What's Happening?
Roulette Records, established in 1957 by George Goldner, Joe Kolsky, Morris Gurlek, Phil Kahl, and Morris Levy on behalf of the Genovese crime family, made a significant move in the jazz world by signing Count Basie and his Orchestra. Morris Levy, known
for his tough demeanor and prior ownership of Birdland, was appointed chief executive with the primary goal of building an effective jazz catalog for Roulette. To achieve this, Levy recruited Teddy Reig, former owner and producer of the defunct Roost label, who was also an old acquaintance of Basie. This signing was particularly surprising as Basie had a long-standing and successful relationship with Norman Granz of Verve Records, who had been instrumental in Basie's recent chart successes like 'April In Paris' and 'Everyday I Have The Blues'. Granz was reportedly mortified by the defection, but due to the mob connections of Roulette Records, he chose to nurse his wounds in dignified silence.
Why It's Important?
This event highlights the significant, albeit often hidden, influence of organized crime on the American music industry during the mid-20th century. The Genovese crime family's involvement in Roulette Records demonstrates how illicit organizations leveraged legitimate businesses to expand their power and generate revenue. The acquisition of a major artist like Count Basie, who was at the peak of his career, not only boosted Roulette's credibility and catalog but also showcased the persuasive, and potentially coercive, tactics employed by figures like Morris Levy. This move disrupted established industry relationships, as evidenced by Norman Granz's reaction, and underscored the financial pressures that even successful artists faced, making them susceptible to lucrative offers from less conventional sources. The story also sheds light on the complex interplay between artistic talent, business acumen, and the darker undercurrents of the era's entertainment landscape.
What's Next?
Following Basie's move to Roulette, Teddy Reig, a committed Basie enthusiast, took on the role of producer. Reig, who had previously been critical of the band's output under Granz, aimed to present the band in a new light. He commissioned seasoned arranger Neal Hefti to compose and conduct eleven new pieces, with a particular focus on tenor saxophonist Eddie 'Lockjaw' Davis. The recording sessions, which took place at Capitol's Studio A in New York City on October 21, 1957, utilized more than one microphone, a significant technological advancement at the time, to capture the band's full potential. The initial Roulette album, titled 'The Atomic Mr Basie,' was a critical success, sparking a renaissance for Basie's career. This period saw the release of several other albums, including 'Basie Plays Hefti' and 'Chairman Of The Board,' all overseen by Reig, which are now considered classic jazz recordings.
Beyond the Headlines
The narrative extends beyond the initial signing, revealing the eventual fates of the key players and the broader implications of their actions. Morris Levy, despite his initial success, faced numerous attempts by the FBI and IRS to indict him for various misdemeanors, including failing to pay artists' royalties. He was eventually convicted in 1988 on a wiretap charge, though terminal cancer prevented him from serving his jail term. Count Basie, after his tenure with Roulette, moved to Frank Sinatra's Reprise label and other various labels before eventually returning to Norman Granz, who by then was recording with multiple microphones. Teddy Reig continued in the music business, shifting between jazz and Latin music, but his unhealthy lifestyle led to his death in 1984. The Genovese family, whose initial interest fueled Roulette's jazz venture, reportedly lost interest in the genre over time, highlighting the transient nature of such illicit investments in the arts.
