Teasing the Korean

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About Teasing the Korean

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  1. Hi TTK, you're okay? Please give a sign of life!

    Best, Mike

  2. Oh, it wont bounce. I promise. BTW, the Blue Note guys play the riff usually over a dominant 7th. Is that chord acceptable?
  3. The diminished chord is still alive. And the check's in the mail.
  4. You are not important enough to kill the diminished chord. But I still love you.
  5. Oh, I TOTALLY disagree. Diminished chords have been out of favor for so long, because of players like you, they now sound hep again. And even if you, Jsngry, are square enough to hate diminished chords, you are probably educated enough to know that they fit over other, "hepper" chords that you may favor. I am one of the few living players who plays the diminished chord in "The Nearness of You." And it sounds great. You realize, of course, that "hep" and "square" exist on opposite sides of a circle, and if you pursue either one far enough, you end up in the territory of the other. But I still love you, though, and I look forward to having your children.
  6. Noirish, Pulpish Standards and Substandards

    Thanks all for the replies, but a lot of the suggestions, respectfully, are not in the category I'm seeking. I have been exploring some of June Christy's early non-LP tracks, and I think there are some great examples there. I will post examples when I spend more time with them.
  7. R.I.P. Annie Ross

    I pulled out my mono LP copies of the first two Columbia LHR LPs, and the balances on these are so much better than on the extreme stereo mixes.
  8. I just played Lee Morgan's The Cooker from 1957, and I did not hear the riff even once. I am assuming that this is because they were still more into a hard bop mode and were not trying to get all Coltraney on us. In truth, I could have missed the riff, but I have been very attuned to picking it up. It was like Chinese water torture on the other albums: I kept bracing myself for the next occurrence, not knowing when it would pop up. I'm sure I will get over this and move on, but this is simply where my head is at these days. Maybe months of self-isolation are taking their toll, but honestly, the LPs and the booze have been treating me well this whole time.
  9. The Story Behind John Cage’s 4’33”

    I LOVE the Muzak corporation, and I LOVE their stimulus progression theory. It is very David Cronenberg.
  10. It often comes off as very studied, as if the players are still trying to work it into their vocabulary. In other cases, it sounds like it is being kept in reserve in case the players run out of ideas, kind of like the way players will throw in a blues lick.
  11. I do too, but geez, I think every soloist on every tune on "Search for the New Land" uses it. I could be mixing that up with another album though.
  12. Lee Morgan, Hank Mobley, and Dex LPs for starters. Next time I here it, I will note the time index.
  13. I've been on a Blue Note jag lately, and I have noticed how common it was for both the horn players and piano players to use that ascending diminished scale riff in their solos. For example, C-Bb-Eb-Db-Gb-E-A-G etc. I realize that this is very common, and a lot of horn players like to use it at the coda of a ballad when they do the rubato thing, but I swear, it is all over the place on the Blue Note albums I'm spinning, circa 1960-1965. Did it get to be an inside joke with the players or something?