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Teasing the Korean

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Everything posted by Teasing the Korean

  1. Listening to Walter Wanderley's When It Was Done on CTI/A&M, and this drum hit is all over the place on this album.
  2. Walter Wanderley - When It Was Done (CTI, stereo)
  3. I personally do not care for Bruce's songs, and his voice did not blend as well with the others. I share your enthusiasm for most of Sunflower and most of Surf's Up.
  4. He is listed as one of the five - yes, five - writers of "Sail On, Sailor." He also did a string arrangement on one track, and is credited with being an auxiliary musician.
  5. While I typically do not listen to today's "rock" music, I am spinning The Beach Boys' Sail on Sailor box set, focused on the Holland/Carl and the Passions era. One of my favorite periods, in part because the Bruce wasn't there. Haz. 🤙
  6. My wife has been in public/community radio for her entire career, and things are getting very "conservative" - and moderators, that's a lower-case "c" conservative, to clarify - in terms of what is allowed on the radio. Ironically, these kinds of public/community stations were created decades ago specifically to escape the rigid guidelines of what was permissible on commercial radio. One of her counterparts at another public/community station told her that National Lampoon, Monty Python, and Firesign Theatre were all banned from his station. Every year on her annual Christmas show, Ms. TTK plays a version of "Baby, It's Cold Outside," and every year, someone calls to complain. In the meantime, that same station hosted a Rolling Stones tribute event, in which various bands played such enlightened tunes as "Brown Sugar" and "Stupid Girl," which must be more offensive to some than Loesser's standard. So, the point is, everyone at these stations seems willing to find a sacrificial lamb to demonstrate their adherence to "principles of community," but they have zero formal guidelines about where the lines are drawn. No one would dare to ban the Stones, because the aging hippies would all have strokes.
  7. Here's an easy solution: Just as cable shows will put a card at the beginning reading, for example, "contains smoking, nudity, violence," etc., why not add "racist language" when applicable?
  8. One of the characteristics of any Cole Porter tunes is that, if a tune is in AABA form or a similar extended form, there are subtle melodic variations between the A sections, and singers and instrumentalists will often get these wrong. I just heard Eartha Kitt's version of "Let's Do It," and she sings most or all of the A sections with the melody from the final A section. Similarly, Esquivel misses some of the variations in the A sections of "Begin the Beguine." I'm sure there are many other examples, but these two come to mind.
  9. Agree. I really hate, though, the title song as sung by that kid in an overwrought manner. I always skip it, and I don't think the kid ever did anything else. I'm guessing his inclusion was done as a favor to someone. In the Heat is marred by some unfortunate hee-haw tunes, easily skipped if you have the CD version, but otherwise is pretty solid, ranging from R&B-ish stuff to dramatic jazzy. Mirage is the most Mancini-ish, at least the LP version is, especially with the vocal chorus singing the main theme. "Shoot to Kill" on that album is fantastic.
  10. I wonder if Dean Martin was influenced by Frankie Laine. Hearing these videos posted above, I hear some similarities. I think Dino is a better singer than Frankie, although Dino recorded at least as much schlock as Frankie did, maybe even more so.
  11. Allen Lowe Allen Jay Lerner and Frederick Loewe
  12. What do you think of Q's mid-60s jazz or pseudo-jazz scores? In particular, I am thinking of: The Pawnbroker Deadly Affair Mirage The Slender Thread In the Heat of the Night But also not limiting it to these, either. These albums/scores, along with those by Kenyon Hopkins and Lalo Schifrin from this period, really form the basis of US jazz scoring from this period, and went a long way toward shaping the aesthetics of TTK. I also love the concentric circle designs used on four of the five albums I listed.
  13. Glad you picked it up! I think I like the side with the four stand-alone tunes even more than the side with the suite, though I like the whole album.
  14. I love John Williams' 1950s session work, in particular: Stanley Wilson - M Squad (RCA) Henry Mancini - Peter Gunn, Combo! (RCA) Robert Drasnin - Voodoo (Tops) Les Baxter - Jungle Jazz (Capitol) Of course, playing music written by such fantastic arrangers often brings out the best in musicians.
  15. I don't know how old everyone is, but it is my understanding that age-related hearing loss has to do with the neural pathways between the ear and brain, and not with the ear itself. Can hearing aids do anything for this?
  16. Today I was asking Alexa to play some jazz, and a very nice piano trio version of "Georgia on My Mind" came on. I stopped what I was doing and listened. After the first chorus, an alto sax came in, and I knew immediately that it was Paul Desmond, and I knew that this must have been the version from the Brubeck Gone with the Wind album on Columbia. When I was a kid, I borrowed this album from our family friend Bob Davis, who had been in the jazz vocal group the Honey Dreamers. (Bob also lent me Jazz Impressions of Japan.). That version of "Georgia" captivated me as a 13-year-old. Over the years, I have accumulated a reasonable amount of Brubeck albums, but I don't think I've heard that particular LP since I was a teenager. Interesting that it made an impression on me then, and that I sat up and took notice hearing the tune out of context, decades later. Bob Davis sadly died when I was about 16 or 17. I inherited from him a thin black necktie dating from the early 1960s. I wore it for decades, and at some point, it got lost. I never understand how neckties get lost, but it happens. It still makes me sad when I think about this. EDIT: The other thing I remember about that album is Paul quoting "St. Thomas" in his solo on "Gone with the Wind."
  17. When I was living in Beantown and getting serious again about jazz, many years after my horrible university jazz experience, I got on Charlie Banacos's waiting list, which was around 2 to 3 years at that point. But I wanted to start studying with someone while I was waiting. I was told that George Russell, Jr. at NEC was taking students. I thought, "Wow! I can study the Lydian Chromatic Concept with George Russell's son!" But it turned out that he was not the son of THE George Russell. What are the odds? You have the same name, play piano, and teach at NEC! Anyway, I never studied with him. Now I'm beginning to worry that maybe I was studying with the wrong Charlie Banacos also! 🤪
  18. The first of those three was pretty good. I did not care for the other two.
  19. He lived to age 93. I think I had an LP he did with Legrand, but I unloaded it. He wound up doing a lot of C&W stuff by the late '50s/early '60s. I never really got a handle on him, and what little I heard over the decades did not necessarily inspire me to. I was surprised to learn that he co-wrote the standard "We'll Be Together Again."
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