Following is the complete text of the Panel 6 image.
In the Studios 1
It was a chance encounter with the entertainer Jackie Gleason—someone Milt worked with when he was just starting out—that gave Milt his first big break in the New York studios. As a result, he became one of the few African Americans to play in the studios on a regular basis. His exceptional professionalism, musicianship, and reliability made him a trusted resource, and soon he helped other aspiring musicians like George Duvivier, Clark Terry, and Richard Davis follow in his path.
Richard Davis, ca. 1965; and George Duvivier, ca. 1964, New York City recording studios, photos by Milt Hinton
Bernie Glow and Clark Terry, New York City recording studio, ca. 1956, photo by Milt Hinton
Milt’s datebook for March 4–7, 1959: on March 4, in addition to a 2 pm session with Neil Sedaka that resulted in his top-ten hit Oh Carol and a big band gig at 7 pm, Hinton recorded at 11 pm with Billie Holiday—one of her last studio sessions before her untimely death on July 17
LP cover for Billie Holiday, recorded with Milt in March 1959
Banner from left to right:
Magazine clipping of Milt with Jackie Gleason, 1955; Milt with Homer Mesch, jack Lesberg, and an unknown bassist, New York City recording studio, ca. 1975; three of Milt’s cabaret cards, 1950s; members of a string section, New York City recording studio, ca. 1962
One of Milt’s favorite times to take photographs in the studio was during playbacks since he could put his bass down and think about framing the shots. Many of his most revealing photographs were taken during these breaks, where Milt created insightful portraits of performers hearing and thinking about their own music.
Milt with bass and camera,
New York City recording studio, ca. 1955