but not Zappa/Mothers

2021-09-15T07:23:37Z

Rm defunct link. Current version lists Velvet Underground but not Zappa/Mothers

Jason.Kreitzer at 19:26, 14 September 2021

2021-09-14T19:26:52Z

Jason.Kreitzer at 20:28, 17 August 2021

2021-08-17T20:28:25Z

Jason.Kreitzer at 20:27, 17 August 2021

2021-08-17T20:27:46Z

Jason.Kreitzer at 20:27, 17 August 2021

2021-08-17T20:27:14Z

Jason.Kreitzer at 15:41, 4 August 2021

2021-08-04T15:41:03Z

Jason.Kreitzer at 15:40, 4 August 2021

2021-08-04T15:40:17Z

Duncan: /* The official Verve story */ UnLInk AT

2021-07-18T22:10:44Z

The official Verve story: UnLInk AT

Duncan at 22:05, 18 July 2021

2021-07-18T22:05:49Z

@@ Line 31: / Line 31: @@
 Verve's vital combination of respect for the past and a drive towards the future is demonstrated by its much-discussed 2002 release Verve Remixed, on today's hottest DJs and remixers try their hand at classic vocal performances from the label’s vaults; that release was accompanied by Verve Unmixed, which presents the same songs in their original versions for the benefit of new listeners.
-With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[Wikipedia:GRP Records|GRP]], [[Wikipedia:Impulse! Records|Impulse!]] and [[Wikipedia:Blue Thumb Records|Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Wikipedia:Commodore Records|Commodore]], [[Wikipedia:Chess Records|Chess]], [[Decca]], [[Wikipedia:Brunswick Records|Brunswick]], [[Wikipedia:Argo Records|Argo]], [[Wikipedia:Cadet Records|Cadet]], [[Wikipedia:Dot Records|Dot]], [[Wikipedia:Coral Records|Coral]], [[Wikipedia:ABC Records|ABC-Paramount]], [[Wikipedia:A&M Records|A&M]], [[Mercury Records|Mercury]], [[Wikipedia:Philips Records|Philips]] and [[Wikipedia:Polydor Records|Polydor]].
+With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[Wikipedia:GRP Records|GRP]], [[Wikipedia:Impulse! Records|Impulse!]] and [[Wikipedia:Blue Thumb Records|Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Wikipedia:Commodore Records|Commodore]], [[Wikipedia:Chess Records|Chess]], [[Decca]], [[Wikipedia:Brunswick Records|Brunswick]], [[Wikipedia:Argo Records|Argo]], [[Wikipedia:Cadet Records|Cadet]], [[Dot Records|Dot]], [[Wikipedia:Coral Records|Coral]], [[Wikipedia:ABC Records|ABC-Paramount]], [[Wikipedia:A&M Records|A&M]], [[Mercury Records|Mercury]], [[Wikipedia:Philips Records|Philips]] and [[Wikipedia:Polydor Records|Polydor]].
 Within that Verve Music Group structure, under the leadership of Chairman [[Wikipedia:Tommy LiPuma|Tommy LiPuma]] and CEO/President, [https://www.discogs.com/artist/2104583-Ron-Goldstein Ron Goldstein], Verve Records continues to honor [[Wikipedia:Norman Granz|Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
 [[Category:Record Companies]]

@@ Line 3: / Line 3: @@
 ==FZ albums on this label==
 ==The official Verve story==
-http://www.vervemusicgroup.com/history.aspx?hid=3
+(From the Verve website in 2005)
 For nearly half a century, [[Verve Records]] has stood as one of jazz's most respected and influential institutions, playing a seminal role in the music's development as a recorded art form while working tirelessly to help expand its audience.

@@ Line 21: / Line 21: @@
 Although Verve would play a substantial role in popularizing the LP format and stereo recording, the quality that really set Verve apart was Granz's open-minded musical philosophy. Granz's refusal to recognize artificially imposed stylistic boundaries helped to create an environment in which the musicians could fulfill their artistic potential, and resulted in a series of inspired collaborations between players with widely divergent backgrounds.
-In late 1960, after sixteen remarkably productive years at Verve's helm, Granz sold the label to [[Wikipedia:Metro-Goldwyn-Mater|Metro-Goldwyn-Mayer]], the company that had employed him during his days in the film industry. While Granz moved on to other musical projects, Verve continued to thrive throughout the remainder of the decade. Under the leadership of noted producer [[Creed Taylor]], Verve continued to expand its musical base, combining pure jazz with a wide array of sounds designed for wider appeal. By now, Verve was large enough to accommodate the variety and Taylor, though essentially a jazz producer, made the most of the opportunity. He helped to introduce guitarist [[Wes Montgomery]], organist [[Jimmy Smith]], and vibist [[Cal Tjader]] to broader audiences with expanded arrangements, while broadening tenor saxist [[Wikipedia:Stan Getz|Stan Getz]]’s following with gentle bossa nova beats, as exemplified by his popular collaborations with [[Antonio Carlos Jobim]] and [[João Gilberto|João]] and [[Astrud Gilberto]].
+In late 1960, after sixteen remarkably productive years at Verve's helm, Granz sold the label to [[Wikipedia:Metro-Goldwyn-Mater|Metro-Goldwyn-Mayer]], the company that had employed him during his days in the film industry. While Granz moved on to other musical projects, Verve continued to thrive throughout the remainder of the decade. Under the leadership of noted producer [[Wikipedia:Creed Taylor|Creed Taylor]], Verve continued to expand its musical base, combining pure jazz with a wide array of sounds designed for wider appeal. By now, Verve was large enough to accommodate the variety and Taylor, though essentially a jazz producer, made the most of the opportunity. He helped to introduce guitarist [[Wes Montgomery]], organist [[Wikipedia:Jimmy Smith (musician)|Jimmy Smith]], and vibist [[Wikipedia:Cal Tjader|Cal Tjader]] to broader audiences with expanded arrangements, while broadening tenor saxist [[Wikipedia:Stan Getz|Stan Getz]]’s following with gentle bossa nova beats, as exemplified by his popular collaborations with [[Wikipedia:Antônio Carlos Jobim|Antônio Carlos Jobim]] and [[Wikipedia:João Gilberto|João]] and [[Wikipedia:Astrud Gilberto|Astrud Gilberto]].
-As rock music took an adventurous, exploratory turn in the 1960s, the Verve roster — which had already expanded to include such departures as trenchant political humor of [[Mort Sahl]] — opened to a diverse array of acts from across the rock and pop spectrum, including [[Ricky Nelson]], the [[Righteous Brothers]], [[The Velvet Underground]], Richie Havens, [[Janis Ian]], [[The Blues Project]] and Frank Zappa's '''[[The Mothers|Mothers of Invention]]'''.
+As rock music took an adventurous, exploratory turn in the 1960s, the Verve roster — which had already expanded to include such departures as trenchant political humor of [[Wikipedia:Mort Sahl|Mort Sahl]] — opened to a diverse array of acts from across the rock and pop spectrum, including [[Wikipedia:Ricky Nelson|Ricky Nelson]], the [[Wikipedia:The Righteous Brothers|Righteous Brothers]], [[The Velvet Underground]], Richie Havens, [[Wikipedia:Janis Ian |Janis Ian]], [[Wikipedia:The Blues Project|The Blues Project]] and Frank Zappa's '''[[The Mothers|Mothers of Invention]]'''.
 In 1972, MGM sold its record labels to [[Wikipedia:Polydor Records|Polydor]], bringing Verve into [[Wikipedia:PolyGram|PolyGram]]'s international family of labels. While European and Japanese divisions of Verve reissued important albums from the catalog during the Seventies and Eighties, and the American division began its own program in 1981, it took the advent of the compact disc to return Verve to active fulltime duty. Since then, Verve has continued to pursue the Herculean task of digitally upgrading its massive album catalog, an effort that continues to yield impressive results to this day.
-But the preservation of its storied legacy is only one element of Verve Records' present-day mission. In recent years, Verve has continued to release vital new music by revered veterans like [[Herbie Hancock]], [[Wayne Shorter]], [[Michael Brecker]], [[John Scofield]], [[Charlie Haden]], [[John McLaughlin]], [[Kenny Barron]], [[Roy Hargrove]] and [[Joe Sample]], while nurturing jazz's future through the work of such remarkable rising talents as [[Regina Carter]], [[Nicholas Payton]], [[Chris Potter]], [[Christian MacBride]], [[Danilo Perez]] and [[Kurt Rosenwinkel]]. At the same time, Verve continues to service a growing listening audience, as evidenced by the remarkable crossover successes of [[Diana Krall]] and [[Natalie Cole]], who continue the Verve tradition of great vocalists along with such celebrated labelmates as [[Cassandra Wilson]], [[Abbey Lincoln]], [[Betty Carter]], [[Shirley Horn]] and [[Dee Dee Bridgewater]].
+But the preservation of its storied legacy is only one element of Verve Records' present-day mission. In recent years, Verve has continued to release vital new music by revered veterans like [[Herbie Hancock]], [[Wayne Shorter]], [[Michael Brecker]], [[Wikipedia:John Scofield|John Scofield]], [[Wikipedia:Charlie Haden|Charlie Haden]], [[John McLaughlin]], [[Wikipedia:Kenny Barron|Kenny Barron]], [[Wikipedia:Roy Hargrove|Roy Hargrove]] and [[Wikipedia:Joe Sample|Joe Sample]], while nurturing jazz's future through the work of such remarkable rising talents as [[Wikipedia:Regina Carter|Regina Carter]], [[Wikipedia:Nicholas Payton|Nicholas Payton]], [[Wikipedia:Chris Potter (jazz saxophonist)|Chris Potter]], [[Wikipedia:Christian McBride|Christian McBride]], [[Wikipedia:Danilo Pérez|Danilo Pérez]] and [[Wikipedia:Kurt Rosenwinkel|Kurt Rosenwinkel]]. At the same time, Verve continues to service a growing listening audience, as evidenced by the remarkable crossover successes of [[Wikipedia:Diana Krall|Diana Krall]] and [[Wikipedia:Natalie Cole|Natalie Cole]], who continue the Verve tradition of great vocalists along with such celebrated labelmates as [[Wikipedia:Cassandra Wilson|Cassandra Wilson]], [[Wikipedia:Abbey Lincoln|Abbey Lincoln]], [[Wikipedia:Betty Carter|Betty Carter]], [[Wikipedia:Shirley Horn|Shirley Horn]] and [[Wikipedia:Dee Dee Bridgewater|Dee Dee Bridgewater]].
 Verve's vital combination of respect for the past and a drive towards the future is demonstrated by its much-discussed 2002 release Verve Remixed, on today's hottest DJs and remixers try their hand at classic vocal performances from the label’s vaults; that release was accompanied by Verve Unmixed, which presents the same songs in their original versions for the benefit of new listeners.
-With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Wikipedia:Polydor Records|Polydor]].
+With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[Wikipedia:GRP Records|GRP]], [[Wikipedia:Impulse! Records|Impulse!]] and [[Wikipedia:Blue Thumb Records|Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Wikipedia:Commodore Records|Commodore]], [[Wikipedia:Chess Records|Chess]], [[Decca]], [[Wikipedia:Brunswick Records|Brunswick]], [[Wikipedia:Argo Records|Argo]], [[Wikipedia:Cadet Records|Cadet]], [[Wikipedia:Dot Records|Dot]], [[Wikipedia:Coral Records|Coral]], [[Wikipedia:ABC Records|ABC-Paramount]], [[Wikipedia:A&M Records|A&M]], [[Mercury Records|Mercury]], [[Wikipedia:Philips Records|Philips]] and [[Wikipedia:Polydor Records|Polydor]].
-Within that Verve Music Group structure, under the leadership of Chairman [[Tommy LiPuma]] and CEO/President, [[Ron Goldstein]], Verve Records continues to honor [[Wikipedia:Norman Granz|Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
+Within that Verve Music Group structure, under the leadership of Chairman [[Wikipedia:Tommy LiPuma|Tommy LiPuma]] and CEO/President, [https://www.discogs.com/artist/2104583-Ron-Goldstein Ron Goldstein], Verve Records continues to honor [[Wikipedia:Norman Granz|Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
 [[Category:Record Companies]]

@@ Line 31: / Line 31: @@
 Verve's vital combination of respect for the past and a drive towards the future is demonstrated by its much-discussed 2002 release Verve Remixed, on today's hottest DJs and remixers try their hand at classic vocal performances from the label’s vaults; that release was accompanied by Verve Unmixed, which presents the same songs in their original versions for the benefit of new listeners.
-With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Polydor]].
+With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Wikipedia:Polydor Records|Polydor]].
 Within that Verve Music Group structure, under the leadership of Chairman [[Tommy LiPuma]] and CEO/President, [[Ron Goldstein]], Verve Records continues to honor [[Wikipedia:Norman Granz|Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
 [[Category:Record Companies]]

@@ Line 33: / Line 33: @@
 With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Polydor]].
-Within that Verve Music Group structure, under the leadership of Chairman [[Tommy LiPuma]] and CEO/President, [[Ron Goldstein]], Verve Records continues to honor [[Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
+Within that Verve Music Group structure, under the leadership of Chairman [[Tommy LiPuma]] and CEO/President, [[Ron Goldstein]], Verve Records continues to honor [[Wikipedia:Norman Granz|Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
 [[Category:Record Companies]]

@@ Line 1: / Line 1: @@
-[[Verve Records]] was an American Jazz record label, founded by [[Norman Granz]] in 1956. The Verve catalog grew throughout the '50s and '60s to include most of the major figures in jazz. It later incorporated the [[Mercury Records|Mercury]]/[[EmArcy]] jazz catalog. It also recognized the potential of comedy albums, producing [[Spike Jones]]' first LP, "Dinner Music For People Who Aren't Very Hungry" in 1956 and several best-selling albums featuring live performances by [[Shelley Berman]] beginning in 1960. Verve was acquired by [[MGM Records]] in 1961 for $3 million. In 1972 it became part of the [[PolyGram]] group. When [[PolyGram]] was acquired by [[Universal Music Group]], the various Universal-owned jazz labels were put under the umbrella of The Verve Group.
+[[Verve Records]] was an American Jazz record label, founded by [[Wikipedia:Norman Granz|Norman Granz]] in 1956. The Verve catalog grew throughout the '50s and '60s to include most of the major figures in jazz. It later incorporated the [[Mercury Records|Mercury]]/[[Wikipedia:EmArcy Records|EmArcy]] jazz catalog. It also recognized the potential of comedy albums, producing [[Spike Jones]]' first LP, "Dinner Music For People Who Aren't Very Hungry" in 1956 and several best-selling albums featuring live performances by [[Wikipedia:Shelley Berman|Shelley Berman]] beginning in 1960. Verve was acquired by [[MGM Records]] in 1961 for $3 million. In 1972 it became part of the [[Wikipedia:PolyGram|PolyGram]] group. When [[Wikipedia:PolyGram|PolyGram]] was acquired by [[Universal Music Group]], the various Universal-owned jazz labels were put under the umbrella of The Verve Group.
 ==FZ albums on this label==
@@ Line 7: / Line 7: @@
 For nearly half a century, [[Verve Records]] has stood as one of jazz's most respected and influential institutions, playing a seminal role in the music's development as a recorded art form while working tirelessly to help expand its audience.
-Verve Records was originally the product of the vision of [[Norman Granz]], a crucial figure whose innovations forever altered the face of jazz. In the final stages of World War II, as the Swing Era began to wind down, Granz, then in his mid-twenties, was working as a film editor at [[Wikipedia:Metro-Goldwyn-Mayer|Metro-Goldwyn-Mayer]] in Hollywood. But his real passion was music.
+Verve Records was originally the product of the vision of [[Wikipedia:Norman Granz|Norman Granz]], a crucial figure whose innovations forever altered the face of jazz. In the final stages of World War II, as the Swing Era began to wind down, Granz, then in his mid-twenties, was working as a film editor at [[Wikipedia:Metro-Goldwyn-Mayer|Metro-Goldwyn-Mayer]] in Hollywood. But his real passion was music.
 Granz became a jazz pioneer on July 2, 1944, when he presented Jazz at the Philharmonic at Los Angeles' Philharmonic Hall. The all-star show marked one of the first instances of jazz being presented in the rarefied environs of a concert hall rather than a smoky nightclub or rowdy dance hall. At the time, the presentation of jazz as a legitimate art form, rather than accompaniment for dancing and carousing, was a revolutionary concept. The concert also was a harbinger of a new approach in live jazz presentation, the repertory package tour, and laid the groundwork for the establishment of Verve.
@@ Line 15: / Line 15: @@
 As it happened, Granz's Jazz at the Philharmonic show had been recorded for the Armed Forces Radio Service for overseas broadcast to GIs, but the recordings were simply too exciting to keep from the general listening public. So, in 1946, Granz made arrangements with future Folkways Records founder Moses Asch, to issue the first Philharmonic concert on Asch's Disc label. That release offered home listeners the new experience of hearing extended solos, with the musicians egged on by the roar of the audience. By the time the long-playing record album was introduced to the marketplace a few years later, the landmark Jazz at the Philharmonic release was already a part of American record buyers' vocabulary.
-By the late 1940s, Granz was steadily expanding his jazz empire. Producing two all-star JATP concert tours per year, Granz broke from societal convention by teaming black and white musicians and refusing to submit to segregation while traveling, insisting that his racially integrated ensembles be treated with respect commensurate with their talent. In 1948, Granz signed a five-year distribution contract with [[Mercury Records]] for his newly established label, [[Clef]]. After the Mercury deal expired, Granz set up independent distribution for Clef and set up a series of specialized subsidiary to release the artists he was signing.
+By the late 1940s, Granz was steadily expanding his jazz empire. Producing two all-star JATP concert tours per year, Granz broke from societal convention by teaming black and white musicians and refusing to submit to segregation while traveling, insisting that his racially integrated ensembles be treated with respect commensurate with their talent. In 1948, Granz signed a five-year distribution contract with [[Mercury Records]] for his newly established label, [[Wikipedia: Clef Records|Clef]]. After the Mercury deal expired, Granz set up independent distribution for Clef and set up a series of specialized subsidiary to release the artists he was signing.
-In 1956, Granz formed [[Verve Records]] and moved all of his recordings to the Verve catalog. By now, long-playing records had replaced 78s as listeners' format of choice, and—thanks in large part to ten years' worth of ongoing Jazz at the Philharmonic releases — the public was accustomed to extended live performances on record. With its adventurous recording policy and huge roster of disparate artists, Verve boasted a virtual who's-who of the postwar jazz world. [[Coleman Hawkins]], [[Charlie Parker]], [[Count Basie]], [[Duke Ellington]], [[Oscar Peterson]], Dizzy Gillespie, [[Bud Powell]], [[Lester Young]], [[Kid Ory]], [[Stan Getz]], [[Ben Webster]], [[Roy Eldridge]], [[Gerry Mulligan]], [[Buddy Rich]], [[Gene Krupa]], [[Illinois Jacquet]], Art Tatum, [[Flip Phillips]], and [[Teddy Wilson]] all recorded for Verve. The Verve roster would also come to include such world-class vocalists as [[Ella Fitzgerald]], whose career experienced a remarkable artistic rebirth under Granz's stewardship, [[Anita O'Day]], [[Nina Simone]], [[Mel Torme]] and [[Blossom Dearie]].
+In 1956, Granz formed [[Verve Records]] and moved all of his recordings to the Verve catalog. By now, long-playing records had replaced 78s as listeners' format of choice, and—thanks in large part to ten years' worth of ongoing Jazz at the Philharmonic releases — the public was accustomed to extended live performances on record. With its adventurous recording policy and huge roster of disparate artists, Verve boasted a virtual who's-who of the postwar jazz world. [[Wikipedia:Coleman Hawkins|Coleman Hawkins]], [[Charlie Parker]], [[Wikipedia:Count Basie|Count Basie]], [[Duke Ellington]], [[Wikipedia:Oscar Peterson|Oscar Peterson]], Dizzy Gillespie, [[Wikipedia:Bud Powell|Bud Powell]], [[Wikipedia:Lester Young|Lester Young]], [[Wikipedia:Kid Ory|Kid Ory]], [[Wikipedia:Stan Getz|Stan Getz]], [[Wikipedia:Ben Webster|Ben Webster]], [[Wikipedia:Roy Eldridge|Roy Eldridge]], [[Wikipedia:Gerry Mulligan|Gerry Mulligan]], [[Wikipedia:Buddy Rich|Buddy Rich]], [[Wikipedia:Gene Krupa|Gene Krupa]], [[Wikipedia:Illinois Jacquet|Illinois Jacquet]], Art Tatum, [[Wikipedia:Flip Phillips|Flip Phillips]], and [[Wikipedia:Teddy Wilson|Teddy Wilson]] all recorded for Verve. The Verve roster would also come to include such world-class vocalists as [[Ella Fitzgerald]], whose career experienced a remarkable artistic rebirth under Granz's stewardship, [[Wikipedia:Anita O'Day|Anita O'Day]], [[Wikipedia:Nina Simone|Nina Simone]], [[Wikipedia:Mel Tormé|Mel Torme]] and [[Wikipedia:Blossom Dearie|Blossom Dearie]].
 Although Verve would play a substantial role in popularizing the LP format and stereo recording, the quality that really set Verve apart was Granz's open-minded musical philosophy. Granz's refusal to recognize artificially imposed stylistic boundaries helped to create an environment in which the musicians could fulfill their artistic potential, and resulted in a series of inspired collaborations between players with widely divergent backgrounds.
-In late 1960, after sixteen remarkably productive years at Verve's helm, Granz sold the label to [[Metro-Goldwyn-Mayer]], the company that had employed him during his days in the film industry. While Granz moved on to other musical projects, Verve continued to thrive throughout the remainder of the decade. Under the leadership of noted producer [[Creed Taylor]], Verve continued to expand its musical base, combining pure jazz with a wide array of sounds designed for wider appeal. By now, Verve was large enough to accommodate the variety and Taylor, though essentially a jazz producer, made the most of the opportunity. He helped to introduce guitarist [[Wes Montgomery]], organist [[Jimmy Smith]], and vibist [[Cal Tjader]] to broader audiences with expanded arrangements, while broadening tenor saxist [[Stan Getz]]’s following with gentle bossa nova beats, as exemplified by his popular collaborations with [[Antonio Carlos Jobim]] and [[João Gilberto|João]] and [[Astrud Gilberto]].
+In late 1960, after sixteen remarkably productive years at Verve's helm, Granz sold the label to [[Wikipedia:Metro-Goldwyn-Mater|Metro-Goldwyn-Mayer]], the company that had employed him during his days in the film industry. While Granz moved on to other musical projects, Verve continued to thrive throughout the remainder of the decade. Under the leadership of noted producer [[Creed Taylor]], Verve continued to expand its musical base, combining pure jazz with a wide array of sounds designed for wider appeal. By now, Verve was large enough to accommodate the variety and Taylor, though essentially a jazz producer, made the most of the opportunity. He helped to introduce guitarist [[Wes Montgomery]], organist [[Jimmy Smith]], and vibist [[Cal Tjader]] to broader audiences with expanded arrangements, while broadening tenor saxist [[Wikipedia:Stan Getz|Stan Getz]]’s following with gentle bossa nova beats, as exemplified by his popular collaborations with [[Antonio Carlos Jobim]] and [[João Gilberto|João]] and [[Astrud Gilberto]].
 As rock music took an adventurous, exploratory turn in the 1960s, the Verve roster — which had already expanded to include such departures as trenchant political humor of [[Mort Sahl]] — opened to a diverse array of acts from across the rock and pop spectrum, including [[Ricky Nelson]], the [[Righteous Brothers]], [[The Velvet Underground]], Richie Havens, [[Janis Ian]], [[The Blues Project]] and Frank Zappa's '''[[The Mothers|Mothers of Invention]]'''.
-In 1972, [[MGM]] sold its record labels to [[Polydor]], bringing Verve into [[PolyGram]]'s international family of labels. While European and Japanese divisions of Verve reissued important albums from the catalog during the Seventies and Eighties, and the American division began its own program in 1981, it took the advent of the compact disc to return Verve to active fulltime duty. Since then, Verve has continued to pursue the Herculean task of digitally upgrading its massive album catalog, an effort that continues to yield impressive results to this day.
+In 1972, MGM sold its record labels to [[Wikipedia:Polydor Records|Polydor]], bringing Verve into [[Wikipedia:PolyGram|PolyGram]]'s international family of labels. While European and Japanese divisions of Verve reissued important albums from the catalog during the Seventies and Eighties, and the American division began its own program in 1981, it took the advent of the compact disc to return Verve to active fulltime duty. Since then, Verve has continued to pursue the Herculean task of digitally upgrading its massive album catalog, an effort that continues to yield impressive results to this day.
 But the preservation of its storied legacy is only one element of Verve Records' present-day mission. In recent years, Verve has continued to release vital new music by revered veterans like [[Herbie Hancock]], [[Wayne Shorter]], [[Michael Brecker]], [[John Scofield]], [[Charlie Haden]], [[John McLaughlin]], [[Kenny Barron]], [[Roy Hargrove]] and [[Joe Sample]], while nurturing jazz's future through the work of such remarkable rising talents as [[Regina Carter]], [[Nicholas Payton]], [[Chris Potter]], [[Christian MacBride]], [[Danilo Perez]] and [[Kurt Rosenwinkel]]. At the same time, Verve continues to service a growing listening audience, as evidenced by the remarkable crossover successes of [[Diana Krall]] and [[Natalie Cole]], who continue the Verve tradition of great vocalists along with such celebrated labelmates as [[Cassandra Wilson]], [[Abbey Lincoln]], [[Betty Carter]], [[Shirley Horn]] and [[Dee Dee Bridgewater]].
@@ Line 31: / Line 31: @@
 Verve's vital combination of respect for the past and a drive towards the future is demonstrated by its much-discussed 2002 release Verve Remixed, on today's hottest DJs and remixers try their hand at classic vocal performances from the label’s vaults; that release was accompanied by Verve Unmixed, which presents the same songs in their original versions for the benefit of new listeners.
-With the merger of [[PolyGram]] with [[Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Polydor]].
+With the merger of [[Wikipedia:PolyGram|PolyGram]] with [[Universal Music Group|Universal Music]] in January 1999, [[Verve Records]] became the hub of the Verve Music Group, which also encompasses the influential labels [[GRP]], [[Impulse!]] and [[Blue Thumb]] labels, and oversees the jazz catalogs of several other Universal-owned labels, including [[Commodore]], [[Chess]], [[Decca]], [[Brunswick]], [[Argo]], [[Cadet]], [[Dot]], [[Coral]], [[ABC-Paramount]], [[A&M]], [[Mercury Records|Mercury]], [[Philips]] and [[Polydor]].
 Within that Verve Music Group structure, under the leadership of Chairman [[Tommy LiPuma]] and CEO/President, [[Ron Goldstein]], Verve Records continues to honor [[Norman Granz]]'s original vision. While its lengthy and distinguished history encompasses a remarkable array of the most celebrated recordings in America's jazz canon, Verve Records continues to evolve with the times as it always has, constantly reinventing and reinvigorating itself with the infusion of fresh new talent. Now, with jazz reaching a broader audience than ever before, Verve is a stronger musical and social force than ever, preserving its remarkable legacy while building towards a distinctly bright future.
 [[Category:Record Companies]]

@@ Line 17: / Line 17: @@
 By the late 1940s, Granz was steadily expanding his jazz empire. Producing two all-star JATP concert tours per year, Granz broke from societal convention by teaming black and white musicians and refusing to submit to segregation while traveling, insisting that his racially integrated ensembles be treated with respect commensurate with their talent. In 1948, Granz signed a five-year distribution contract with [[Mercury Records]] for his newly established label, [[Clef]]. After the Mercury deal expired, Granz set up independent distribution for Clef and set up a series of specialized subsidiary to release the artists he was signing.
-In 1956, Granz formed [[Verve Records]] and moved all of his recordings to the Verve catalog. By now, long-playing records had replaced 78s as listeners' format of choice, and—thanks in large part to ten years' worth of ongoing Jazz at the Philharmonic releases — the public was accustomed to extended live performances on record. With its adventurous recording policy and huge roster of disparate artists, Verve boasted a virtual who's-who of the postwar jazz world. [[Coleman Hawkins]], [[Charlie Parker]], [[Count Basie]], [[Duke Ellington]], [[Oscar Peterson]], [[Dizzy Gillespie]], [[Bud Powell]], [[Lester Young]], [[Kid Ory]], [[Stan Getz]], [[Ben Webster]], [[Roy Eldridge]], [[Gerry Mulligan]], [[Buddy Rich]], [[Gene Krupa]], [[Illinois Jacquet]], [[Art Tatum]], [[Flip Phillips]], and [[Teddy Wilson]] all recorded for Verve. The Verve roster would also come to include such world-class vocalists as [[Ella Fitzgerald]], whose career experienced a remarkable artistic rebirth under Granz's stewardship, [[Anita O'Day]], [[Nina Simone]], [[Mel Torme]] and [[Blossom Dearie]].
+In 1956, Granz formed [[Verve Records]] and moved all of his recordings to the Verve catalog. By now, long-playing records had replaced 78s as listeners' format of choice, and—thanks in large part to ten years' worth of ongoing Jazz at the Philharmonic releases — the public was accustomed to extended live performances on record. With its adventurous recording policy and huge roster of disparate artists, Verve boasted a virtual who's-who of the postwar jazz world. [[Coleman Hawkins]], [[Charlie Parker]], [[Count Basie]], [[Duke Ellington]], [[Oscar Peterson]], Dizzy Gillespie, [[Bud Powell]], [[Lester Young]], [[Kid Ory]], [[Stan Getz]], [[Ben Webster]], [[Roy Eldridge]], [[Gerry Mulligan]], [[Buddy Rich]], [[Gene Krupa]], [[Illinois Jacquet]], [[Art Tatum]], [[Flip Phillips]], and [[Teddy Wilson]] all recorded for Verve. The Verve roster would also come to include such world-class vocalists as [[Ella Fitzgerald]], whose career experienced a remarkable artistic rebirth under Granz's stewardship, [[Anita O'Day]], [[Nina Simone]], [[Mel Torme]] and [[Blossom Dearie]].
 Although Verve would play a substantial role in popularizing the LP format and stereo recording, the quality that really set Verve apart was Granz's open-minded musical philosophy. Granz's refusal to recognize artificially imposed stylistic boundaries helped to create an environment in which the musicians could fulfill their artistic potential, and resulted in a series of inspired collaborations between players with widely divergent backgrounds.