Riverside Records was an American jazz record company and label. Founded by Orrin Keepnews and Bill Grauer, Jr, under his firm Bill Grauer Productions in 1953, the label played an important role in the jazz record industry for a decade. Riverside headquarters were located in New York City, at 553 West 51st Street. History Initially the company was dedicated to reissuing early jazz material drawn from the issues of the Paramount and Gennett and Hot Record Society (H.R.S.), labels among others. Reissued artists included Jelly Roll Morton, King Oliver, Ma Rainey, and James P. Johnson, but the label began issuing its own contemporary jazz recordings in April 1954, beginning with pianist Randy Weston. In 1955 the Prestige Records contract of Thelonious Monk was bought out and Monk was signed by Riverside, where he remained for the next five years. During the next few years, Cannonball Adderley, Bill Evans, Charlie Byrd, Johnny Griffin, and Wes Montgomery made substantial contributions to Riverside's catalog. Most new records were produced by Keepnews, who served as creative head of the label and several subsidiaries, such as Jazzland Records, with Grauer directing the company's sales and business operations. Judson was another subsidiary label which mainly concentrated on musical genres other than jazz. Riverside offered an extensive folk catalog, including traditional performers like Bascom Lamar Lunsford, Obray Ramsey, and George Pegram and Walter Parham; and folk interpreters like Ewan MacColl, Jean Ritchie, Paul Clayton, Billy Faier, Oscar Brand, Cynthia Gooding and Bob Gibson. In 1956, Bill Grauer recorded, produced and edited the racing sounds of the Florida International Twelve-Hour Grand Prix of Endurance, Riverside Records RLP 5001. The record also contains interviews with Stirling Moss, Juan Manuel Fangio and other racing drivers. Living Legends In 1960–61 Riverside produced an acclaimed series of albums featuring jazz and blues veterans such as Jim Robinson, Sweet Emma Barrett and Alberta Hunter. The objective was to record musicians before their artistry was lost forever. Many were no longer active and their union memberships had expired. Recognizing the importance of the project, the American Federation of Musicians suspended the rules. This "Living Legends" series was initially recorded in New Orleans. Later sessions were recorded in Chicago. The sessions took place at Societé des Jeunes Amis Hall, built in the 1800s. According to the producer, Chris Albertson, the hall was a "Creole fraternal headquarters and it proved to have every advantage over a