Navigating the Fred/Alan Archive.

Alan & Fred #3

This Tumblr theme has no column for navigating through our stories. Here are the links that can help you easily find things you might find intriguing.

Fred/Alan was a small company that lasted about 10 years. We took clients –almost entirely in media– when we felt we had something interesting to offer that would help their audiences fall in love and build their businesses.

The Fred/Alan Chronology

Self Promotion

Press

Chauncey Street Productions

Alan Goodman on Wikipedia

Albie Hecht on Wikipedia

Fred Seibert on Wikipedia

The Fred/Alan Book

The Real Fred Allen

Clients

A&M Records / Amy Grant

Chuck Berry

Cinemax

Comedy Central

The Fat Boys

HA! TV Comedy Network

HBO

James Brown & Afrika Bambaata

Lifetime

MCA Records

Mosaic Records

The Movie Channel

Moviefone/777-FILM

MTV: Music Television

Myers’s Rum

NBC

Nickelodeon

Nick-at-Nite

PBS/Thirteen

The Playboy Channel

Quantum Media

Showtime

Swatch

Tommy Boy Records

The Tonight Show with Jay Leno

TV Heaven 41

Universal Pictures

VH-1: Video Hits One

Hail! Hail! Rock’n’Roll [trailer] 1987 

Chuck Berry
Universal Pictures

Alan: On paper, it made perfect sense for us to do the movie trailer for the Chuck Berry concert documentary, “Hail Hail Rock and Roll,” directed by Taylor Hackford. It was 1987. We were the “music” guys. The “music-with-video” guys. The innovators and experts in establishing a new visual language for communicating with, and marketing to, young audiences. And if there’s anything the film industry wants more than anything, it’s innovation, right? 

That’s the problem with match-ups on paper. Sometimes it never looks better than the initial idea. We did the job. It was fine. It wasn’t anything better than fine. It certainly didn’t possess those qualities you’d expect from a Fred/Alan project. And what we learned from it was that the film industry had rules, formats, and standard operating procedures within which everyone must operate that leave very little room for change. They call it the movie industry, and like many industries, its products are made in factories. 

There’s a sequence in the film where Berry takes the camera on a tour of his classic cars. He names each one and the price the dealers wanted to give to him to buy them used. As he gets to the final car, he grins devilishly at the camera and says he’ll keep them and later sell them to “you” (he points to the audience through the camera) for $50,000. I wanted that to be the whole trailer, with a small montage at the end. It was seductive. It drew you in. It told another story besides the “here’s what happened” story. I figured that everyone knew the music. This would be an unprecedented look into the mind of the man.  

Universal wanted a far more typical montage of interviews and music. Can you guess where we ended up? 

If your guess was “a cross between the two,” you’d be right.  

The trailer is on YouTube. [And above.] There are remnants of the “look at my cars” scene, interspersed with interviews, rehearsals, and performance footage. Since we just did the off-line edit and Universal finished it up, there’s a typical “movie announcer” guy that we would never have chosen to voice the spot. It’s not compelling in any way. 

My most vivid memory of the job was working through the day with our ace editor Jon Kane, then calling the courier to ship the rough edit overnight to LA so the executives could look at it in the morning. They’d call us with notes, and we’d go to work on another version, which would ship out that night for the next morning’s screening. This went on for weeks — daily re-edits, daily courier runs, daily sets of notes and re-edits. 

There was no streaming video, no site we could use to upload our work for viewing, no zoom link to review the notes. There were courier pouches, car service deliveries, airplanes, and telephones. It was phenomenally inefficient and ridiculously expensive. 

We had other encounters with the movie moguls. Remember the movie “Modern Girls” from 1986 starring Cynthia Gibb, Daphne Zuniga, and Virginia Madsen, about the adventures of three girls who work, go home to sleep a couple hours, then party all night at music clubs? Of course you don’t. Neither does anyone else. But with a soundtrack by Depeche Mode, we got the call to work on the trailer. The studio flew me to LA to screen it, and flew me straight home after it was over. I couldn’t imagine what I could do to help it. The story was not fun. And director Jerry Kramer — primarily a music video and music film producer, not experienced at the time in feature story telling — had shot the entire thing in medium shots, so there was nothing to do with it that would have been visually interesting. Fortunately someone else got the job.

We also did the poster for the Jeff Goldblum Miramax movie, “The Tall Guy.” It was fine. It looked like a movie poster.

 I had a similar “we’ll use a piece of this and a piece of that” experience with Hollywood years after Fred/Alan, when I was hired to consult on the launch of the (long gone) network UPN (which later merged with the WB to become The CW). My presentation at Paramount was the same day the UPN execs were seeing presentations from ad agencies. We were all sitting together in the waiting room. I was called in first. “I’m the only person here today who will tell you the truth,” I told them, “because everyone else in that room wants an assignment. My job ends today.” It was a great meeting. They loved my stuff. They kept me an extra hour over my time to discuss it. My branding line was the first thing viewers heard the day the network launched. That was the last time those words were used. The rest was typical ad agency stuff. 

Looking back, we never fully succeeded with typical clients in typical fields who wanted us to fit in with their typical methods and solutions. They’d hire us because we were known for coming up with outlandish solutions that were successful, but then they’d tell us how they wanted us to do it. We were almost certainly partially to blame. We were spoiled rotten. We wanted to compete with the big guys. We wanted to play in that league. But in the end we were never enthusiastic about doing that work or working with those people. The people who worked that way were the people who used to serve us when we were clients, the people we went into business to replace. We found that clients willing to roll the dice and trust us were few and far between.

Hail! Hail! Rock’n’Roll [trailer] 1987
Producer: Alan Goodman
Editor: Jon Kane
Client: Universal Pictures/David Sameth

The Tall Guy [poster] 1989
Account supervisor: Ed Levine
Client: Miramax Pictures

Chuck Berry

There’s nothing like a book.

Hopefully, this website will live on for a long time, that’s what the internet is all about, yes? But, there’s nothing like a book, so we decided to cut down a few trees and put these stories (and images) on paper. Introducing “Fred/Alan: A Decade in Media History 1983-1992, Annotated & Illustrated.”

Of course, The Fred/Alan Archive is the only place you can actually see and hear some of the video we produced. So, please keep visiting as we, hopefully, remember more and more. 

Oh yes, the book is available in hard cover and paperback here, and you can preview it below and download a PDF here

Fred/Alan- A Decade in Media History 1983-1992- Annotated & Illustrated [1st edition 2025] by Fred Seibert

The Tonight Show with Jay Leno 1992 

Fred

Hollywood, baby! 

Our very last client popped up just as we’d announced that Fred/Alan was shutting its doors. A prominent New York movie producer introduced us to Jay Leno’s manager, Helen Kushnick. She thought that our approach to MTV’s creative was just what the still-secret takeover of Johnny Carson’s Tonight Show needed for its packaging bumpers. Who were we to argue? 

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We’d loved working with photographer Chip Simons over the years, especially on the Comedy Central network IDs (they had a similar, but definitely not the same, concept) so when Helen gave a list of the hundreds of comedy club Jay had played over the years, we suggested that Chip photograph across the country with his distinctive styling at as many of those cities and states as possible. 

Fred/Alan’s producer/director Chris  Koch volunteered for this hardship duty, and soon enough the crew started the road trip. 

The sad ending to the saga was that everyone at NBC and the Tonight Show was driven batshit crazy by Helen. Four months as the executive producer she was let go. As was all the work that she produced. Including what Fred/Alan produced. Except for the logo design. Sigh. 

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Chris Koch: 

Steve McCarron and I pitched a multi-curtain opening idea inspired by Get Smart.Then Steve designed the Tonight Show logo which took him about 5 minutes.


We hired commercial director Steven Hulen who was a pioneer in the world of HD video which was quite new at the time and shot the whole thing in Hoboken. 24 curtains on a giant green screen with Helen Kushnick herself by our side. 


I loved working with Helen.  She was intense, funny, and wasn’tshy about voicing her dislike of the NBC execs.  But she was really sweet to us and very loyal to Jay (who would later throw her underthe bus). 


3 weeks after our bumper roadtrip (which ended in the middle of theLA riots on May 1) Steve and I flew back to LA to help integrate our opening into the show for opening night, May 22. 


The day of the show, we hung out during rehearsal and watched Jay work thru his routines.That evening we were in the control room which was a blast.
We also caught Carson’s second to last show and afterwords we snuck into his set. I sat at Carson’s desk and Steve took my picture.Then he lost the film.  Something I never forgave him for.  


Produced by Chris Koch 
Photography: Chip Simons 
Logo design: Steve McCarron 
Client: Helen Kushnick/NBC/The Tonight Show

Playboy’s Hot Rocks 1983 

Our first TV show production. 

We started Fred/Alan with a contract to produce –with our friend Buzz Potamkin– our first television series. For the Playboy Channel. 

Music videos were the rage, we were the only MTV “stars” in the open market, and we knew there were many pop artists –like David Bowie, Duran Duran, like that– who were making videos that were being censored for nudity. Perfect for Playboy. 

But, they weren’t nude enough for Playboy, and without our permission they edited the videos in inappropriate ways. We dropped out after a couple of episodes, but they’d breached our contract. 

The payout funded our first year in business. 

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Illustration & design by Candy Kugel, Buzzco, New York. 

Amy goes pop!  

Fred/Alan didn’t really want to make music videos. Too much work for too little money. Besides, MTV had already given us an amazing, music based, creative reputation. But, it was always tempting. After all, video music was the creative “edge” of the ‘80s. So, when Richard Frankel, our former WASEC/MTV co-worker, went over to A&M Records and asked us to work with him on “Find A Way,” Amy Grant’s first post-Christian pop single… well, we took a shot. 

Through Buzz Potamkin, we’d worked a bit with director Tommy Schlamme on the original “I Want My MTV!” commercials, tried to get a movie going with him and enjoyed his forward thinking approach and genial manner, perfect for working with a musical artist like Amy (and not for nothing, Tommy’s first music video). And, lucky for us, Amy’s management was new enough to mainstream video that our MTV reputations made them comfortable enough to work with first time producers. 

By 1985, the Quantel Paintbox video graphics tool was just starting to become “the look of TV in the '80s” –The Cars had just won the first MTV VMA for their Paintbox’d “You Might Think,” courtesy of Jeff Stein & Charlex, and Alan’s former co-worker and Fred’s wife to be, Robin Sloane– and interestingly, both our music video excursions used it extensively, though in radically different ways.  

Tommy took just the right approach to working with Amy, and to the modern world of production design. The video did its job and launched what became an amazing mainstream career for Amy Grant, making it into the Top 40 for her maiden voyage. 

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…..

Directed by Thomas Schlamme 
Produced by Linda Schaffer & Albie Hecht 
Executive producers: Alan Goodman & Fred Seibert
Client: Richard Frankel/A&M Records

The 2nd and 3rd photo (from the top) are of producer Elliot Krowe and promoter Venkat Vardhan

Europe in India. 

We made television not rock concerts. 

Well, no one at our shop had ever produced any rock concerts. Except Elliot Krowe. Who led into the most unusual project in Fred/Alan’s history. 

Elliot, a college radio buddy of ours, was on our team. He’d spent his early days (and his post-Fred/Alan career) running the lighting operations of dozens of giant concerts, having started with 70s stalwarts Blue Öyster Cult. 

Alan’s apartment landlord at the South Street Seaport introduced us to Venkat Vardhan, an Indian acquaintance who wanted to promote the first ever rock concert in India. Venkat knew what he wanted the result to be, but other than that, he didn’t even know what he didn’t know. There was no band booked, a vague idea of the location, and… well, not much else. 

Elliot put the entire thing together. Which, trust us, was not a simple affair. He figured out how to book an appropriate act –Europe, a Swedish hard rock band that had recently had a breakout with their album “The Final Countdown"– along with the complicated logistics between North America, the European continent and the Asian continent. To give you an idea what was necessary, to get the sound and lighting support into a country that had never done the kind of show that the group  required, meant flying literal tons of equipment across the frickin’ North Pole! 

After the reconnaissance trips, when the actual concert was booked –coinciding with the 1988 American Thanksgiving holiday– Alan and his girlfriend, and a Chauncey Street documentary crew*, tagged along. Here are some of Elliot’s and Alan’s recollections. 

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Elliot: In September or October 1986, Venkat Vardhan contacted Fred/Alan for help organizing an outdoor rock concert in India. Venkat’s brother Shreepad, studying in Oklahoma, knew Alan’s landlord, who figured our MTV connection might be useful. 

In November 1986, I brought Fred/Alan’s Mark Tomizawa and a small recon team to visit Bombay (now Mumbai) to scout locations and hold meetings. Over the next 18 months, multiple site surveys were conducted, with communication mainly through telex and phone. The initial plan was to hold the concert at the Cricket Club of India, a downtown stadium ideal for the event. Pride India, a charity for housing and healthcare, sponsored the concert, making government approvals easier to secure. 

Negotiating for artists was challenging. India had no prior concerts of this scale, and promoters had a poor reputation for production value and payment issues. After numerous possibilities, confirmations, and cancellations, the band Europe headlined, with Nazareth as the second act and local band Rock Machine as the opener. 

Originally scheduled for October 1988, the show was delayed to November 26 due to issues with Reserve Bank permissions. Scheduling conflicts forced a venue change to a “new” soccer stadium on Bombay’s outskirts. Once all funds were transferred and production equipment flown in, our team arrived two weeks early. 

Wait! What? The venue was disastrous. The stadium was 75% built and abandoned. Grass had been burned down days before, homeless families occupied dressing rooms, and utilities were off. In two frantic weeks, we cleaned the site, turned on water and electricity, and built a bamboo stage, fencing, and barricades.

Coordinating utilities, law enforcement, and concert infrastructure was exhausting with inexperienced local staff. The event was also a crash course in modern concert production and security for everyone involved. 

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Alan: My memories of our Fred/Alan trip to bring rock and roll to what is now Mumbai are mostly personal. My presence was largely ceremonial and my duties minimal — to shake hands at a welcoming meeting, and to watch the concert at the rustic, unfinished stadium. 

I remember it was already evening on the day we arrived when we got the idea to go see the field where the concert would be staged. We arrived after dark, and since there were no lights, we saw only an endless expanse of blackness. Somewhere in the distance was the sound of a loud motor. We couldn’t see what it was. As the sound got closer, a tiny red dot became visible. It seemed to just hover in the sky. It wasn’t until it was quite close that we could see it was the glowing end of a cigarette, in the mouth of a man mowing the field in total darkness in the middle of the night.

Our friends at MTV had tossed some money in the till to shoot a promo spot with Europe’s lead singer, so I wrote something and we shot it days later before the concert. All I remember was that he was at a payphone. I don’t think it was very good. I don’t think it ever aired.

I was often startled as we traveled through the city to see no signs of the culture we knew outside of India. Very distant places in the world still have Coca Cola and Levis Jeans. Not what was then Bombay. At least, not on billboards or ads at the newspaper stands. Another sign that to be doing what we were doing with a rock band that had global recognition was extremely noteworthy. 

Without familiar touchstones, we immersed ourselves in the Indian way of life. With a few days off between our project kick-off and the concert, my girlfriend and I had time to explore Jaipur and Udaipur, cities in the Rajasthan with ancient roots. We had made flight and hotel reservations back in the U.S. and everything was set, but we were completely unable to book a flight back from Udaipur to arrive before the concert. We wrote it off as something we’d solve when we were on the ground. 

The flight to Jaipur was hours and hours delayed, and we arrived sometime after 2:00 A.M. A row of taxis were waiting. We snagged one, and our very cheerful driver started on his way. We had heard our trip coincided with the annual Puskar camel fair, and we asked him the best way to the event. He told us it was two-and-a-half hours away, and the best way to get there was for him to drive us. We told him we wanted to see the city first, and he suggested that the best way to do that would be for him to drive us. It seemed that whatever we wanted to do, the best way to do it was for him to drive us. 

The next morning, despite the late check-in, we were down early for breakfast at our hotel, a former palace. We looked across the lawn and there was our driver standing proudly by the car. When we had eaten, he brought us on his personal tour of the city, including stops at some particularly special jewelry and fabric merchants. I’m rather certain one of the ways they were special was that they maintained a special relationship with our driver. 

When we had had our fill of touring, we started on the road to Pushkar. It was a startlingly desolate route. Mostly what we saw was barren earth. Occasionally we would pass a man with his camel. I remember only one establishment where we stopped to eat, and possibly for fuel. I remember our driver wanted no food. 

The camel fair was a feast for the eyes. An annual event, it draws thousands who trade livestock, sell their colorful rugs and other goods, and participate in sporting events. What we didn’t fully understand was that it is also an important pilgrimage site, and that the fair marked the week when religious rituals are observed. Everywhere we looked we saw something new and extraordinary, and when we had seen enough, we found our driver, standing by his car and smiling at us. It was another two-and-a-half hour excursion back, of course. He was cheerful the entire way. 

We had an early flight out to Udaipur. Guess what the best way was to the airport?

The following morning at the airport we paid our driver, tipping him enormously. The entire bill including tip was $60. Funny what you remember. 

Our trip to Udaipur was even more eye-popping. The Lake Palace Hotel was built in 1743 as a summer palace for the Maharana and is cleverly designed to appear as though it rises straight out of the water in the middle of Lake Pichola. It’s easy to describe what you see as you approach by boat, but almost impossible to describe the effect. It is a stunning monument to wealth and opulence. We booked an incredible suite that may have been 4000 square feet. It was on multiple levels. It had wrap-around terraces that seemed the size of basketball courts. The bedroom featured a cloistered bed nook with a ceiling just a few inches above our heads, utterly festooned with erotic paintings. We had definitely gotten on a plane and gone somewhere.

But there was still the pesky issue of getting back. We learned that flights were scarce because of the pilgrimages. This was peak travel season in India. Even our attentive hotel clerk had been unable to secure flight reservations, and recommended getting on the boat and going to the airline office in town where we might have more success.

The airline office was little more than a single room on an upper floor in an office building. We went inside and saw a long line that snaked around and around until it reached a single man at a small desk, an open ledger in front of him and a pencil in his hand. It took quite a while to pull up at the desk but by now we were used to long lines everywhere in India. We told him what we wanted, and he wrote our names and ages in pencil into his ledger. I’ve never understood why they needed our ages. When he was done, he smiled up at us. “Okay,” he said. “You are on the waiting list. Number 43 and 44.” It took a moment for the information to sink in. “This plane has 19 seats, correct?” I asked. Yes, he said. “And we’re number 43 and 44 on the waiting list?” I asked. Yes, he said. ‘So there’s no chance we’re getting on this flight, is there?” “No,” he answered, smiling, “no chance.” 

Back at the hotel, our sympathetic clerk told us the only option was the train from Ahmedabad to Bombay. Ahmedabad was close to four-and-a-half hours away. 

We were on the road early the next day, and at the station spent hours and hours trying to get train tickets. We went from counter to counter. Our names went on list after list. My girlfriend was still suffering from some food poisoning contracted earlier in the week and was not looking well. Finally, the only nice man in the station said to me, “Tell me… are you a Christian man?” I wasn’t sure what the right answer was, so I tentatively answered “Y-y-y-es?” He had spotted the manager of the station and walked us across the floor to meet him. I’m not sure what the clerk told him, but the man whipped out a pencil and without a word signed a form. Suddenly there were train tickets for the all-night train back to Bombay. 

We hadn’t eaten. Nothing at the stalls looked particularly safe. That same nice clerk told us we could buy a meal at the employee cafeteria, so we found that room and ordered. Mine was the curried cauliflower. I remember it because at some point while we were eating, it dawned on me that it was Thanksgiving back home. This was one of the most appreciated Thanksgiving feasts of my life. 

23 years later, I was at Housing Works Bookstore for our twice a year street fair [Alan volunteers there weekly] and this kid Keith – a financial analyst – was there through the morning moving stuff out to the street. He finished up and asked me if we had show tunes that hadn’t come out yet. So I brought him to the sub basement where we always have plenty of show tunes.

He was in heaven grabbing West Side Story and Evita and everything else - maybe 25 albums. Sketches of Spain and some other jazz. He’s telling me about listening to music with his father, who traveled a lot and brought home albums.

I asked where in India, and he said Bombay. I told him I was there when we produced the first rock concert in Bombay. He asked, "Which one?” “Europe,” I told him. “oh my god,” he tells me. “I was there!!!”. He was in seventh grade. He was crying, he told me, because it was the first time in his life his very strict mother let him do anything.

There’s 1.2 billion people in India. I met one we touched.

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The documentary footage we shot at the show –never edited, never finished– was posted on YouTube in 2024. There’s a new comment posted on the videos at least every week. 35 years later!

Elliot: 

On November 28, 1988, the concert went surprisingly well. Of course, there were last-minute fixes, but 45,000 attendees enjoyed a great music presentation in a safe, entertaining environment.

*Documentary footage was shot with a team led by cinematogapher John Hazard, some rough edits made, but never finished. The photos here are some funky screenshots from the original VHS tape dubs. 

Michael Cuscuna by Jimmy Katz
Michael Cuscuna R.I.P. 1948-2024Our fantastic friend, then client, Michael Cuscuna, record producer/historian extraordinaire and co-founder of Mosaic Records, passed away on April 19, 2024. Both of us –Alan and Fred–...

Michael Cuscuna by Jimmy Katz

Michael Cuscuna R.I.P. 1948-2024

Our fantastic friend, then client, Michael Cuscuna, record producer/historian extraordinaire and co-founder of Mosaic Records, passed away on April 19, 2024. Both of us –Alan and Fred– wrote remembrances that we’re reposting here.

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Michael Cuscuna by Thomas Starter

Michael Cuscuna by Thomas Staudter

I knew the voice of Michael Cuscuna before I ever met the man. Growing up in an area of New Jersey where we could pull in both New York and Philadelphia stations, I would listen to him DJ at WMMR out of Philly. He had a quintessential FM DJ voice — soft-spoken, intimate, gravelly, authoritative. He didn’t yammer on, but I remember he was clever and his sense of humor was dry as a bone. He played a mix of progressive rock and some things that clung to the precipice of musical genres.  

Years later our paths merged. I started seeing his name on the backs of albums I’d play on my college jazz radio show — now I was the DJ, and he had become a prolific producer, supervising dates for a diverse list of artists, including many dedicated to the avant garde. He also produced for Bonnie Raitt and other groundbreaking musicians. I am searching my memory in vain to recall how we became connected, but he was also creating a monthly promo disk sent to radio stations by Crawdaddy Magazine and I became his producer, using the free facilities of the college station to record and edit. He would collect the interview tapes from the magazine’s feature writers, I would edit them into a coherent radio show, then he would come in and record his host segments. Out of that association, I started writing reviews for Crawdaddy of new jazz releases. He was as wickedly funny in person as I remembered him on the radio. I was a little in awe of his extraordinary knowledge of music — an artist’s historical significance, how a musician’s style linked that person to the artists that came before and after, and why certain artists deserved more recognition than they had received by the public. He turned me onto a lot of music. I think we did the show for a couple of years.   

More time passed, and Michael came into my life again through my partner at our media advertising agency, Fred/Alan. By now, Michael had established himself as an important compiler of jazz reissues that went above and beyond what was typical at the time. Starting with Blue Note Records, but ultimately including the libraries of other labels, he’d go into the vaults and unearth the unreleased sides and alternate takes and place them alongside the more well-known songs. His two-fer series for Blue Note was particularly noteworthy. On the back of that success, he and a former Blue Note executive named Charlie Lourie created Mosaic Records. Their concept was to do numbered, limited editions in luxurious box sets aimed at the collector market. Initially vinyl only, they switched to CDs when that was the prevailing release format. The boxes were gorgeous, each with a booklet filled with photos, an essay by a prominent jazz historian, and absolutely accurate discographical information. They specialized in “complete” collections depending on the frame they decided was relevant. That frame might have been the three-day recording binge from 1957 by organist Jimmy Smith that resulted in enough material for three CDs, the unreleased complete recordings of Charlie Parker’s live solos recorded by Dean Benedetti, or the complete Capitol recordings of the Nat King Cole trio, a box that weighed-in at 18 CDs. They were sold only through the mail, direct to consumers. But they weren’t reaching the market and needed help. In an earlier era, my partner Fred Seibert had attached himself to Michael to learn as much as he could about producing records. Knowing the two of us, Michael asked if we could come up with a direct marketing campaign. In our typically arrogant belief that we knew how to do almost anything or could figure it out, we said yes. 

We began producing a catalog that was mailed out to jazz enthusiasts, slowing building a list of devoted listeners and buyers. My job was to write that catalog. We dissolved the advertising agency in 1992, and mailed catalogs gave way to internet promotion, but I continued writing the sales copy for each release, save one or two that I didn’t do for reasons lost to time. I just wrote one last month for an upcoming set featuring vibraphonist Bobby Hutcherson.  

I developed a format for my essays. I started with some thesis about why that artist deserved more recognition, or why the music from that era was crucially important — in other words, why you absolutely had to own that collection. I segued into a couple paragraphs of biography, followed by a few paragraphs where I singled-out important tracks or tried to convey in words the feeling, the sound, the artistry of the musician. I wrapped it up with more “don’t delay” language. In all those years, each and every time I approached a new assignment I had two thoughts crowding my mind — will Michael agree with my thesis? Will Michael take issue with the way I chose to describe the music? Each package gave me an opportunity to do a deep dive into the music, but I knew I didn’t have Michael’s personal connection to many of the artists, or his historian’s perspective on the music. And by the way, he was himself a damn good writer. It never stopped thrilling me when he’d send back an email merely correcting a calendar date, or the number of unreleased tracks, with a message that he thought it was otherwise perfect. More than anything I wanted to impress and satisfy Michael. I was alway so happy that I could.  

I think they had done four releases when we got involved in 1984. The company is closing in on 200 box sets. I can’t believe it’s been a 40-year association. 

We lost Charlie more than 20 years ago. This weekend, Michael passed after a long illness. I will miss his husky laugh, his personal stories about the musicians we both obsessed over, and the gratitude he expressed each time I turned in an assignment. 

To many, his name was a name on the back of an album jacket. To those of us who knew him, we know him as someone who single-handedly rescued the Blue Note archive and other treasures from oblivion, who introduced us to overlooked artists such as saxophonist Tina Brooks, and who demanded we take a second look at music that was significant and mind-blowing. As a colleague, as a client, but mostly as a music lover, I am forever in his debt. My sympathies to the family of this enormously important figure in music. RIP Michael Cuscuna. 

–Alan Goodman (repost from Facebook) 

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Michael Cuscuna, photograph by Jimmy Katz

Michael Cuscuna

Michael Cuscuna, one of my great inspirations and sometime collaborator, passed away this weekend (April 19, 2024) from cancer. Being a cancer survivor  last year myself, when someone I’ve known and worked with for over 50 years it hit particularly hard.

Blue Cuscuna-1999 promotional sampler from Toshiba-EMI

Blue Cuscuna: 1999 promotional sampler from Toshiba-EMI [Japan]

Michael has been the most consequential jazz record producer of the past half century, a man who had not only a passion, but the relentlessness necessary to will the entire history of the music into being. Don’t believe it? Check out the more than 2600 (!) of his credits on Discogs. Substantial and meaningful he might have been, but to me, he was a slightly older friend who was always there with a helping hand. Hopefully, I was able to hand something back on occasion. 

As I said when he answered “7 Questions” eight years ago: “I first encountered Michael as a college listener to his “freeform,” major station, radio show in New York, and was fanboy’d out when a mutual friend introduced us at [an] open rehearsal for [Carla Bley’s and Michael Mantler’s] Jazz Composer’s Orchestra at The Public Theater (MC has a photographic memory: “It was Roswell [Rudd]’s piece or Grachan [Moncur III]’s. You were darting nervously around the chairs with your uniform of the time – denim jean jacket, forgettable shirt and jeans.”) By 1972 or 73, he’d joined Atlantic Records as a producer, and since that was my career aspiration, I’d give him a call every once in awhile. He’d patiently always make time for my rambling and inane questions, and I never forgot his kindness to a drifting, unfocused, fellow traveler. 

“…patiently always make time for my rambling and inane questions…” says a lot about Michael. His raspy voice could sometimes seem brusque, but ask anyone and they will tell you that he always made time to talk. Especially about jazz. 

I desperately wanted to be a record producer and Michael was one of the first professionals I encountered. He had already produced my favorite Bonnie Raitt LP when somehow or other I bullied my way into his Atlantic Records office, where he was a mentee of the legendary Joel Dorn. Over the next few years, Michael was often amused at some of the creative decisions I made, but he was always supportive and even would sometimes ask me to make a gig when he couldn’t. When I spent a year living in LA, he invited me over to the studio while he was mining the history of Blue Note Records that would define his life for the next half century. I completely failed to understand what the great service to American culture he was about to unleash. Along with Blue Note executive Charlie Lourie, Michael’s research resulted in a series of double albums (”two-fers” in 70s speak), but little did the world know what was on Michael’s and Charlie’s minds.

Blue Note records "two-firs" late 1970s

The Cuscuna/Lourie Blue Note “Two-Fers” that ignited Mosaic Records

“I don’t think it’s generally understood just how imperiled the musical and visual archives of Blue Note Records were at one point, and just how heroically Michael stepped in to make sure this unparalleled American music survived for future generations. If you like jazz, you owe the man.” –Evan Haga 

(Joe Maita does a great interview about Michael’s career here.) 

Fast forward a few years. The air went out of my record producing tires, I became the first creative director of MTV, I quit MTV and along with my partner Alan Goodman started the world’s first media “branding” agency. Leafing through DownBeat one day I saw an ad that started a new relationship with Michael that would last, on one level or another, for the rest of his life: the “mail order” jazz reissue label Mosaic Records

Charlie Lourie & Michael Cuscuna

Charlie Lourie & Michael Cuscuna at Mt. Fuji Jazz Festival, Japan 1987. Photograph by Gary Vercelli / CapRadio Music

Long story short, in 1982 Michael returned my check for the first two Mosaic  releases with a note asking for some help. Initially, Mosaic wasn’t the sure fire, instant success Michael and Charlie had hoped for, did I have any ideas? I did, but no time to do anything other than make suggestions, we were busy trying to get our own shop off the ground. This cycle repeated itself for another couple of years when this time when Michael called he said Mosaic was on death’s door. Fred/Alan was in better shape, so Alan and I, on our summer vacation, came up with the first Mosaic “brochure,” convinced the guys we knew what we were doing (I’d read a few paragraphs in a direct mail book in a bookstore) and, with nothing to lose, Charlie and Michael took the plunge with us. Success! 42 years later, the former Fred/Alan and Frederator CFO at the helm, Alan and I always answer any call from Mosaic.

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The first Mosaic Record box set 1983

There aren’t many people in the world like Michael Cuscuna. The world’s culture will miss him. I will miss him. Most of all, of course, his wife and children will miss him. 

R.I.P. Eli Noyes 1942-2024
The world lost a wonderful man and a unique talent when friend and pioneering filmmaker Eli Noyes passed away this week.
Eli was one of the early independent animators we were lucky enough to work with at the dawn of MTV,...

R.I.P. Eli Noyes 1942-2024

The world lost a wonderful man and a unique talent when friend and pioneering filmmaker Eli Noyes passed away this week.

Eli was one of the early independent animators we were lucky enough to work with at the dawn of MTV, and when he partnered with another innovator, Kit Laybourne, we were able to enjoy the two of them for the next decade at The Playboy Channel, Nickelodeon and Nick-at-Nite. 

Cartoon Brew will give you a fantastic overview of Eli’s groundbreaking films on their obituary, and there are some word about our collaborations below.

Alan wrote a loving remembrance of Eli on Facebook that’s re-posted here: 

In the early days of my TV career I became successful at playing the part of an expert, which was handy considering I had absolutely no idea what I was doing. Honestly, none of us did. Thanks to the cable explosion the TV universe was expanding faster than the talent base, and we were all thrust into jobs that never existed and for which no pros could be located to fill. Tasked with managing the visual identity of MTV and then Nickelodeon, my creative partner Fred Seibert and I relied heavily on a handful of creators who weren’t mired in the ideas and the rules of the legacy business, and were eager to go on a journey with us as we looked to invent a new way of connecting with audiences that made our networks infectious.

One of those creators was Eli Noyes, at the time a renowned independent animator who is largely credited with establishing new heights and achievements for stop motion animation. Somehow we got introduced to his work and saw his reel, and as rule breakers and nonsense makers we were instantly attracted to his work. (Go online and look for a stop-motion piece he did where he makes and devours a couple dozen peanut butter and jelly sandwiches, and you’ll get some sense of what we loved about his spirit.) We contracted with him to do a few pieces for MTV. I don’t know that he ever did any commercial work before our assignment, but that was typical of our approach. Our creative brief was always extremely open. “We are hiring you because we love your work. We don’t need to see pitches first. You have the job. Now blow us away.” Not everyone responds well to that kind of freedom, but Eli was a gamer. 

I think he had done one or two pieces for us when he called me up to do a field trip to New York Institute of Technology on Long Island, where there was a lab that was doing some of the very first digital animation. We drove out to have a look in case there was something there we wanted to tap. I remember being impressed by their ability to use tablets instead of pencils, but confused when they told us, “Look, we can make it look just like traditional animation.” When we left, Eli perfectly voiced my unease. “Why would you want to?” he asked. 

And that was Eli. Always thinking about what’s next. What can we explore? Where can we go that no one’s gone? 

The real flower of his creative potential was unleashed at Nickeloden, when he had teamed with the brilliant animator, author, professor, and thinker Kit Laybourne. My former partner Fred is going to repost some of their work so you can see what these demented dudes did for us. As much as I loved the work, I loved the creative meetings just as much. Eli and Kit were like animated characters themselves. They didn’t just describe the piece they wanted to make, they bounced around the room acting it out. Their commitment and devotion to nonsense and playfulness was infectious and impossible to ignore. No two pieces were alike, perfectly fulfilling our dream of introducing and perfecting a more fluid and dynamic look for an audience that was itself evolving, growing, changing, and… becoming. 

We lost Eli Noyes on Saturday and I am absolutely stricken with grief. It’s been decades since we’ve spoken, but he is so much a part of my life and my development as a creative executive. Along with being phenomenally talented, he was sweet, soft-spoken, generous and kind, with the most mischievous eyes that widened when he heard something that could be the germ of a new approach. He never lost his hunger to invent. I’ve never met an adult whose spirit was closer to Peter Pan’s.  

I can’t say this strongly enough. My ex-partner and I get a lot of credit for introducing a new way of communicating identity to audiences thanks to the hundreds of animated pieces we produced in the early years of our networks. We would have been nothing without Eli Noyes and four or five more who enthusiastically embraced our direction and fulfilled it beyond anything we could have envisioned. 

I loved him and I will miss him. He is in my heart forever. RIP Eli Noyes.

#####

It might have been Gerry Laybourne who first put Eli’s reel on our desks when we were getting MTV’s identity together. Having already shown our distaste for the typical commercial houses we had already started luring indies into our fold. And, in many ways, Eli was the king of the East Coast filmmaking indies. Soon enough, Alan was producing –and learning!– from Eli, who was a relentless and kind forward thinker.

Three years later, we’d started Fred/Alan and, lucky again, we got the assignment to start working with what was to become the “new” Nickelodeon under Gerry’s guidance. Eli had already hooked up with Kit Laybourne with the last of our MTV collabs, and now they were on fire with ideas for us at Nick. Clay (Eli’s sweet spot), video (then new to animaton), whatever. In the haze of the years, it’s hard to remember who suggested how to reuse animation for budget stretching and happy surprises (we all loved “Hey Rocky! Watch me pull a rabbit out of my hat!”) but, it worked like crazy for Nickelodeon.

In the late 80s, after we’d successfully shown Nickelodeon that 1) branding and promotion, properly and creatively managed, could pull a rating rabbit out of a hat, and 2) that Nick-at-Nite “reruns” could be financial and cultural gold, some genius (shhhh, it was the sales department) decided that reruns were a loser and that Nick-at-Nite needed to be “comedy!” Which required a re-thinking of the network’s presentation. How to hold on to our already established identity, but maybe be a little “comedic” too? Eli and Kit (and Rocky and Bullwinkle!) to the rescue, along with our go-to Fred/Alan producer and in-house audio wizard, Tom Pomposello. Roping in Nick’s and Fred/Alan’s staff of stand-in actors, Noyes & Laybourne were able to create dozens (and dozens) of network identifiers to keep folks amused, so that that when the sales group came to their senses, the NAN audience would still be there.

Thank you Eli. We’ll never forget you.

…..

MTV spots 1981-82
Director: Eli Noyes and Eli Noyes & Kit Laybourne
Producer: Alan Goodman
Creative Director: Fred Seibert

Nickelodeon 10-second network identifications 1984-87
Created & Directed by Eli Noyes and Kit Laybourne, Noyes & Laybourne, New York

Nick-at-Nite 10-second network identifications 1987-90
Directed by Eli Noyes and Kit Laybourne, Noyes & Laybourne, New York
Sound design/music: Tom Pomposello and Tom Clack
Fred/Alan producer: Tom Pomposello