![]() Columbia Records staff producers were assigned artists, so he would be working with Miles Davis one day, Mantovani another, Hugo Montenegro the next day, Tony Bennett on Friday and a weekend session with George Young, the Nutty Squirrels on Monday, Andre Kostelanetz Monday night, Leonard Bernstein on Tuesday at Carnegie Hall and so on. ![]() His diversity of productions is stunning. He impressed upon me the idea of having as meaningful a professional relationship with a recording engineer as you would with an artist. That laugh, depending on the pitch, meant either “You got it!” or “You idiot!” Once he trusted you, all kinds of tidbits of production techniques would emerge. He was of the mindset that if you figured it out by yourself you would not ask the question, so I would constantly call him up and say, “Aha! You did such and such to get so-and-so,” and he would laugh. He said the producer’s sworn enemy is the accountant. He encouraged me to intellectually intimidate music executives. ![]() I should be dead of a heart attack from the amount of prime steak we consumed at that bistro. He liked to have business meetings at Ben Benson’s Steakhouse in midtown Manhattan. And he always paid you at the end of the day, writing you a check by hand from his briefcase that he always carried. Who else wears an ascot in our current music scene? He was a big kid, always experimenting, always looking for new and exciting developments in production. In my opinion, he was the prototype musician-producer-composer-arranger bon vivant.
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