Ahead of the release of Volume 3 of Ellington In Order to streaming services tomorrow, an update from the producer of the series, Charles L. Granata who explains the process behind preparing the files for release.
Chuck says:
‘(T)hrough the years these tracks have been digitized numerous times, and each often bears a different ISRC number. This number is assigned to each unique track and in a perfect situation, should be the sole identifier for each unique track. Because of repetition and many other factors, there are incorrect tracks linked to ISRC numbers - and multiple versions of the same track with different ISRC identifiers. In addition to creating the chronological discography, adding in the vault master sound element and dealing with cleaning up the “metadata” (ISRC number, correct matrix number, etc.) for each recording that identifies each digital file I need to make sure that I’ve got the correct master for each song. …Sony owns multiple sessions for the same song recorded for different labels at the same time! It’s probably the most convoluted and confusing catalog I have ever worked with from the organizational perspective.
‘(A)lthough labels used to open their paper data archives to scholars and discographies (which is why so many discographies decades in the making are so accurate), the missing component is usually a genuine “vault report.”
What I have been able to verify is exactly how many masters we have for each song (original metal part, lacquer disc, test pressing, tape or digital master). In some cases we have multiple copies of any given take of a song; in others, the master is listed as being slated for recording but we have no master nor any proof that it was actually laid down. Each label had a different method of assigning matrix numbers and listing the data on recording reports, too. It makes it more complicated to sort out - that’s for sure.
My vault report lists approximately 4500 individual master elements for Duke Ellington. Each one has its own Sony Music vault barcode, which is our way of locating it in the vault and tracking it on its travels from vault to studio and back again. I am integrating all of the barcodes into my master report, which is another way of verifying exactly what does and does not exist.
I do love the “archeological” aspect of it, and there’s great satisfaction (as a record collector) to taking all this information from disparate sources and putting it all together for the first time.’
Most excitingly of all for aficionados of Ellington and Strayhorn’s work, Chuck promises…
“Much, MUCH more to come! This is definitely a multi-year project…
I will happily share my master discographical document with the Ellington collectors once it’s complete… I promise to correct them and “get it all right,” and share whatever I learn with scholars and fans.’
The Ellington In Order project is the gift that just keeps giving…
Many thanks to Chuck for his time and insight.
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