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Cosimo Matassa obituary Cosimo Matassa obituary
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Nobody ever accused the music producer Cosimo Matassa, who has died aged 88, of stealing the limelight. Modest by nature, the producer and owner of J&M Studios in New Orleans never boasted about the role he played in shaping the course of popular music in the mid-20th century. "You've got to remember," he told an interviewer in 2007, "a lot of good musicians made me look good."Nobody ever accused the music producer Cosimo Matassa, who has died aged 88, of stealing the limelight. Modest by nature, the producer and owner of J&M Studios in New Orleans never boasted about the role he played in shaping the course of popular music in the mid-20th century. "You've got to remember," he told an interviewer in 2007, "a lot of good musicians made me look good."
But it was under Matassa's watchful eye, and discerning ear, that the sound of early rock and roll began to form in his studio in the late 1940s. First opened at the back of his appliance and record shop in 1945, J&M was originally intended to be a space for first-timers to cut demos for personal use. It quickly became much more; within five years, Matassa's bustling studio had recorded two songs that often vie for the title of the first rock and roll single, Roy Brown's Good Rockin' Tonight (1947) and Fats Domino's The Fat Man (1950). But it was under Matassa's watchful eye, and discerning ear, that the sound of early rock'n'roll began to form in his studio in the late 1940s. First opened at the back of his appliance and record shop in 1945, J&M was intended to be a space for first-timers to cut demos for personal use. Within five years, Matassa's bustling studio had recorded two songs that often vie for the title of the first rock'n'roll single, Roy Brown's Good Rockin' Tonight (1947) and Fats Domino's The Fat Man (1950).
J&M tapped into the wellspring of musical creativity that existed in New Orleans at the time. The tiny 4.6m (15ft) by 4.8m (16ft) studio played host to the city's finest musicians, often in the early hours of the morning after they had finished late-night sets at clubs throughout the city. Matassa, who had never formally trained as an audio engineer, managed to create a sound that was both visceral and clear, one that captured the vibrant energy of the bands as well as the technical aspects of their performance. J&M tapped into the wellspring of musical creativity in New Orleans. The tiny studio played host to the city's finest musicians, often in the early hours of the morning after they had finished late-night sets at clubs across the city. Matassa, who had never formally trained as an audio engineer, created a sound that was both visceral and clear, capturing the vibrant energy of the bands as well as the technical aspects of their performance.
As word spread, musicians throughout the country travelled to New Orleans to record. Many of these were at the vanguard of the newly developing, and loosely defined, rock and roll movement. Along with Fats Domino's cascade of hits, Jerry Lee Lewis cut his first demo at the studio, Big Joe Turner his version of Shake, Rattle and Roll, and Little Richard his seminal sides Tutti Frutti and Good Golly Miss Molly. Sam Cooke, Ray Charles, Dr John and a host of others passed through J&M early in their careers. As word spread, musicians throughout the US travelled to New Orleans to record. Many of these were at the vanguard of the rock'n'roll movement. Along with Fats Domino's cascade of hits, Jerry Lee Lewis cut his first demo at the studio, Big Joe Turner his version of Shake, Rattle and Roll, and Little Richard his seminal sides Tutti Frutti and Good Golly Miss Molly. Sam Cooke, Ray Charles, Dr John and a host of others passed through J&M early in their careers.
Matassa moved J&M into more spacious surroundings in 1956, then expanded to create four studios in total. Until the early 1970s, most hit records coming out of New Orleans were recorded at J&M and engineered by Matassa. By the time he retired from the industry in the 1980s, his studios had recorded more than 250 nationally charting singles and 21 gold records, and helped to change the face of popular music. Matassa moved J&M into more spacious surroundings in 1956, then expanded to create four studios in total. Until the early 1970s, most hit records coming out of New Orleans were recorded at J&M and engineered by Matassa. By the time he retired in the 1980s, his studios had recorded more than 250 nationally charting singles and 21 gold records, and helped to change the face of popular music.
Born in New Orleans, Cosimo was the son of Sicilian immigrants, John (Giovanni) and Domenica (nee Leto). As a boy he worked in the family's grocery store, situated in the heart of the multicultural French Quarter. Despite being surrounded by music he originally aspired to be a chemist. This took him to the city's Tulane University, although it was a dream that did not last. "About the time I found out what a chemist was," he once quipped, "I didn't want to be a chemist any more." Born in New Orleans, he was the son of Sicilian immigrants, John (Giovanni) and Domenica (nee Leto). As a boy he worked in the family's grocery store, situated in the multicultural French Quarter. He originally aspired to be a chemist. This took him to the city's Tulane University, although it was a dream that did not last. "About the time I found out what a chemist was," he once quipped, "I didn't want to be a chemist any more."
Unsure of what to do next, Matassa followed in his father's footsteps and became involved with the jukebox business. Technologically astute, he soon moved from selling records that his father's grocery store discarded to making his own. He bought his first recording equipment in 1945 and began recording local acts later that year. Unsure of what to do next, Matassa followed in his father's footsteps and became involved with the jukebox business. Technologically astute, he soon moved from selling records that his father's grocery store had discarded to making his own. He bought his first recording equipment in 1945 and began recording local acts later that year.
Matassa's skills lay in the studio, something that was driven home with a short-lived experiment as a record-label owner. In order to compete with national labels signing New Orleans talent he created Dover Records in the 1960s. It quickly folded. He later said he did not have the hard-nosed approach to succeeding in that particularly cut-throat aspect of the music industry, estimating his losses at somewhere around the $200,000 mark. Matassa's skills lay in the studio, something that was driven home with a short-lived experiment as a record-label owner. To compete with national labels signing New Orleans talent he created Dover Records in the 1960s. It quickly folded, losing about $200,000.
Still, he was never bitter. The last three decades of his life were spent back at the family's French Quarter grocery, where he was often found chatting with customers about J&M records and New Orleans music. The original J&M studio was designated a historic landmark by the state of Louisiana (1999) and a historic Rock and Roll Landmark by the Rock and Roll Hall of Fame and Museum (2010). Matassa himself was inducted into the Louisiana Music Hall of Fame in 2007 and, after years of representations from New Orleans musicians, the Rock and Roll Hall of Fame in 2012. The last three decades of his life were spent back at the family's French Quarter grocery, where he was often found chatting with customers about J&M records and New Orleans music. The original J&M studio was designated a historic landmark by the state of Louisiana (1999) and a Rock and Roll Landmark by the Rock and Roll Hall of Fame and Museum (2010). Matassa himself was inducted into the Louisiana Music Hall of Fame in 2007 and, after years of representations from New Orleans musicians, the Rock and Roll Hall of Fame in 2012.
In interviews, he was reluctant to put his success down to any technical flair or studious approach. For him, it all came from the musicians he deemed himself lucky to record. "It didn't take much to get them [the musicians] to sound good," he told radio station WGBH. "I was really trying to make them sound like they sounded." He did not put much thought into the future value of what he recorded at the time. To him, he was simply doing his job. "I had no idea those records would be so historic," he told USA Today in 2009. "I was just trying to make a living." He was reluctant to put his success down to any technical flair. For him, it all came from the musicians he deemed himself lucky to record. "I had no idea those records would be so historic," he told USA Today in 2009. "I was just trying to make a living."
Matassa and his wife, Jennie (nee Maggio), were married for 65 years until her death in 2009. He is survived by three sons, seven grandchildren and eight great-grandchildren.Matassa and his wife, Jennie (nee Maggio), were married for 65 years until her death in 2009. He is survived by three sons, seven grandchildren and eight great-grandchildren.
• Cosimo Vincent Matassa, music producer, born 13 April 1926; died 11 September 2014• Cosimo Vincent Matassa, music producer, born 13 April 1926; died 11 September 2014