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Title: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on May 17, 2022, 10:12:08 PM
Apologies for the semi-off-topic post but there's a Brian Wilson connection here.

For the benefit of musicians who can read music and might be interested:

AUTHENTIC SHEET MUSIC — Fifty-six years after the car accident that changed his life forever, Jan Berry’s original music scores and charts from the 1960s still exist—the actual documents used by the Wrecking Crew to record the original songs. These fascinating manuscripts open an important window on Jan’s body of work for Jan & Dean and other artists.

In association with Jan’s estate, author Mark A. Moore has begun to transcribe and publish some of Jan’s best arrangements, to shed more light on him as a songwriter and arranger, and to invite further study of the music.

These transcribed scores will interest musicians, music educators, school ensembles, bands, and any musician/aficionado of the West Coast Sound and the Hollywood studio system of the 1960s.

First up is the classic “Dead Man’s Curve” . . . and more will soon follow:

Dead Man’s Curve
Jan Berry’s Authentic Original Music Score
Used by the Wrecking Crew to Record the Original Song (and for live performances).
Arranged by Jan Berry
Transcribed by Mark A. Moore

Size: 10″ x 14″
Length: 48 pages
Contents: Cover Page; Introductory Text; Full Score; Individual Charts; and End Page.
18 Parts: Alto Sax 1-2; Tenor Sax 1-2; Baritone Sax; Trumpet 1-3; Trombone 1-3; Bass; Guitars 1-3; Timpani; Drums; and Piano.

Distributed by: ArrangeMe and the Hal Leonard Corporation (https://www.halleonard.com/).
Licensed from: Screen Gems-EMI Music, Inc.
Available from: Sheet Music Direct (https://www.sheetmusicdirect.com/en-US/), Hal Leonard’s premier outlet for digital sheet music.
Published: May 17, 2022.

BUY NOW (https://www.sheetmusicdirect.com/en-US/se/ID_No/1132222/Product.aspx)

(https://jananddean-janberry.com/wp-content/uploads/2022/05/DMC_Cover-Page-1.jpg) (https://www.sheetmusicdirect.com/en-US/se/ID_No/1132222/Product.aspx)






Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Joshilyn Hoisington on May 18, 2022, 02:12:20 PM
This is great news, Mark -- thank you for doing this.  I will definitely be studying these as they are available.

I'm curious, if you're able to share, how you would assess the process for publishing these; I ask because I have been exploring trying to publish my own transcriptions of Brian Wilson arrangements (Wish that guy wrote his stuff down like Jan, would have saved me literally decades of work) and I'd be interested to hear if you think the route you are taking could work for the Beach Boys music as well.

But yeah, very happy to see these and I hope that a few people interested in the actual music and musicology of 60s popular music will find plenty of things to explore within Jan's scores.


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on May 18, 2022, 04:41:56 PM

Joshilyn,

Yes, it would be a good avenue for you. You have complete control over your project while Hal Leonard handles the licensing and distribution. You can set your own price, too (at least to a degree).

They have loads of Brian Wilson's compositions in their system. You search for the song you want to do a custom arrangement for, and they give the specific copyright statement that must appear at the bottom of your piece.

Obviously, in my case, Jan is the arranger, and I'm just the transcriber, and the packaging reflects that. But I got the okay on it because I have permission from Jan's widow. I originally priced "Dead Man's Curve" at $199.99, because it's on par with what a school might pay for music. The instrumentation is the classic "big band" lineup, which is perfect for high school and college jazz ensembles. But Hal Leonard sets a minimum price of $49.99 for this kind of arrangement, so I just went ahead and re-set the price to the minimum. That way, anyone who is interested can have access at the lowest possible cost.

Hal Leonard has rights to some of Jan's compositions that weren't in the system, so I gave them the titles and they added them for me. It's a cool system and service.

On the down side, it's like any other publishing outlet, in that they make the most money on sales. But that's just the nature of the publishing business.





Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mitchell on May 18, 2022, 07:45:18 PM
While outside of my realm of expertise, congratulations, Mark! Definitely a worthwhile endeavour!


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on May 19, 2022, 04:03:17 PM
While outside of my realm of expertise, congratulations, Mark! Definitely a worthwhile endeavour!

Thanks Mitchell. "Anaheim, Azusa" is on deck.


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Shane on June 02, 2022, 02:09:28 AM
Really cool.  "Anaheim, Azusa" is a crazy ride of a song.  While more obscure than something like Dead Man's Curve, I would think "It's As Easy As 1,2,3" and "Hawaii" would be interesting scores to see. 


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on June 02, 2022, 09:33:34 AM
Really cool.  "Anaheim, Azusa" is a crazy ride of a song.  While more obscure than something like Dead Man's Curve, I would think "It's As Easy As 1,2,3" and "Hawaii" would be interesting scores to see. 

Shane, we're definitely doing "It's As Easy As 1, 2, 3."

"Batman" is on deck after "Anaheim, Azusa."


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: sloopjohnb72 on June 02, 2022, 11:35:28 AM
A few questions, Mark -

I can't afford to buy the score as of now, but I was wondering, is the written piano part on Dead Man's Curve identical to what Brian plays on the recording? I've always been curious to know if it's something Jan made him play note-for-note, or if Brian deviated from the sheet music a bit. Since Brian had a hand in writing the song, and had his own unique way of playing, it would surprise me if he just read the part without throwing in his own ideas.

And speaking of "It's As Easy as 1, 2, 3", there isn't a piano on that, is there? Same question for Rockin' Little Roadster - did Brian get called in that day just to play on "Barons"?


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on June 02, 2022, 02:09:57 PM
A few questions, Mark -

I can't afford to buy the score as of now, but I was wondering, is the written piano part on Dead Man's Curve identical to what Brian plays on the recording? I've always been curious to know if it's something Jan made him play note-for-note, or if Brian deviated from the sheet music a bit. Since Brian had a hand in writing the song, and had his own unique way of playing, it would surprise me if he just read the part without throwing in his own ideas.

And speaking of "It's As Easy as 1, 2, 3", there isn't a piano on that, is there? Same question for Rockin' Little Roadster - did Brian get called in that day just to play on "Barons"?


There were four songs on the November 14, 1963, session: “Dead Man’s Curve”; “Hot Stocker”; “Surf Route 101”; and “Drag Strip Girl”

Three keyboardists were present—Leon Russell, Al DeLory, and Brian Wilson—but all three may not have played on every track during the session (though that's possible). The division of labor is not entirely clear. We know Jan refers to Leon's playing during the recording of "Dead Man's Curve." Maybe Brian sat in on "Surf Route 101." He's credited as a co-writer of "Surf Route 101" on the Drag City album packaging but not in the copyright filing for the song. Maybe Brian was present as a consultant. Hard to say for sure.

The piano chart for "Dead Man's Curve" shows the chords, with slash notation in the treble clef. The bass clef (left hand) is pitch notation that doubles the bass line. Jan often did that for his piano charts. Sometimes they kept it, and sometimes they crossed it out. An arpeggio sweep is notated across bass and treble clefs leading to the recitation.

In general, the keyboard players would have played in their own way, based on the piano charts. They worked so much with Jan they knew what he liked and wanted. Jan often provided specific notation for certain piano parts (like when he wanted the whole ensemble to play the same rhythmic pattern). Otherwise, the pros did their thing. If Jan didn't like something, he'd stop them and they'd work it out.

Obviously, Jan's arrangements are not three-chord ditties. Depending on the song, you'll see 6th, 7th, minor 7th, 9th, diminished, augmented, etc.

"It's As Easy As 1, 2, 3" and "Rockin' Little Roadster" do have piano parts (with Leon Russell and Brian Wilson listed on that session). Jan's arrangements always had a keyboard part. For "It's As Easy As 1, 2, 3" it's a chord chart with no slash or pitch notation. For "Rockin' Little Roadster," it's a combination of chords and slash notation, with specific pitch notation in certain parts. ("Rockin' Little Roadster" is part of my publishing project).

"Barons, West L.A." is interesting because Jan assigned specific players to parts (in the score and consequently on the charts). He assigned the piano part to Brian Wilson and the organ part to Leon Russell. And Brian was listed on the session—so, strong documentary evidence that Brian played keys on "Barons, West L.A."

Two other items of note . . .

For "Ride the Wild Surf" and "Surfin' Wild," Jan wrote "Brian Wilson Left Hand" on the piano part, on the bass clef (score and chart)—a style instruction for the keyboard player on the sessions.



Title: Re: Jan Berry's Original Music Scores Being Published
Post by: sloopjohnb72 on June 02, 2022, 03:29:39 PM
A few questions, Mark -

I can't afford to buy the score as of now, but I was wondering, is the written piano part on Dead Man's Curve identical to what Brian plays on the recording? I've always been curious to know if it's something Jan made him play note-for-note, or if Brian deviated from the sheet music a bit. Since Brian had a hand in writing the song, and had his own unique way of playing, it would surprise me if he just read the part without throwing in his own ideas.

And speaking of "It's As Easy as 1, 2, 3", there isn't a piano on that, is there? Same question for Rockin' Little Roadster - did Brian get called in that day just to play on "Barons"?


There were four songs on the November 14, 1963, session: “Dead Man’s Curve”; “Hot Stocker”; “Surf Route 101”; and “Drag Strip Girl”

Three keyboardists were present—Leon Russell, Al DeLory, and Brian Wilson—but all three may not have played on every track during the session (though that's possible). The division of labor is not entirely clear. We know Jan refers to Leon's playing during the recording of "Dead Man's Curve." Maybe Brian sat in on "Surf Route 101." He's credited as a co-writer of "Surf Route 101" on the Drag City album packaging but not in the copyright filing for the song. Maybe Brian was present as a consultant. Hard to say for sure.

The piano chart for "Dead Man's Curve" shows the chords, with slash notation in the treble clef. The bass clef (left hand) is pitch notation that doubles the bass line. Jan often did that for his piano charts. Sometimes they kept it, and sometimes they crossed it out. An arpeggio sweep is notated across bass and treble clefs leading to the recitation.

In general, the keyboard players would have played in their own way, based on the piano charts. They worked so much with Jan they knew what he liked and wanted. Jan often provided specific notation for certain piano parts (like when he wanted the whole ensemble to play the same rhythmic pattern). Otherwise, the pros did their thing. If Jan didn't like something, he'd stop them and they'd work it out.

Obviously, Jan's arrangements are not three-chord ditties. Depending on the song, you'll see 6th, 7th, minor 7th, 9th, diminished, augmented, etc.

"It's As Easy As 1, 2, 3" and "Rockin' Little Roadster" do have piano parts (with Leon Russell and Brian Wilson listed on that session). Jan's arrangements always had a keyboard part. For "It's As Easy As 1, 2, 3" it's a chord chart with no slash or pitch notation. For "Rockin' Little Roadster," it's a combination of chords and slash notation, with specific pitch notation in certain parts. ("Rockin' Little Roadster" is part of my publishing project).

"Barons, West L.A." is interesting because Jan assigned specific players to parts (in the score and consequently on the charts). He assigned the piano part to Brian Wilson and the organ part to Leon Russell. And Brian was listed on the session—so, strong documentary evidence that Brian played keys on "Barons, West L.A."

Two other items of note . . .

For "Ride the Wild Surf" and "Surfin' Wild," Jan wrote "Brian Wilson Left Hand" on the piano part, on the bass clef (score and chart)—a style instruction for the keyboard player on the sessions.



Thanks for the response, Mark! Really valuable stuff. So if Brian was playing anything on that date, it wasn't Dead Man's Curve? You're right, Surf Route 101 seems most likely, since he co-wrote the song (By the way, like Dead Man's Curve, Brian's name wasn't on the initial copyright filing, but amendments were made to include his name).

Surf City also intrigues me. Have you heard that basic tracking session? Was the piano played live, or overdubbed? If it was live, is there a chance Brian played it? And, interesting on that last remark. Makes sense that Jan would notate that left hand part, since those are both songs they wrote together - he must've really liked the way Brian played them, and wanted to be sure they retained the same feeling in the studio!


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on June 02, 2022, 03:56:52 PM
A few questions, Mark -

I can't afford to buy the score as of now, but I was wondering, is the written piano part on Dead Man's Curve identical to what Brian plays on the recording? I've always been curious to know if it's something Jan made him play note-for-note, or if Brian deviated from the sheet music a bit. Since Brian had a hand in writing the song, and had his own unique way of playing, it would surprise me if he just read the part without throwing in his own ideas.

And speaking of "It's As Easy as 1, 2, 3", there isn't a piano on that, is there? Same question for Rockin' Little Roadster - did Brian get called in that day just to play on "Barons"?


There were four songs on the November 14, 1963, session: “Dead Man’s Curve”; “Hot Stocker”; “Surf Route 101”; and “Drag Strip Girl”

Three keyboardists were present—Leon Russell, Al DeLory, and Brian Wilson—but all three may not have played on every track during the session (though that's possible). The division of labor is not entirely clear. We know Jan refers to Leon's playing during the recording of "Dead Man's Curve." Maybe Brian sat in on "Surf Route 101." He's credited as a co-writer of "Surf Route 101" on the Drag City album packaging but not in the copyright filing for the song. Maybe Brian was present as a consultant. Hard to say for sure.

The piano chart for "Dead Man's Curve" shows the chords, with slash notation in the treble clef. The bass clef (left hand) is pitch notation that doubles the bass line. Jan often did that for his piano charts. Sometimes they kept it, and sometimes they crossed it out. An arpeggio sweep is notated across bass and treble clefs leading to the recitation.

In general, the keyboard players would have played in their own way, based on the piano charts. They worked so much with Jan they knew what he liked and wanted. Jan often provided specific notation for certain piano parts (like when he wanted the whole ensemble to play the same rhythmic pattern). Otherwise, the pros did their thing. If Jan didn't like something, he'd stop them and they'd work it out.

Obviously, Jan's arrangements are not three-chord ditties. Depending on the song, you'll see 6th, 7th, minor 7th, 9th, diminished, augmented, etc.

"It's As Easy As 1, 2, 3" and "Rockin' Little Roadster" do have piano parts (with Leon Russell and Brian Wilson listed on that session). Jan's arrangements always had a keyboard part. For "It's As Easy As 1, 2, 3" it's a chord chart with no slash or pitch notation. For "Rockin' Little Roadster," it's a combination of chords and slash notation, with specific pitch notation in certain parts. ("Rockin' Little Roadster" is part of my publishing project).

"Barons, West L.A." is interesting because Jan assigned specific players to parts (in the score and consequently on the charts). He assigned the piano part to Brian Wilson and the organ part to Leon Russell. And Brian was listed on the session—so, strong documentary evidence that Brian played keys on "Barons, West L.A."

Two other items of note . . .

For "Ride the Wild Surf" and "Surfin' Wild," Jan wrote "Brian Wilson Left Hand" on the piano part, on the bass clef (score and chart)—a style instruction for the keyboard player on the sessions.



Thanks for the response, Mark! Really valuable stuff. So if Brian was playing anything on that date, it wasn't Dead Man's Curve? You're right, Surf Route 101 seems most likely, since he co-wrote the song (By the way, like Dead Man's Curve, Brian's name wasn't on the initial copyright filing, but amendments were made to include his name).

Surf City also intrigues me. Have you heard that basic tracking session? Was the piano played live, or overdubbed? If it was live, is there a chance Brian played it? And, interesting on that last remark. Makes sense that Jan would notate that left hand part, since those are both songs they wrote together - he must've really liked the way Brian played them, and wanted to be sure they retained the same feeling in the studio!


I think Leon Russell is on "Surf City," though he's not on the AFM contract (no keyboard player is listed). The piano becomes evident on the ending, with glissandos, etc. Not really Brian's style. Not really Jan's playing style, either.



Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Joshilyn Hoisington on June 03, 2022, 12:02:41 PM
Mark, can you clarify what exactly went down in terms of tracking between the first version of DMC and the later version?

Did Jan have the score as you've published it worked up for the initial version with plans to overdub from the get-go?  Or did he re-arrange the horns and produce new scores for the overdub session?

I can't quite tell -- did the additional horn overdub replace the horns from the basic session, or supplement them?  Since that track only mix from "All the Hits" was able to be produced, I'm assuming the original horn track was never taped over, at least.

Thanks -- I'm curious how Jan went about developing the arrangement.


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Mark A. Moore on June 03, 2022, 02:34:18 PM
Mark, can you clarify what exactly went down in terms of tracking between the first version of DMC and the later version?

Did Jan have the score as you've published it worked up for the initial version with plans to overdub from the get-go?  Or did he re-arrange the horns and produce new scores for the overdub session?

I can't quite tell -- did the additional horn overdub replace the horns from the basic session, or supplement them?  Since that track only mix from "All the Hits" was able to be produced, I'm assuming the original horn track was never taped over, at least.

Thanks -- I'm curious how Jan went about developing the arrangement.


Well, it’s interesting. I’ve never seen any horn parts for the first version of “Dead Man’s Curve.” They aren’t in Jan’s archive. Lost? Stolen? Thrown away? Who knows?

The take we hear on All the Hits was from the November 14, 1963, session. And the few horn parts were played live with the rhythm section.

The “Taps” motif at the end is on the first version, which we also hear on the second version.

It’s possible Jan had the few horns playing live on the first version to provide a foundation for the overdubs (done on December 4, 1963, after the LP version was released). But I think the horns on the first version were sparse enough that Jan could have buried them with the overdubs for the second version. (Some of the parts on the first version are slightly different than parts in the final arrangement).

However, there would have been multiple takes at that November 14 session. Different parts of different takes could have been used. You’ll notice on the take on All the Hits that the drummers hit their bass drum/crash cymbal (loudly) on the downbeat during the recitation section. But that is missing on both the final LP version and the hit single.

I think the first version, with the subpar lead vocal, was a rush job to fill out the Drag City LP. The album’s official release date was November 27, 1963. Jan did the horn overdubs for the single version a week later, on December 4. He clearly had bigger plans for the song.


Title: Re: Jan Berry's Original Music Scores Being Published
Post by: Shane on June 11, 2022, 01:00:15 AM
Just now getting back here to read this.  Thanks so much for the discussion, especially to Mark.  I had no idea Brian Wilson (potentially) played piano on that many J&D tracks. 


Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on September 10, 2022, 03:41:45 AM
Jan Berry's first collaboration with Brian Wilson . . .

(https://jananddean-janberry.com/wp-content/uploads/2022/08/Surf-City_Cover-Page-663x1024.jpg)

Surf City
Jan Berry’s Authentic Original Music Score
Used by the Wrecking Crew to Record the Original Song (and for live performances).
Arranged by Jan Berry
Transcribed by Mark A. Moore

Description: Jan & Dean’s blockbuster hit from the summer of 1963—the first record in the Surf genre to hit #1 nationally (#1 Billboard; #1 Cash Box; #3 R&B; #1 Australia; #26 UK; #26 Cash Box Year-End; #28 Billboard Year-End). A BMI Award-winning song.

Size: 11″ x 17″
Length: 61 pages
Contents: Cover Page, Introductory Text, Full Score Studio Recording Arrangement (with Full Vocal Arrangement and Individual Charts), Full Score Alternate Brass and Woodwind Arrangement (with Individual Charts), and End Page.

Studio Recording Arrangement (14 parts): Guitar 1-4 (with tablature), Bass (with tablature), Vibraphone, Percussion, Drums; Piano; Vocals (lead, falsetto, alto, tenor, and bass).

Alternate Brass and Woodwind Arrangement (used for live performances in the '60s) (9 parts): Alto Sax, Tenor Sax 1-2, Baritone Sax; Trumpet 1-3, Trombone 1-2.

Distributed by: ArrangeMe and the Hal Leonard Corporation.
Licensed from: Screen Gems-EMI Music Inc.
Available from: Sheet Music Direct, Hal Leonard’s premier outlet for digital sheet music.
Published: September 9, 2022 (Fiji Printing #4).

https://www.sheetmusicdirect.com/en-US/se/ID_No/1200059/Product.aspx

https://jananddean-janberry.com/jan-berrys-authentic-original-music-scores/


Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on September 10, 2022, 01:26:49 PM
Awesome, Mark, and I see you have Anaheim and Batman up too.  Looking forward to acquiring these when the finances allow.  What a treat, thank you for making these available.  One of these days I plan to do up some full recordings of these with real acoustic instruments and see how they sound!


Title: Re: Jan Berry's Original Music Scores Published
Post by: Mitchell on September 10, 2022, 09:37:32 PM
"Words and Music by Jan Berry and Brian Wilson" reminds me - why isn't Brian credited for Folk City?

I'll happily listen to your reconstruction of Jan & Dean songs whenever you get around to them, Joshilyn!


Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on September 18, 2022, 11:07:04 AM
How many of these are you planning to put out, Mark?


Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on September 19, 2022, 09:52:57 AM
How many of these are you planning to put out, Mark?

Joshilyn,

Currently, I’ve identified 19 for publication, including what has already been released. But there will be more, including at least one of Jan’s arrangements for other artists. Maybe more. And eventually more J&D arrangements.

Here’s the list so far . . .

Currently Published:

Dead Man’s Curve
Anaheim, Azusa …
Batman
Surf City

On Deck (in no particular order):

It’s As Easy As 1, 2, 3
Drag City
Honolulu Lulu
Ride the Wild Surf
The Little Old Lady (from Pasadena)
The Little Old Lady (from Pasadena) – Pop Symphony Version
The New Girl in School – Pop Symphony Version
Hot Stocker
Rockin’ Little Roadster
Quasimoto (‘B’ Gas Rickshaw)
I Found a Girl
Norwegian Wood (This Bird Has Flown)
Play On (The Brave Bulls) – Intro as heard on Command Performance
Batman Theme (from Jan & Dean Meet Batman)
Batman Cues (from Jan & Dean Meet Batman)

More to be determined.




Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on September 19, 2022, 10:14:41 AM
That's great, Mark, just about everything I was most hoping for is on that list.  Primarily "Pasadena" and "I Found a Girl"

Thanks for your work on this Mark!


Title: Re: Jan Berry's Original Music Scores Published
Post by: Rocker on September 19, 2022, 10:15:25 AM
How many of these are you planning to put out, Mark?

Joshilyn,

Currently, I’ve identified 19 for publication, including what has already been released. But there will be more, including at least one of Jan’s arrangements for other artists. Maybe more. And eventually more J&D arrangements.

Here’s the list so far . . .

Currently Published:

Dead Man’s Curve
Anaheim, Azusa …
Batman
Surf City

On Deck (in no particular order):

It’s As Easy As 1, 2, 3
Drag City
Honolulu Lulu
Ride the Wild Surf
The Little Old Lady (from Pasadena)
The Little Old Lady (from Pasadena) – Pop Symphony Version
The New Girl in School – Pop Symphony Version
Hot Stocker
Rockin’ Little Roadster
Quasimoto (‘B’ Gas Rickshaw)
I Found a Girl
Norwegian Wood (This Bird Has Flown)
Play On (The Brave Bulls) – Intro as heard on Command Performance
Batman Theme (from Jan & Dean Meet Batman)
Batman Cues (from Jan & Dean Meet Batman)

More to be determined.





The Pop Symphony version of "Drag City" would be interesting, I guess. That's one of the most impressive re-workings on the album and arrangements of Jan's in general to my ears.




Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on September 19, 2022, 04:05:07 PM

Rocker,

I agree. “Drag City” and “Little Old Lady” are the two most symphonic and complex arrangements on the Pop Symphony LP. Unfortunately, the Pop Symphony arrangement for “Drag City” is missing from Jan’s music archive. Lost or stolen.




Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on October 08, 2022, 10:35:10 PM

Here’s a new interview about the project with Phil Miglioratti of Pray for Surf:

Fascinating History of Jan Berry's Music Scores from the '60s (https://prayforsurfblog.blogspot.com/2022/10/exclusive-fascinating-history-of-jan.html)




Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on October 12, 2022, 12:02:23 PM
Thanks, Mark -- always great to hear you talk about this stuff.

I'm curious -- to your knowledge, were all officially arranged arrangements filed with the union, as Jan's were?  Did the local 47 keep that stuff?  It would be of inestimable value to my research if more arrangements from that time were preserved.

Really looking forward to be able to afford a few more of these downloads, and for more and more to get published.  Thanks for your work, Mark, very heartily.


Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on October 12, 2022, 02:36:43 PM
Thanks Joshilyn,

I think the union would have copies of Orchestrator & Arranger contracts, but not the scores and charts themselves. The Orchestrator contracts list song titles, the number of pages of each arrangement, and the amount of money due to the arranger for each arrangement.

Jan was a dues-paying member of the union.

I don’t know if Brian Wilson filed Orchestrator & Arranger contracts with the union. He didn’t write anything out beyond chord charts, but a chord chart is at least a partial arrangement.




Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on October 13, 2022, 02:01:40 PM
Thanks, yeah that makes sense.  I'm just hoping against hope that I can get my hands on some surviving arrangements.  I was just listening to the isolated horns and woodwinds from the Turtle's "So Happy Together" and that's just such a masterclass in middle-brow pop arranging.  I hope some of those are still around from any number of artists.

Mark, I have one general question and then one specific question.

Generally speaking, what state is the J&D tape vault in as far as original multitracks?  I'm really interested in how different producers and engineers used tape in the 3- and 4-track era.  Did Jan do reduction mixes to mono and then add overdubs on a second tape like Brian would?  Like, on Anaheim, etc, I'm assuming he cut the basic to three track, did a reduction and then did the vocal and percussion overdubs onto that?  Has there ever been any talk of synch-up remixes?  It would just be thrilling to hear some more track-only mixes.

And specifically speaking about the AFM for Anaheim -- does it specifically assign Fender duties to Jimmy Bond and Upright to Lyle, or is the usual "not label the instruments" deal?  I'm curious because that would be a really interesting choice on Jan's part, since Jimmy was much less of a Fender guy than Lyle.

Thanks as always, Mark.


Title: Re: Jan Berry's Original Music Scores Published
Post by: Mark A. Moore on October 13, 2022, 05:15:37 PM
Joshilyn,

I'm not an expert on the recording process, but Bones Howe told me they devised a way of recording using two tracks, initially. They left the middle track open so Jan could put the first lead vocal on. Bones: "Lay down the track, do the lead vocal, double the lead vocal, combine the tracks, open up a track to do background vocals, double the background vocals..." Then combine and free up a track for horns, strings, or percussion, etc.

Bones said that Jan sometimes tweaked the track after the vocals were on. And sometimes Jan would fix a vocal part during the mixing process. Bones said they tried all kinds of experiments like that, mindful that depending on what they tried, they might not be able to undo it later.

As part of my research, Capitol-EMI scanned the tape boxes for me. So, I have color scans, and they also scanned any notes that were in the boxes for me. There are various reels with 3-track masters compiled on them. But most of those probably have the vocals. There are also a few reels with 4-tracks. Ron Furmanek used the multi's for his remixes in the '90s.

When Jan died, he had a few 3-track reels in his possession that he had absconded with back in the '60s. Those were transferred to digital. Among them are some good examples with just the Wrecking Crew instrumental backing. Multiple takes for each song. But based on some news I received recently, those tapes may have since been stored improperly and possibly damaged. Really disappointing, if true.

Ron Furmanek told me a United Artists (pre-EMI) employee named "Bert" copied many J&D LP masters to brand new (cheap) Ampex tape, via Dolby, in the early 1970s. And Ron said "Bert" then destroyed the originals from the '60s. Astonishing. By the 1990s, the new copies had to be baked, and they had added hiss because the dubs were inferior. Ron was horrified by this, but obviously relieved that "Bert" did not do the same to the multi's.

As for "Anaheim," Hal Blaine told me it was Lyle on standup. But Lyle did play electric bass on other tracks on Jan's sessions (specifically stated on the contract). Could Hal have been mistaken? Certainly. Jan would sometimes add a musician's name to his part in the music score, but not so for "Anaheim."




Title: Re: Jan Berry's Original Music Scores Published
Post by: Joshilyn Hoisington on October 13, 2022, 05:34:09 PM
That would be really disappointing if some tapes fell victim to improper storage.  Popular music has a LONG way to go when it comes to thinking of their assets and intellectual property as archival treasures to be preserved carefully.  I am glad that there's been some digitization, in any case.  Would be really wonderful to hear some nice quality transfers of some J&D backing tracks, really would!  Really important to be able to understand the different ways that different people put together tracks.

Obviously, probably no way to know for sure, barring a fortuitous mention on hypothetical session tape, but it would be, as I said, an odd choice to put Jimmy on Fender over Lyle, when Jimmy was sort of a reluctant electric guy and Lyle was happy to play Fender.

Thanks Mark.