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Theodore Samuel "Teddy" Reig (November 23, 1918 – September 29, 1984) was a self-described "jazz hustler" who worked as a record producer, A&R man, and artist manager from the 1940s through the 1970s. As a record producer, he captured the work of dozens of legendary jazz innovators. He also had an impact on rhythm and blues, rock and roll, and Latin music. He was born on 110th Street, in Harlem, and attended New Utrecht High School, in Brooklyn. After leaving school without a diploma, he began hanging out at New York ballrooms, jazz clubs, and music hot spots, ingratiating himself with musicians, managers, and impresarios. In his early 20s he served nine months in a Kentucky jail for narcotics possession. 〔Berger, Edward, ''Reminiscing in Tempo: the Life and Times of a Jazz Hustler,'' Scarecrow Press/Institute of Jazz Studies, 1990〕 Jazz historian David Ritz profiled Reig as "a three-hundred-pound-plus, six-foot Jewish promoter born in Harlem …, raised among the thieves and geniuses of the jazz world, () an impassioned fan who mastered the art of networking at an early age."〔Ritz, David, ''Faith in Time: The Life of Jimmy Scott'', Da Capo Press, 2002〕 Another historian, Patrick Burke, wrote that Reig "initially earned his club-going money with schemes such as selling worn-out records that had been doctored with shoe polish to look brand new."〔Burke, Patrick, ''Come in and Hear the Truth: Jazz and Race on 52nd Street'', University of Chicago Press, 2008〕 In 1945 Reig produced the first recordings led by legendary bebop saxophonist Charlie Parker. "Had he done nothing else," said Reig biographer Edward Berger, "this accomplishment alone would have ensured his place in history. But he continued to document the development of the new music through his work with a whole range of seminal artists."〔Berger, ''ibid.''〕 ==Career highlights== Reig produced the first recordings by Miles Davis and Stan Getz. He also produced recordings by Dizzy Gillespie, Sarah Vaughan, Don Byas, Erroll Garner, Dexter Gordon, J.J. Johnson, Lester Young, Bud Powell, Quincy Jones, Sonny Stitt, Maynard Ferguson, and countless others. "There is no question that much of this wonderful jazz would have gone unpreserved had not Reig interrupted his small-time 52nd Street hustles to become an artful bridge between musicians and the money men needed to seed a recording session," wrote jazz columnist Nels Nelson.〔(Nelson, Nels, "A Pro Who Threw His Weight Around," ) ''Philadelphia Daily News'', September 14, 1990〕 He produced primarily for Savoy, Roost (which he co-founded in 1950), Roulette, and Verve. He also produced releases on Continental, Reprise, Mercury, Duke, United Artists, Command, ABC-Paramount, Brunswick, Dot, and Tico. Reig produced Charlie Parker's legendary first major recording session as a leader, for Savoy Records in November 1945. Parker had been performing in New York for several years prior, and he'd done a handful of sessions as a sideman, but due to a recording ban that lasted from 1942–44, his bebop stylings had largely gone unrecorded and were unknown outside the jazz club circuit.〔(Wendell, Devon, "A Twist Of Doc: The 67th Anniversary of Charlie Parker’s 'Koko' Sessions," ) ''The International Review of Music'', November 26, 2012〕 About Parker, Reig later reminisced: "Bird's playing says it all. Listen to anybody: Ben (), Hawk, Lester (), and you'll hear the personality of the artist come through. Bird always had a story to tell—and it was a beautiful story. Sometimes I take some of Bird's up-tempo things and play them at slower speeds. You can hear the beautiful melody line clearly. It's not just a gang of notes like some of the guys who think they're playing like Bird spew out."〔Berger, ''ibid.''〕 While handling A&R for Roulette Records, Reig piloted the Count Basie orchestra through its most prolific and popular period.〔Nelson, ''ibid.''〕 He directed and recorded Teddy Reig's All Stars, featuring trombonist Kai Winding and drummer Shelly Manne, for Savoy Records.〔(Savoy Records discography, 1947 )〕 When the jazz records market began to wane in the 1960s, Reig transitioned over to the Latin music market, recording its best practitioners and scouting emerging musicians arriving in the United States from Latin America.〔Nelson, ''ibid.''〕 He produced recordings by Willie Bobo, Tito Puente, Ray Barretto, Machito, Eddie Palmieri, and Ruth Fernandez.〔(Teddy Reig producer credits at AllMusic )〕 He is credited with discovering and furthering the career of saxophonist Paul "Hucklebuck" Williams,〔(Krinsky, Steve, "Do the Hucklebuck," 2001 )〕 all of whose Savoy sides Reig produced. Reig convinced Williams to switch his playing from alto to baritone sax, and insisted that Williams learn to aggressively "honk" with his instrument, a technique which led to the artist's commercial breakthrough and became one of his trademarks.〔(Keepnews, Peter, "Paul Williams, 87, Rock Pioneer With 1948's 'The Hucklebuck' (obituary), ) ''The New York Times'', October 1, 2002〕 In 1955 Reig was instrumental in helping sign an obscure St. Louis-based R&B singer named Chuck Berry to his first agency booking contract. Reig's management roster included Count Basie, Erroll Garner, guitarist Johnny Smith, Paul Williams, The Solitaires, and others. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Teddy Reig」の詳細全文を読む スポンサード リンク
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