The idea for starting a label was related by electronics inventor Harry Belock (who also worked on sound films in Hollywood in the 1930s) to Roland Gelatt in the February 1959 issue of High Fidelity: "The more of them I heard, the more I felt that nobody had a good stereo library.
MacKenzie was featured on a popular live recording done during her night club engagement at The Empire Room of The Waldorf-Astoria, while Collins was featured on an ambitious collection of holiday tunes with the Joe Lily Singers and Nathan VanCleve's orchestra (both alumnae from the Bing Crosby film classic White Christmas) titled "Won't You Spend Christmas with Me?"
Other pop and jazz artists on the label included Nelson Eddy, Randy Van Horne Singers, Gloria Lynne, Woody Herman, Charlie Barnet, Ann Blyth, and Russ Morgan, among others.
how she met Raymond Scott and Harry Belock at the Brill Building in New York's Tin Pan Alley in 1957 where they were on the lookout for a vocalist.
Belock and Whyte decided to record music on 35 mm magnetic film, which they believed was an improvement over half-inch tape.
Everest managed to engage the services of several major conductors, including Sir Adrian Boult, Josef Krips, Eugene Aynsley Goossens, Malcolm Sargent, William Steinberg, Walter Susskind and Leopold Stokowski.
Everest also recorded several composers conducting their own works, including Malcolm Arnold, Carlos Chavez, Aaron Copland, Morton Gould, Ferde Grofé, and Heitor Villa-Lobos.
In addition, one LP featured historic Melodiya recordings of Sergei Prokofiev and Aram Khachaturian conducting their violin concertos, each with David Oistrakh as soloist.
In 1967, Everest issued the first performance of Shostakovitch's suppressed Thirteenth Symphony, using a live recording smuggled out of the Soviet Union.
A Mercury CD release by Robert Fennell of Gershwin and Cole Porter (434 327-2/1993) contains the following information on the inside of the booklet: "The songs of Cole Porter were recorded in the Bayside Studio of Fine Recording, N.Y., on November 20 and 21, 1961, on 3-track 35mm film, 3-track half inch tape, and 2 track quarter-inch tape..on this CD the 3-track half inch master was used as the 35mm was unavailable."
The classical catalogue comprising all the original 35mm film masters and half inch magnetic tapes are currently archived under controlled conditions in the Hamburg vaults of Countdown Media/BMG Music who purchased the copyright from Grammercy in the 1990s.
Prior to that the copyright was owned, it is believed, by Omega/Vanguard Records who undertook the first modern digital remastering released by Vanguard Classics.
A previous all tube reissue and remastering by Classic Records in the 1990s of a small number of 35mm film masters to both high quality vinyl repressings and DVD-Audio did unfortunately suffer from some wow and flutter issues.
The plan now is for one further digital remastering using modified Westrex record/playback machines with added laser guidance to eliminate these problems in the age of the masters.
{correspondence with Countdown Media/David Murphy } The rights to the Jazz and Popular catalogue are now also held in Japan, though reissues using excellent remastering from the original tapes continue to be released by Universal Music and Essential Media.
[citation needed] Identifying these records is relatively easy: the first issues sport a silver/turquoise label (with the earliest of these having a wood dowel on the outside edge of the inner sleeve).
The Everest masters were located in a California vault in 1993 by Seymour Solomon, president of Omega Records and founder of Vanguard Classics.