1920 - 1981
Irving Townsend (November 27, 1920 – December 17, 1981)
was an influential American record producer and author whose work had a lasting impact on music history. He gained international fame primarily through his production of Miles Davis' legendary album Kind of Blue, which is considered the best-selling jazz album of all time according to the Recording Industry Association of America (RIAA). Later in his career, Townsend became president of the National Academy of Recording Arts and Sciences (NARAS) in the United States.
Early career and rise at Columbia Records
Townsend began his musical career as a jazz bandleader. His path into the recording industry initially led him to Columbia Records, where he worked as a copywriter. His dedication and musical instincts enabled him to convince George Avakian to involve him in recording sessions. In the mid-1950s, Townsend finally established himself as a full-time producer. After George Avakian and Cal Lampley left, he became the main producer for Miles Davis.
Townsend's writing talent was also evident in numerous liner notes for Columbia albums, including works by Duke Ellington (“Black, Brown and Beige”) and Mahalia Jackson. In 1975, he wrote the article “Ellington in Private” for The Atlantic Monthly magazine, in which he described his encounter with Duke Ellington at the 1956 Newport Jazz Festival. This article played a major role in Ellington signing a contract with Columbia Records.
In addition to his work with Miles Davis and Duke Ellington, Townsend produced an impressive range of albums for renowned artists from a wide variety of genres, including Billie Holiday (“Lady in Satin”), Johnny Mathis (“Live It Up!”), Doris Day (“Duet”), André Previn, Percy Faith (“American Serenade”), Dave Brubeck, Lambert, Hendricks & Ross, Thelonious Monk, Count Basie, Tony Bennett, Barbra Streisand, and Ray Conniff (“How To Save A Marriage And Ruin Your Life”).
Mahalia considered Townsend, who was at one time the CEO of Columbia Records, a close friend and confidant.
Under his direction, numerous studio recordings were made for Columbia. Musical disputes and new directions Townsend encouraged Mahalia Jackson to try out “new things” musically, but this was not always well received. For example, he suggested that she record Duke Ellington's comprehensive work “Black, Brown and Beige,” which dealt with the entire history of African Americans in music. Mahalia, however, preferred to concentrate on the religious part. Another challenge was Townsend's desire to record Jackson with orchestral accompaniment. Since she couldn't read music, she was concerned that she wouldn't be able to follow the scores and also feared that the arrangements might be too dominant. However, Townsend assured her that the arrangements would be adapted to her needs. In 1967, the album “My Faith” was finally released with arrangements by Richard Hazard.
There were also significant differences of opinion regarding the 1969 album “What The World Needs Now,” whose rock influences were described by Townsend as Jackson's “most radical” musical direction. Mahalia herself expressed concern that the lyrics would be lost in the arrangements and that the message of gospel would be lost. She announced that there would be no more Mahalia Jackson records of this kind.
Townsend as the bridge to Columbia Records
After William “Bill” Russell initially acted as a mediator between Mahalia Jackson and Columbia, Irving Townsend took over this role. Townsend always insisted that the artist, and not the ideas of others, should be at the forefront of the production—an attitude that was also in line with Russell's convictions. Business aspects and Mahalia's finances Townsend recognized that Mahalia Jackson was an exceptional artist but not a savvy businesswoman. He strongly advised her not to handle her own financial affairs and to hire professional business managers, as she trusted very few people. Although it was not part of his direct responsibilities, Mahalia Jackson involved Townsend in almost every aspect of her life, including her finances, her personal life, and her relationships with employees. Townsend once remarked that Jackson “used” and exploited people to their limits in her dealings with them.
Despite their professional differences, Mahalia Jackson and Irving Townsend had a close relationship. When asked by Joe Price of Variety how she was treated at Columbia, Mahalia replied spontaneously: "Irv Townsend loves me. I think he went to Sunday school when he was a boy. I'm very happy with Columbia. I sing what I want and when I want.“ At the same time, however, there were moments of frustration on Townsend's part, as Mahalia could be very headstrong. Townsend became ”completely, utterly furious" about certain business developments.
Head of recordings
Irving Townsend directed Mahalia Jackson's recording sessions. His strategy was to add sounds and special effects after the actual recordings had been made. In addition to his work as a producer, Irving Townsend was also a successful author. He co-wrote John Hammond's autobiography, John Hammond on Record. He also wrote other books such as “The Less Expensive Spread: Delights & Dilemmas of a Weekend Cowboy,” “The Tavern,” “Separate Lifetimes,” and “Duffy: Adventures of a Collie.”
From 1969 onwards, Irving Townsend held the position of President of the National Academy of Recording Arts and Sciences (NARAS), further underscoring his outstanding standing and influence in the music industry.
Irving Townsend died on December 17, 1981, in Santa Ynez, California. His legacy as a visionary producer and close confidant of Mahalia Jackson lives on in her timeless recordings.