Contents
Albert Grossman Net Worth
How rich is Albert Grossman? For this question we spent 16 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Producers
Total Net Worth at the moment 2024 year – is about $12,7 Million.
Youtube
Biography
Albert Grossman information Birth date: May 21, 1926 Death date: 1986-01-25 Birth place: Chicago, Illinois, USA Profession:Producer, Miscellaneous Crew Education:Roosevelt University Nationality:American Spouse:Sally Grossman
Height, Weight:
How tall is Albert Grossman – 1,75m.
How much weight is Albert Grossman – 69kg
Photos
Wiki
Albert Bernard Grossman (May 21, 1926 – January 25, 1986) was an American entrepreneur and manager in the American folk music scene and rock and roll. He was famous as the manager of many of the most popular and successful performers of folk and folk-rock music, including Bob Dylan, Janis Joplin, Peter, Paul and Mary, The Band, Odetta, Gordon Lightfoot, and more.
Biography,Albert Grossman was born in Chicago on May 21, 1926, the son of Russian Jewish immigrants who worked as tailors.[citation needed] He attended Lane Technical High School and graduated from Roosevelt University, Chicago, with a degree in economics.[citation needed]After university he worked for the Chicago Housing Authority, leaving in the late 1950s to go into the club business. Seeing folk star Bob Gibson perform at the Off Beat Room in 1956 prompted Grossmans idea of a listening room to showcase Gibson and other talent, as the American folk-music revival movement grew. The result was the Gate of Horn in the basement of the Rice Hotel, where Jim (later Roger) McGuinn began his career as a 12-string guitarist. Grossman moved into managing some of the acts who appeared at his club and in 1959 — including an eighteen years old Joan Baez, who got her first major break with him —, he joined forces with George Wein, who had founded the Newport Jazz Festival, to start up the Newport Folk Festival. At the first Newport Folk Festival, Grossman told New York Times critic Robert Shelton: The American public is like Sleeping Beauty, waiting to be kissed awake by the prince of folk music.Because Grossman was committed to commercial success for his clients, and was frequently surrounded by socialist enthusiasts of the American folk-music revival, his manner could generate hostility. This hostility is illustrated by this description of Grossmans presence in the Greenwich Village folk scene by Dylan biographer and critic Michael Gray: He was a pudgy man with derisive eyes, with a regular table at Gerdes Folk City from which he surveyed the scene in silence, and many people loathed him. In a milieu of New Left reformers and folkie idealists campaigning for a better world, Albert Grossman was a breadhead, seen to move serenely and with deadly purpose like a barracuda circling shoals of fish.In 1961, Grossman put together Mary Travers, Noel Stookey, and Peter Yarrow as the folk group Peter, Paul and Mary. They quickly achieved success when their eponymous first album entered the Billboard Top Ten in 1962. The group had been avidly pursued by Atlantic Records, who were on the verge of signing them when the deal inexplicably fell through. The group signed with Warner Bros. Records instead and Atlantics executives later discovered that it was because music publisher Artie Mogull had introduced Grossman to Warner executive Herman Starr, from whom Grossman was able to extract an unprecedented deal that gave the trio complete creative control over the recording and packaging of their music. Over the course of his career, Grossmans client list included Todd Rundgren, Odetta, Peter, Paul and Mary, John Lee Hooker, Ian and Sylvia, Phil Ochs (early in his career), Gordon Lightfoot, Richie Havens, The Pozo Seco Singers, The Band, the Electric Flag, Jesse Winchester, and Janis Joplin.On August 20, 1962, Dylan signed a contract which made Grossman his manager. Grossman also extended hospitality to Dylan at his home in Woodstock in upstate New York. Dylan liked the area so much he purchased a house there in 1965. The cover of Dylans album Bringing It All Back Home was photographed at Grossmans home in Woodstock. The woman in the cover photo with Dylan, in the red trouser suit, was Grossmans wife, Sally. Having returned to Woodstock at the end of his 1966 World Tour, Dylan was on his way home from Grossmans house in West Saugerties when he suffered the motorcycle accident that precipitated his eight-year withdrawal from touring.When managing both Bob Dylan and Peter, Paul and Mary, Grossman brought the trio Dylans song Blowin in the Wind which they promptly recorded (on a single take) and successfully released.In his autoBiography, , Chronicles: Volume One, Dylan describes first encountering Grossman at the Gaslight cafe: He looked like Sydney Greenstreet from the film The Maltese Falcon, had an enormous presence, always dressed in a conventional suit and tie, and he sat at his corner table. Usually when he talked, his voice was loud like the booming of war drums. He didnt talk so much as growl.When Bob Dylan was about to perform at the Isle of Wight Festival in August 1969, English critic Michael Gray asked Grossman about the rumor that The Beatles might appear on-stage with Dylan. Grossman replied, sotto voce: Of course the Beatles would like to join Bob Dylan on stage. I should like to fly to the moon. The contracts between Dylan and Grossman were officially dissolved on July 17, 1970, prompted by Dylans earlier realization that Grossman had taken 50% of his song publishing rights in a hastily signed contract.When Grossman signed Janis Joplin and her four bandmates from Big Brother and the Holding Company in 1967, he told them he would not tolerate any intravenous drug use, and all five agreed to abide by the rule. When he discovered, in the spring of 1969, that Joplin was injecting drugs anyway, he did not confront her. Instead, in June 1969 he took out a life insurance policy guaranteeing him $200,000 in the event she died in an accident. His yearly premium was $3,500.On October 4, 1970, Grossmans most famous remaining client, Janis Joplin, died suddenly from a heroin overdose. Grossman refused to speak about her death to journalists or colleagues in the music business, leaving his employee Myra Friedman to handle the phone calls that flooded their office. According to Joplin biographer Ellis Amburn, Grossmans feelings about the loss of his most valuable client are not known.[11] What is known is that in 1974, by which time his only living clients were the members of The Band, he kept busy with Joplins legacy. The San Francisco Associated Indemnity Corporation challenged him on his collection of $200,000 from his life insurance policy, which led to a bizarre civil trial in the spring of that year, covered by the New York Post, in which the insurer tried to prove that the singers death was a suicide, not an accidental overdose as had been determined by Dr. Thomas Noguchi. Grossman testified that he had never known the extent of Joplins substance abuse when she was alive, and that he secured the accidental death policy with air crashes in mind.[12] He won the case and collected $112,000.[13] In 1974 he also assisted Howard Alk with the creation of the feature-length documentary Janis, locating and using black and white film footage in which the singer says she is satisfied with Grossman as her manager.[14]In 1969, Grossman established the Bearsville Recording Studio near Woodstock, and in 1970 he founded Bearsville Records, which evolved from his brief partnership with the Ampex company to establish a record label of the same name. Although that venture was short-lived – Todd Rundgrens debut solo album Runt was one of its few successful releases – this soon led to the establishment of Grossmans own Bearsville Records label, which was originally distributed through Ampex, and then by Warner Bros. Records. As well as Rundgrens solo recordings and those of his band Utopia, the label also recorded acts including Jesse Winchester, Foghat, Gil Evans, Paul Butterfield, Sparks, Felix Cavaliere, Randy Vanwarmer, Lazarus, Jesse Frederick, Roger Powell, NRBQ and The dBs. Rundgren had signed a management contract with Grossman soon after leaving his original group Nazz and during the early 1970s he worked extensively on record production projects, either for the Bearsville label or for Grossmans other clients. It was Grossman who recommended Rundgren to Robbie Robertson of The Band as the engineer on an album by Jesse Winchester, which in turn led to Rundgren working on The Bands third LP Stage Fright. Rundgren also worked briefly on the early Pearl sessions with Janis Joplin, but these came to nothing and the project was subsequently taken over by Paul A. Rothchild. The Bearsville label continued into the early 1980s, folding in 1984, two years before Grossmans death. Bearsville Studios became Rundgrens recording base through the late 1970s and 1980s and was used by a slew of top-line American and international acts.DeathGrossman died of a heart attack on January 25, 1986, while flying on the Concorde, aged 59. He was en route to London and was planning to make a trip to Cannes, France to attend a music convention.[15] He is buried behind his own Bearsville Theater near Woodstock, New York.[16]
Summary
Wikipedia Source: Albert Grossman