ABSTRACT
Not all Jews in jazz in the Thirties, Forties, and Fifties directly facilitated integration as Goodman, Shaw, Josephson, and Granz did. However, equally central to the advancement of many black jazz musicians was Jewish predominance in all facets of the music business. Booking agencies: Moe Gale (Gale Agency), Billy Shaw (Shaw Artists), William Morris, and MCA. Record producers: Milt Gabler (Commodore), Jerry Wexler, Herb and Miriam Abramson (Atlantic), Alfred Lion and Francis Wolff (Blue Note), Teddy Reig (Savoy), Herman Lubinsky (Savoy), Moe Asch (Folkways), the Chess Brothers (Chess), Bob Weinstock (Prestige), Don Schlitten and Lester Koenig (Contemporary), Irwin Steinberg (Mercury), and Bob Weinstock (Prestige). Concert promoters/club owners/managers: Norman Granz, Monte Kay, Billy Berg, Barney Josephson, Max Gordon, Morris Levy, Joe Glaser, George Wein, Moe Gale, Irving Mills, William Morris, Teddy Blume, Billy Shaw, Frank Schiffman (Apollo Theater), Lou Brecker (Roseland), and Harry Columby. Critics: Leonard Feather, Nat Hentoff, and Dan Morgenstern.1
