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By By March 7, 2015 Orrin Keepnews, who produced many influential jazz recordings in the 1950s and 1960s on his independent record label and who later won four Grammy Awards for his meticulous work in reissuing collections of classic jazz, died March 1 at his home in El Cerrito, Calif. He died one day before his 92nd birthday. His wife, Martha Egan, confirmed the death but declined to provide a specific cause. Keepnews, who once said he had “not the faintest inkling of musical talent,” was a co-founder of Riverside Records, which was among the leading jazz labels of its time, along with Blue Note and Prestige. He produced seminal recordings by Thelonious Monk, Cannonball Adderley,, and Wes Montgomery, among others. He kept working well into his 80s, launching other jazz labels and reissuing multidisc sets by Monk, Duke Ellington, Fats Waller, Benny Goodman and other jazz giants. In 1948, when Mr.

Keepnews was managing editor of the jazz magazine Record Changer, he wrote an early profile of Monk, an eccentric composer and pianist who was not widely known at the time. Keepnews wrote, should be considered the logical successor to such groundbreaking pianist-composers as Jelly Roll Morton and Ellington.

A few years later, Mr. Keepnews paid $108 to buy out Monk’s contract with the Prestige label. The albums that Monk recorded for Riverside cemented his reputation for striking originality. Some of Monk’s best-known tunes, including and, were written for Riverside recordings. Another composition, proved so daunting for Monk, Sonny Rollins and other first-rate musicians that they could not get through the song in a single take.

Keepnews salvaged the tune by splicing together the final version from several incomplete studio versions. Twilight On Crackle. “My real education as a producer was my work with Thelonious,” Mr. Keepnews told the New York Times in 1985. “After producing Monk, I figured I could produce anybody.” As a producer, Mr. Keepnews told the San Francisco Chronicle, his job was “to provide the best possible environment in which the musicians could express themselves.” The support he offered could take unexpected turns. One of the musicians he discovered in the 1950s was pianist Bill Evans, whose early and most noteworthy albums appeared on Riverside.

Evans had a subtle, introspective musical approach that influenced jazz for generations, but he was also a heroin addict. Keepnews occasionally paid him in advance, knowing full well how the cash would be spent. “People say to me, ‘Why couldn’t you refuse him?’ ” Mr. Keepnews told the New Yorker in 2001. “Look, he was going to find the money, junkies do, and I wasn’t worried about him mugging someone in an alley. I was worried about him owing money to someone who would break his fingers if he didn’t pay it back. So I advanced him money, and I refuse to think that I was doing anything wrong.”.

Orrin Keepnews was born March 2, 1923, in New York City. His father was a social worker; his mother was a teacher. He graduated from Columbia University in 1943, then served with the U.S. Army Air Forces during World War II as a radar operator aboard bombers in the Pacific — “which made a lifelong pacifist out of me,” Mr. Keepnews later said. He then worked for several years in book publishing while editing Record Changer on the side.

In 1953, he and a college friend, Bill Grauer, launched Riverside Records. The company folded soon after Grauer died in 1963. Three years later, Mr. Keepnews and musician Dick Katz launched another jazz label, Milestone, and recorded such well-known performers as McCoy Tyner, Joe Henderson and Lee Konitz.

After selling the label to Fantasy Records in 1972, Mr. Keepnews moved to California, where he produced reissues for Fantasy. He founded another short-lived jazz label, Landmark, in 1985 and also directed reissue programs for several labels. He won Grammy Awards for best historical album for 1986’s “Thelonious Monk: The Complete Riverside Recordings” and for “The Duke Ellington Centennial Edition: The Complete RCA Victor Recordings (1927-1973),” released in 1999.

Keepnews received two other Grammys for writing liner notes. A collection of his jazz writings was published in 1987, and he was named a 2011 Jazz Master of the National Endowment for the Arts. His first wife, the former Lucile Kaufman, died in 1989 after 41 years of marriage. Survivors include his second wife, Martha Egan, of El Cerrito, Calif.; and two sons from his first marriage, Peter Keepnews and David Keepnews, both of New York.

Of the hundreds of albums that Mr. Keepnews produced, two of the most notable were recorded on the same day. On June 25, 1961, Mr. Keepnews set up a tape recorder at the Village Vanguard, the venerable New York jazz club, to record the afternoon and evening performances of Evans and his trio. Was quickly followed by both of which have endured as jazz classics. Silverware and glasses can be heard in the background as Evans’s trio — with Scott LaFaro on bass and on drums — performs original tunes and standards with a lithe, sometimes profound grace.

“If you are vulnerable to this music,” New Yorker journalist Adam Gopnik wrote in 2001, “you are completely vulnerable to it. Bill Evans has no casual fans. After that afternoon, his name became synonymous with a heartbreak quality that is not like anything else in music.” The albums took on added poignancy because they marked the final time the Evans trio would be together. Ten days after the Vanguard appearance, 25-year-old bassist LaFaro was killed in a car accident. Evans did not play again in public for months. When he returned to the studio, he had written an elegiac composition, that is often interpreted as a tribute to LaFaro. Looked at more closely, the title reveals itself as an anagram for Orrin Keepnews.