Peter Brooke’s deeds weren’t confined to the manipulation of Castro solely for the protection of Doris Duke. The day after his decisive encounter with Castro on March 23, 1964[•] where the latter confided to him open heartedly,[•] Brooke organized a meeting with Joe Lubin.[•]
This led quite naturally to an effort immediately afterwards to help get “Joe established in his own right as a composer and arranger”[•] and to form a kind of team. First, they would repatriate the Atlantic tapes. On May 19,[•] they asked Atlantic to return the tapes from Castro’s recording sessions. Shortly thereafter they received a positive response and the tapes were returned.[•]
While the idea of forming a company was under consideration,[•] a contract was signed between Castro and Lubin.[•] A Phonograph Record Labor Agreement form was received from the A.F.M,[•] and eleven boxes of recording tape from Atlantic were received at the Hughes offices.[•]
Since his return from French Polynesia, Castro had gone to Los Angeles twice for meetings, lunches, and dinners with his new friends Lubin and Brooke along with old friends June Christy and Bob Cooper. He also met with his new attorneys Herbert Schwab and Greg Bautzer.
June Christy and Castro opened at Copacabana in Honolulu on July 30.[•] Castro had made it through a critical period….[•] Attorney Brown did not give up his claims. Indeed he filed a tortious interference claim against Morton B. Jackson, Esquire, and others, alleging that Jackson and the other defendants had improperly interfered with the contractual relationship between Brown and Castro.[•]
Finally, Peter Brooke was hired as an “assistant” to Joe Castro to help in the creation, promotion, and sale of two recordings (four sides) for one year.[•] Stephanie Mansfield: “Castro never knew that Brooke had been on Doris’ payroll. ‘It was,’ said Brooke ‘one of the best kept secrets. Joe was totally fooled.’”[•]
The first session for the newly minted Clover Records (four titles for the album Lush Life CL / CLS-1228,[•] one single C-331 from the album) was on September 1, 1964, at Gold Star Recording Studios and was recorded by Larry Levine.
Joe Castro Orchestra, Los Angeles Clover Session:
The probable concept was to record a potential original hit called Bossa Nova All the Way as the first single (C-331) along with the recently revived Fiesta Bianca (here called Fiesta), the “Saraghina rumba” from Federico Fellini’s film 8 1/2, as the second single, (never manufactured) and to sell the album compiled of Atlantic sides recorded seven years prior. But there wouldn’t be a hit.
After the recording, Castro traveled frequently between New York, Newport, and Los Angeles to be with Duke. This included a trip to Duke Farms on September 13 which included a visit by Paul Motian.[•]
On Monday, September 28, 1964, the Articles of Association of JODO,[•] Inc. were signed by President John L. Smart, Vice President and Treasurer J. Harold Hughes, and Secretary Helen Lee in Honolulu, Hawaii.[•] On Tuesday, September 29, 1964, the By-Laws of JODO, Inc., were adopted at the office of Hughes & Smart at the 400 Trustco Building on 250 South King Street in Honolulu, Hawaii. The Meeting of Incorporators and Signers of JODO, Inc. and the First Meeting of Board of Directors of JODO, Inc. were held the same day at the same office.[•] A Special Meeting of Directors of JODO, Inc. was held on Wednesday, September 30, 1964 at the same office. The President stated that it would facilitate business if the corporation had officers located in Los Angeles as the corporate business was now concentrated in that city. By unanimous vote, Mr. Joseph A. Castro, whose business address is 1228 North La Cienega Boulevard, Los Angeles 69, California, was elected Vice-President and Assistant Secretary and Mr. Peter R. Brooke, of the same address, was elected Assistant Secretary and Assistant Treasurer. Messrs Castro and Brooke were designated as the persons authorized to draw checks thereon and to transact business of the corporation. The matter of purchasing recordings made by Mr. Castro: (1) Fiesta, (2) Bossa Nova All the Way, (3) A Train and (4) Lush Life, [September 1 and 3, 1964, sessions] was discussed. After ascertaining the cost thereof, it was agreed by unanimous vote to purchase the same for the sum of $4,600.54, together with all rights.[•]
The two “first Clover meetings” were on October 6, with Peter Brooke, Joe Lubin, and Anita O’Day, in Malibu at the first and on October 8, with George Jay, who will be the publicist for the Clover label, and Peter Brooke at the second. On October 15, there was a dinner with Buddy Banks in Newport,[•] and one on November 7, probably at Duke Farms with Doris Duke, Paul Motian and probably Sam Motian.[•]
This was also Joe Lubin’s last meeting, as he left shortly thereafter.
Mansfield: One night, Lubin went up to Falcon’s Lair, Castro had canceled the recording session that day, saying he had a cold. He was drinking. “I felt a little embarrassed. Doris was in the bedroom, wearing a negligee. There was antique shit all around including a music stand which supposedly once belonged to Mozart. I opened the door and walked out into the patio. There I was met by what seemed like a hundred Dobermans. I couldn’t get out. I walked back into the room and asked Joe what was going on. He suddenly turned very aggressive. Mocking me. It was like The Three Faces of Eve.” Once at home, Lubin called Peter Brooke and resigned as musical director.… “I loved Joe’s talent, but I felt sorry for what was happening in his life,” Lubin recalled. “Even if he was in a position other men would envy, I don’t think he liked the role he was playing, I don’t think he was in command.”[•]
Of course, Castro and Duke were back in New York society. Gossip columnists had a great time at their expense, including Earl Wilson: “Was that Doris Duke with ‘estranged’ husband Joe Castro at Birdland?”[•]
Kilgallen: “Doris Duke, Joe Castro Are Happy Once Again,” It's happiness time again with Doris Duke and her jazz pianist, Joe Castro. After a quarrel that made headlines around the world—it was one of those he-claimed-they-were-married-she-claimed-they weren't cases—they kissed and made up and are now enjoying the beauties of her luxurious Duke Farms in New Jersey.[•]
In a special meeting of the Board of Directors of JODO, Inc. on November 23, the proposed purchase of the former Atlantic tapes, Mood Jazz was favorably received.[•]
Duke and Castro would spend the year’s end and beginning of the new year in Hawaii with friends, including Pearl Bailey, Nick DiMaio and Gladys “Peetney” Redman, who was bereaved by the recent loss of her husband, Don.[•]
Joe began a series at The Penthouse[•] called “Sunday Afternoon Jam Session,” on January 10, 1965, alongside Buddy Banks and Vic Castellini before leaving for the Far East and Oceania for a month long vacation with Duke.[•]
Upon his return, the jam sessions continued every Sunday[•] until Castro’s departure for New York to work on the second Clover project (the album Remind Me CL / CLS-1230, unreleased).
During that time, there was nearly nothing accomplished in properly setting up the company.[•] In April, a new proposition was made to Peter Brooke,[•] but nothing concrete concerning handling the label was resolved.[•] Instead, cumbersome procedures, which will be an issue throughout the course of the venture, were brought up.[•]
The day after his departure from Los Angeles, Castro rehearsed at The Hickory House, with Teddy Kotick and Paul Motian, to open Tuesday, March 9, 1965, for an eight-week engagement,[•] and three days of studio recording.[•]
Joe Castro Trio, New York Clover Session:
The stay in New York was short, but full. Castro took time with friends, along with Evie and Duke, after the show “What Makes Sammy Run?”[•] they visited Peggy Lee, with Lou Levy, at Basin Street,[•] and with Peetney Redman and Pearl Bailey at the Americana.[•] Castro also did some promotion, for, we suppose, the forthcoming album Lush Life, on the Joe Franklin TV Show.[•]
Right after the last day at The Hickory House, Monday May 3, Castro was back in Los Angeles, then opening in Honolulu Monday May 10, with his International Jazz Trio with Buddy Banks and Vic Castelini, at The Penthouse seven days a week, the Jam Session every Sunday.[•] Castelini was quickly replaced by John Poole:
I walked into a jazz joint called The Penthouse where Joe Castro was playing a long Steinway grand piano with bassist Buddy Banks. It was an outdoor cocktail lounge on the second floor at Seaside and Kalakaua. The regular drummer had just had a big argument with the manager, Bob Chamberlain, and wasn’t playing, so I sat in and played a pretty good solo. After my solo, Bob walked over, gave me $50 and said, “You’re hired!” I soon got a little apartment up the street. Since Joe Castro was Mexican-Spanish, I was Danish-Norwegian, and Buddy Banks was French-Moroccan [sic], we called ourselves the Joe Castro International Jazz Trio. Joe loved to play fast, and we would play a tune for an hour and a half, nonstop...just insanity! But it was fun.”[•]
(James Castro Collection)
(James Castro Collection)
(James Castro Collection)
(Chet Burchfield Collection)
The Sunday Star-Bulletin & Advertiser:
“Philly Joe” Jones, often called the World's No. 1 Jazz Drummer, is just one of many stars who have been sitting in on the Sunday afternoon Jazz Jam Sessions at The Penthouse at Seaside and Kalakaua, Waikiki. The sessions begin at 2 p.m. and the lineup of talent is tremendous. To name a few who made impromptu guest appearances: the Brubeck Quartet, Paul Winter Sextet, Thelonious Monk Quartet, Della Reese and lead men of the Glenn Miller Orchestra. Regulars at the Jazz Session are Joe Castro, Buddy Banks, Ernie Washington, Howard Carroll and John Poole. The Penthouse, Hawaii’s dispenser of jazz, makes for a real swinging Sunday afternoon.[•]
From Los Angeles, Peter Brooke wrote to Castro: “I learned during the week-end—a week ago—that I had finally a firm deal with Clover.”[•] On June 24, and again on July 12, R. Edward Brown was deposed in his tortious interference case.[•]
Art Simmons, Doris Duke’s friend, was asked to prepare a budget for the third Clover project (the album Kitty White CL / CLS-1229, two singles C-334 and C-336 from album),[•] a Kitty White album recorded, partially, in Paris. Kitty White: “I always wanted to go to Paris…She [Duke] knew that. She was a wonderful friend. She was very good to me. It was a period of my life when I wasn’t doing a lot of music.”[•] At the same time, White was working on another project, the fourth Clover project (the album Come Jet with Me, never completed), for a joint venture between BOAC and Clover Records,[•] a demo having been done for that purpose.[•]
Kitty White, Los Angeles Clover Session:
The Sunday Jam Sessions continue in Honolulu, this Saturday, July 31, The Penthouse advertise “Jazz Concert and Jam Session Sunday 2:00 p.m. 'till 8:00 p.m. Starring Joe Castro piano, Ben Chong guitar, Mel Davis saxophone, John Poole drums, Buddy Banks bass, Cecil Bridgewater trumpet, John Allen piano, Al Corley saxophone, Howard Carroll drums, John Moore trombone.”[•]
Some visitors this summer, Herb Alpert and Bob Edmondson, Monica and Stan Getz, Lee and Larry Bunker, on their way home from Japan,[•] Art Simmons.[•] Thursday, September 16, Paul Motian for an engagement and a recording session, and wife Sam.[•] Engagement with the Joe Castro International Jazz Quartet,[•] recording of the new Anita O’Day record, the fifth Clover project[•] (four titles, never completed, one single C-333 released).
(James Castro Collection)
The one-man operation, which now finally has “a small but somewhat permanent place to ‘hang its hat,’”[•] is stingy,[•] procedures are still cumbersome[•] the lack of cash poses a new problem,[•] but Brooke finally gets a contract.[•]
On September 17, 1965, a special meeting of stockholders of JODO, Inc. was held at the offices of Hughes & Smart, in Honolulu. “Purpose of the meeting, elect new directors who would adopt procedures to simplify the operations of the corporation which is domiciled in Hawaii but operates primarily on the mainland.”[•] The following individuals were elected, President: Miss Doris Duke; Vice President: Pete E. Cooley; Secretary & Treasurer: Wesley N. Fach.[•]
Castro went to Los Angeles, assisted at a Kitty White recording session[•] and flew back to Honolulu[•] with Anita O’Day to start working the day after for a meager result (she also makes a special appearance at the Penthouse:[•]
“Vocalist Anita O’Day on Brief Isle Visit,” “Jazz vocalist Anita O’Day is in Honolulu for a brief special appearance and recording session. She will appear Friday, Saturday and Sunday at the Penthouse, and record one album and four single records next week with Joe Castro’s jazz group. Penthouse owner Robert Chamberlin is producing the records. Show times are 9 p.m., 11:15 p.m. and 1:15 a.m. There also will be a jam session and jazz concert at 2 p.m. Sunday. Chamberlin announced he also will start a nightly live jazz broadcast from his club over KHAI, possibly Friday at either 11:30 p.m. or midnight.”[•]
Anita O’Day, Honolulu Clover Session:
Only “one side” was completed in Hawaii, and a fellow-up Los Angeles session set up for October 26th[•] was cancelled, then rescheduled. A scramble followed, and the project remained unfinished.[•]
(James Castro Collection)
(Chet Burchfield Collection)
(Chet Burchfield Collection)
(Chet Burchfield Collection)
Castro re-signs contracts with the Penthouse for an indefinite period,[•] Howard Carroll has to replace John Poole in Castro’s International Jazz Trio.[•]
JODO, Inc., a Hawaii corporation, considered re-incorporating in California, but it was ultimately determined that it would involve too many significant changes.[•] During the same period, Castro, according to a letter,[•] was considering resigning his position of Vice President and Assistant Secretary of JODO, Inc.
Castro left Hawaii for the mainland on November 8, being back on November 10, after having recorded four sides,[•] on Tuesday, November 9, likely suggested by Brooke and Jay.[•] This was the sixth Clover project (four titles, one single C-335 released).
Joe Castro Quintet, Los Angeles Clover Session:
Also, he conducted the recording[•] of his arrangements “a suggestion made by Miss Duke,”[•] that should be overdubbed on some titles from the New York trio April sessions, for the forthcoming album, Remind Me.
Joe Castro Trio with Orchestra, Los Angeles Over Dub Clover Session:
The Hollywood Reporter disclosed that:
Clover Records has sent pianist-vocalist Kitty White to Paris to prepare for an album recorded with top European musicians. Peter R. Brooke, executive producer for Clover, has mastered a single by jazz stylist Anita O’Day today for immediate release. The disc was recorded in Honolulu with the backing of Joe Castro.[•]
Obviously, the “one side” retained, A-side has been appropriately coupled with a rejected one, as a B-side to release a hoped for “hit” single.[•]
Anita O’Day spoke to Leonard Feather of the Los Angeles Times:
"O'Day Singing Another Tune,” “Nothing is wrong with the music business today,” she said the other evening, “except that it is going, if you will pardon the expression, to pot. If Ellington will forgive me for borrowing his copyright, things ain’t what they used to be. The rhythm-and-blues trend has gone into a folk singing thing and from the folk and the rhythm and blues it’s gone into something called folk-rock. Which is, like, you know, semi-logical…. Well, I am here to tell you that I have recorded a tune in a folk-rock rendition. Gerry Mulligan said it in his last album title,” I recall, “If You Can’t Beat ‘em, Join ‘em!” “I have,” said Anita. “I recorded it a few weeks ago in Hawaii, accompanied by Joe Castro, Miss Doris Duke’s favorite pianist, for his new company, Clover Records. The tune was called Ain’t No Big Thing, and it’s really just a 24-bar blues. We picked up a 19-year-old drummer [Albert S. Akana] in Honolulu that had this rhythm thing down—ZIG-zag-a-boom-ga-ba-DINK-zag-a-bom! We put in a folk-rock beat that wouldn’t quit.” “Who knows,” I said, “you may roll the Stones right off the charts. After all, you did have one near-miss.” “Don’t remind me,” said Anita. “You are flashing me back to 1953. I recorded a song called Vaya Con Dio, remember? It was on Mercury,[•] but you can’t always tell how fast quicksilver is going to move. A few weeks after my record came out, Les Paul and Mary Ford were in Duluth and heard it on the air and recorded it. Nothing happened with my record after that; Les and Mary were VIPs in the record biz then, you know. So their version became the biggest thing in the country, and they got to a point where they were so rich and successful they could afford a divorce—a Californian divorce!” “Speaking of California,” I said, “have any singers around here impressed you lately?” “I like what I’ve heard of Lorez Alexandria. She has a lot of freedom in her style, plus that equipment, which is what made Ella great. There aren’t many of us great ones left, you know.”[•]
In Honolulu, Buddy Rich and “Big Daddy” Miller open at The Penthouse.[•]
(James Castro Collection)
(James Castro Collection)
(James Castro Collection)
The Kitty White project, Clover’s third (album Kitty White), which was initially planned to be recorded in Belgium, for economic reasons, was switched to Paris;[•] the Artist contract having been signed on November 12.[•]
Joe X. Price reported in the December 1, 1965 Daily Variety: “On the Beat,” “Kitty White in Paris today begins three days of etching album for Clover Records. French [sic] pianist-arranger Art Simmons also will baton….”[•]
These recording sessions are, to use Mike Hennessey’s description, “phantom”:
On December 12th, 1965, I [Hennessey] sent the following report to Down Beat magazine: “The combination of rain-greased roads, French traffic and an unyielding windscreen nearly robbed the world of yet another virtuoso jazz musician on December 3rd.[•] Johnny Griffin, following his regular gig at the Jazzland club in Paris, was making for the Living Room and the Art Simmons Trio at 3 a.m. when the car, driven by his French bassist, Alby Cullaz, ran smack into another vehicle at a road junction. Griffin’s head went through the windscreen. He sustained cuts to the face and neck and was rushed to hospital for stitches to be inserted into a neck wound. His lip was also cut and he was expected to be out of action for at least a week. Drummer Art Taylor, who was also in the car, and Cullaz, escaped with bruises.” That report ended with a reference to a “phantom” Johnny Griffin record session. It noted that on the day before the accident (December 2nd, 1965), Johnny Griffin had been a key man in a recording session for Clover Records featuring the Los Angeles singer, Kitty White…. Pianist Art Simmons had arranged a dozen numbers for the date and, according to my report, musicians taking part included, as well as Johnny Griffin: Dexter Gordon, Nathan Davis, Jimmy Woode and Kenny Clarke…. Conducting duties were reported to be shared between the blues singer, Charles “Big” Jones, and Art Simmons…. To this day, I don’t know what was the source of the information for that news item I sent to Down Beat,[•] but I do know that Johnny Griffin, Dexter Gordon and Hal Singer were not involved in the recording—but tenor saxophonist Nathan Davis certainly was, as he has confirmed to me. Art Simmons is emphatic that Johnny Griffin, Dexter Gordon and Hal Singer were not on the date, but confirms that Big Jones did take part in the session, along with Sonny Grey, Nathan Davis, Jimmy Woode and Kenny Clarke.[•]
The document signed by Art Simmons shows (or purports to show) that three sessions have taken place[•] with the musicians below:
Kitty White, Paris Clover Sessions:
Neither this line-up, nor Leonard Feather’s notes,[•] correctly match the music on the finished disc.
After a short trip to Los Angeles to supervise another dubbing recording[•] session on two songs for the Remind Me album:
Joe Castro Trio, Los Angeles Over Dub Clover Session:
(Chet Burchfield Collection)
(James Castro Collection)
(James Castro Collection)
(James Castro Collection)
(James Castro Collection)
Castro is back in Hawaii to continue his work at The Penthouse, have a session with Laurindo Almeida on Sunday December 19[•], and opens with Anita again, on Christmas day,[•] celebrating the first anniversary of “Jazz Penthouse” along with his own anniversary at the place.
The trumpet of Stu Williamson did not satisfy the producer; it was requested that the tenor saxophone of Teddy Edwards be tried on the two songs of the Remind Me album.[•]
Joe Castro Trio, Los Angeles Over Dub Clover Session:
Kitty White’s original vocals were also not completely satisfactory, as she made or remade her vocals on some of the songs recorded in Paris.[•]
Kitty White, Los Angeles Over Dub Clover Session:
Two days after, with a line up of musicians directed by Eddie Beal, she recorded a new version of a song already recorded in Paris, and included the Clover song, Bossa Nova All the Way, in the project.[•]
Kitty White, Los Angeles Clover Session:
Castro saw his job stopped at The Penthouse when its liquor license was revoked:
John [Poole] continued, “The Penthouse was on the second floor. It had no windows and was open to the street.” One day, the newspaper said, “Residents in the area finally tired of drums and jungle chanters. They presented a 43-signature petition to the Liquor Commission saying the disruptive and excessive amplified noise at the Penthouse went from 2 p.m. in the afternoon to 3:00 a.m. Liquor Commission Chairman, Ambrose Rosehill, revoked their liquor license on January 6, 1966.”
“That was the end of that job. I started sitting in a jam sessions around town to get work. All in all, I think I played every joint in downtown Honolulu. At a jam session at the Clouds, a gay joint at the end of the Waikiki strip, they offered me a job playing for rhythm and blues singer Hadda Brooks who was known as the ‘Queen of Boogie Woogie’ in the 40s. Then I started working for Persian ‘Princess Tana’ who had been the belly dancer in the Paramount picture Alexander the Great. She was about as Persian as my grandmother, but she was talented. She like my playing because I had worked for strippers and followed every move she made. We were a big thing in Waikiki for a while.”[•]
"…There was no work for Anita so she returned to Los Angeles and stayed in John’s old apartment.”[•]
Castro had left Hawaii on January 17.
The DJ copies of the first Kitty White single (Clover C-334 from CL / CLS-1229) are sent to the Clover distributors on January 25 and 26 1966.[•] Clover sought to improve its distribution, and to do that George Jay suggested Peter Brooke attend the N.A.R.M. convention.[•]
At the end of January, Brown filed a lawsuit against Doris Duke and attorneys Harold Hughes and William B. Stephenson in Honolulu,[•] and in the February 5th issue of Billboard magazine,[•] Clover presented a full page advertisement about its artists’ roster and a list of its distributors, but included no product reference numbers.
On February 14, Clover, the former one man operation, added a secretary, Mrs Zimmermann.[•] The monthly operating expense is, at that time, in the amount of $2,982,[•] and Peter Brooke has ideas:
Had a wild idea this morning. Remember we talked about letting me have a project all to my lonesome self?! ...So how about giving it [Hawaiian music] an up-to-date hot-foot by doing an album with the notion that “Hawaii Goes Latin... with Joe Castro”... and do those Hawaiian standards with a Bossa Nova beat and whatever other latin rhythms would fit the individual selection….[•]
After having 1175 DJ copies of her first single (Clover C-334) sent to distributors, Kitty White is once again in studio to re-make her voice on one song of the disc, So Many Beautiful Men (So Little Time).[•]
Kitty White, Los Angeles Over Dub Clover Session:
The same day the Hollywood Reporter reports:
Pianist-arranger Joe Castro has arrived from Honolulu to prepare for his third album release for Clover Records. The record session, set for the next Friday will have 22 musicians, contracted by Al Porcino. The new Beverly Hills based disc firm announces release next week of the Paris-recorded Kitty White album Kitty White, from which a single was released this week So Many Beautiful Men (So Little Time) b/w Say It Isn’t So.[•]
It will not be “next Friday,” but next Wednesday, February the 16th with 17 musicians[•] (seventh Clover project, “the big band album” Funky Blues,[•] unreleased).
Joe Castro Big Band, Los Angeles Clover Session:
Of course Teddy Edwards should have a project on Clover Records, the first one was signed on Tuesday, March 1st,[•] and a first session was recorded the same day[•] (eighth Clover project, “the trombone album” Angel City,[•] unreleased)
Teddy Edwards Tentet, Los Angeles Clover Session:
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
On March 1st, another agreement, the ninth Clover project (four titles, two singles unreleased), a license, was signed between Theodore M. “Teddy” Edwards and Percy M. Thompson, “Stoney,” and Clover Records,[•] the sessions were probably recorded not too long after.
Stoney Los Angeles Clover Session (licence):
The day after, a second session[•] for the Joe Castro big band project was recorded.
Joe Castro Big Band, Los Angeles Clover Session:
(Doris Duke Photograph Collection, 1870-2006, Davis M. Rubenstein Rare Book & Manuscript Library, Duke University)
Another 2009 DJ copies of Kitty White C-334 (the new one with a different vocal on So Many Beautiful Men (So Little Time), and the first 721 copies of Joe Castro C-335 probably were manufactured in February.[•]
Castro went to Tokyo through Honolulu for a week, had a couple of meetings, with executives at Toshiba Records and with Shōichi Yui at Swing Journal. In his diary, there is the same note for three consecutive days: “Five Spot,” which can be an engagement, or jam session, which were featured there in 1966.[•] Castro is back in Honolulu March 14,[•] before he has a telegram or a letter sent to Brooke:
To Ann [Zimmermann]: “Tell Mr. Brooke that Mr. Harris at L.A. Sound was not being able to bring out the piano for more clarity—R.C.A. did it just great! No more business at all for L.A. Sound! 1. Ruined my Quintet session with no bass pick up 2. Ruined Teddy Edwards good take and my dubbing in Remind Me with Miss Duke 3. Ruined mastering on Remind Me and Lord knows what else….”[•]
In Los Angeles, the Clover designer constantly annoyed by his client prefers to throw in the towel,[•] and George Hurrell delivers his publicity photographs.
(James Castro Collection)
(James Castro Collection)
Teddy Edwards, for his part, wanted to record a rock and roll group called The Demons, recording two singles of his compositions, the tenth and last Clover project (four titles, one single C-338 released and one C-339 unreleased). Peter Brooke to Doris Duke:
Teddy Edwards has been in constant touch with me about recording a rock and roll group which he said Joe had okayed for a three-hour session (4 sides) with us. Joe had mentioned that he said okay to us [sic] in a letter to Ann from Tokyo, and Teddy reiterates a direct okay from you on same. I have held off on making any definite arrangements on the proposed recording session pending receipt of word from you.[•]
The fist session was held on March 28,[•] and the agreement was signed the same day.[•]
The Demons, Los Angeles Clover Session:
(James Castro Collection)
(James Castro Collection)
Procedures of the company, the people who operate it, their remoteness, the lack of experience and perhaps the lack of motivation of some, led to a crisis at the end of March. Peter Brooke complained to Doris Duke,[•] got a vehement call from Castro,[•] and he confided to Pete Cooley “in case of a showdown.”[•]
At about the same time, in April, Clover placed advertisements in magazines, and had one new product on the market, the Kitty White album (CL / CLS-1229).[•] One DJ Castro Big Band single from February 16 and March 2 sessions is manufactured (C-337).[•] Although still waiting for its notes from Duke Ellington,[•] the album cover for Joe Castro’s Remind Me is finally approved after a delay probably caused by the rupture with the graphic studio J.Chris Smith, Inc., Design Associates. The cover features a photograph of Joe Castro in Switzerland, probably taken at Saint Moritz during Christmas 1953.
On April 27, The Demons finish their recording project.[•]
The Demons, Los Angeles Clover Session:
Teddy Edwards also finishes his “trombone project” on May 4.[•]
Teddy Edwards Tentet, Los Angeles Clover Session:
2307 DJ copies of the second single of Kitty White, (Clover C-336 from CL / CLS-1229) were manufactured in April.[•]
At the end of April, on Monday 25th, a Special Meeting of the Board of Directors of JODO, Inc. was held at 30 Rockefeller Plaza. Pete E. Cooley, Vice President, acted as Chairman, in the presence of Miss Doris Duke and Mr. Wesley N. Fach, announced:
The purpose of the Meeting was to accept the resignation of Mr. Joseph A. Castro as Vice President and Assistant Secretary, and the resignation of Miss Doris Duke as Director and President, and to elect a new Director and new officers to serve until such time as their successors might be elected.[•]
Castro who was in New York,[•] signed his resignation April 28,[•] and left for Los Angeles, April 29, then went to his parents’ home in Pittsburg. Castro stayed around the Bay, wrote Strayhorn,[•] visiting friends, Anita O’Day at Colony Club in Monterey, May 12,[•] Frank Rosolino who was playing with the John Coppola orchestra in Oakland, May 15,[•] went to Las Vegas and was back in Los Angeles on Thursday, May 26. He notes in his diary: “Clover office, Falcon Lair.” This is during that night, at Falcon Lair, after yet another fight, “It was finished.”[•] On Friday, May 27, Castro has his last session for his big band project.[•]
Joe Castro Big Band, Los Angeles Clover Session:
Joe Castro Big Band, Los Angeles Clover Session:
The day after, Saturday, May 28, he left for Pittsburg, and two days latter, on Tuesday, May 31, 1966 for Honolulu. Castro started at the “remodeled Dipper Lounge at the Clouds Hotel”[•] with Buddy Banks and Howard Carroll, and had Sunday afternoon jam sessions.[•]
On the Mainland, all Clover productions at any stage whatsoever were stopped, the Castro Big Band, the Teddy Edwards “trombone album,” even the album Remind Me’ s cover would never be assembled.[•]
Brooke: Contrary to my first fleeting impression about the content of our Agreement with Teddy Edwards, I now notice that, upon closer examination of said Contract, we do not actually have an obligation as far as pressing and releasing an album with Teddy Edwards is concerned….[•]
Brooke: Upon re-examining our contract with Teddy Edwards for the so-called "trombone album," I was delighted to note that we are not obligated to him beyond the point of production….[•]
Brooke continued to deal with current business, the just manufactured Demons single (C-338):
The first of the two singles by "The Demons" is being pressed right now and should be ready to be shipped out to the d.j.'s by the beginning of next week—just in time for the vacation season. This is the single which contains the new original composition about Catalina, and we are, therefore, also shipping some promotional copies to the Catalina Steamship Line, as well as their bureaus. As to "The Demons," Teddy Edwards has asked us repeatedly to have some portraits taken of the group for publicity purposes. George Jay and I feel that this would be an unnecessary and premature expense since there still will be time for this kind of promotion, if and when the group catches on via our d.j. exposure….[•]
It will be the last effort for a Clover product. In a letter to Castro, Teddy Edwards seems disenchanted: “Jay has sent out promotion copies on Island of Romance.[•] I picked up a box of 25 and started the campaign…. I had a call from Basie wanting me to join him but I don't think I want that….”[•]
Kitty White will receive attention for a few months,[•] Doris Duke urging Peter Brooke for results.
Brooke: Enclosed please find a letter which I received from our promotion man, George Jay, which attempts to spell out the mechanics of our record distribution, in lieu of [sic] Miss Duke's impatience on this matter. I am showing her a copy of this letter when she arrives here tomorrow night, and hope that it will explain that we cannot force any of the stores to order the "Kitty White" album from the distributors without first creating a demand for same. If we had some better known recording stars on our label, we could pressure the distributors into pressuring the stores to order the album alongside a more demanded product. Since at this time, however, Kitty White stands completely alone, the only other alternative to create a demand for her is the personal appearance tour that George Jay suggests in the same letter. I thought I would inform you about this because I anticipate some inquiries as to the albums distribution in your area….[•]
The Kitty White “Little LP” (LCLS-1229) should have been manufactured, the title strip cards and the cover miniatures, 2000 each, from “Star Title Strip Co.,” in Pittsburgh, have been manufactured.[•]
(James Castro Collection)
(James Castro Collection)
Concerning the Anita O’Day single (C-333), we don’t know when it might have been manufactured,[•] and how many were sent to DJs.[•]
A new company was organized to replace JODO, Inc. (a Hawaiian Corporation). Clover Enterprises, Inc. (a California corporation), was incorporated on July 21, 1966. JODO, Inc. accountants made the following recommendation:
In connection with the proposed liquidation of JODO, Inc., and the formation of Clover Enterprises, Inc., it is my understanding that the following steps have been or will be taken: 1. Clover Enterprises, Inc. was incorporated July 21, 1966…. 4. I would recommend at this point, that JODO, Inc. convey its rights in any existing product to Clover Enterprises, Inc. for a nominal sum. In return, Clover Enterprises would assume all liability which may arise in connection with the albums acquired. At the same time, the furniture, equipment and other physical assets of JODO, Inc. could be sold to Clover Enterprises at the existing book value. 5. JODO, Inc. would then be liquidated and a distribution made to the principal. 6. Clover Enterprises, Inc. would begin business operations….[•]
This proposal was not adopted at that time, and for many years JODO, Inc. would not be liquidated.[•]
On his side, Joe Castro fought to keep hold of the JODO, Inc., recording license.
Hughes: He [Castro] states is held by him personally and not by the corporation. He states he does not want any recordings to be made by JODO, Inc, or Clover Records using the existing musicians recording license without first obtaining his prior written consent which consent he appears quite willing to give. He further stated he would write the Musicians Union in New York to this effect.[•]
And Castro was still at the Dipper Lounge for four more weeks.
After the Dipper Lounge, Castro signed with Le Salon Rouge[•] on July 26,[•] with Buddy Banks, and Howard Carroll.
(James Castro Collection)
(James Castro Collection)
On Wednesday, September 28, Eddie Sherman announced in The Honolulu Advertiser: “Honolulu Newsstand Jazz ace Joe Castro weds Loretta Haddad (pianist-singer at the Outrigger Canoe Club) next month….”[•]
A wedding announcement was also on page 8 of The Beckley Post-Herald Raleigh Register Combined Sunday Edition, Beckley, West Virginia, Sunday morning, October 9, 1966, the hometown of Loretta Haddad, on the front page, coincidentally, a tragic news:
The Friday, October 21, 1966 Joseph Armand Castro married Loretta Faith Haddad in Honolulu, Hawaii at St. Anthony’s Catholic Church in Honolulu Kailua, Oahu, Hawaii.
tbc
