Teasing the Korean

  • Content count

  • Joined

  • Last visited

Everything posted by Teasing the Korean

  1. Ellington During the Recording Ban

    I have tons of Duke's studio recordings from all phases of his career, but have nothing recorded for V discs or radio; and very few live items. In particular, I'm wondering what Ellington is out there dating from the recording ban, which from my understanding runs from August 1942 to late 1944. In particular, I'm interested in tunes or arrangements that weren't commercially recorded before or after, and also any noteworthy soloists working with Duke who were unrepresented or underrepresented on commercial recordings before or after. I prefer CDs, but am open to LPs, of course. Preferably stuff that hasn't been no-noised to death. Feel free to post comprehensive listings, if you have them, but I'd also like to know if there are certain titles that are hands down must-haves. Thanks in advance.
  2. With Strings Jazz Albums

    If we have a thread like this, feel free to link to the other one. Two "With Strings" albums I really like for late night listening are the Sonny Stitt album on Verve, with arrangements by Ralph Burns; and the Phineas Newborn album on RCA with arrangements by Dennis Farnon.
  3. Whither Moms Mobley? With an "O"?

    She stopped posting here several years ago. Before she was Moms Mabley, she posted under another handle that I've forgotten. Anyway, I miss her provocative posts. I hope she is doing well.
  4. Eric Dolphy & the Latin Jazz Quintet

    Anyone know the circumstances behind this session?
  5. This incredible 1962 album is often overlooked in discussions of Shorty Rogers. It is a minor masterpiece of space-age bachelor pad arranging. It is scored for a large ensemble including rhythm, brass, reeds, and strings. The reeds sometimes double on flutes, and vibes are prominently featured within the large rhythm section. Artists include Buddy Collette, Bud Shank, Paul Horn, Emil Richards, and Shelly Manne. It is often a sign of a lazy arranger when soloists are allowed to blow for too long. Here, the focus is on ensemble writing, and improvised solos are mercifully restricted to only 8 or 16 bars at a time. So do yourself a favor, go to your local Goodwill, and see of you can find a clean copy of this LP for 50 cents or a dollar.
  6. Testing the waters to see if there is any interest in this topic among musicians. If you were there, you know precisely what I'm talking about. If so, I would suggest that we leave the names of the universities/professors/students anonymous, to protect the guilty. As I wrote in another thread, I had a scholarship to a highly regarded university jazz program and left. I literally could not listen to jazz for years, and nearly sold all of my jazz LPs. Luckily, I held onto the LPs, but I simply had to get rid of that Smithsonian jazz box set we were required to buy. It was giving off bad vibes. My entry points back into jazz were the Nat King Cole Trio, and my Dad's copy of "TV Action Jazz" by Mundell Lowe. I was cured, all right! ________________________________________ Like George Bernard Shaw, I often spice up my conversation with quotes from my own works. In this spirit, I share this post of mine from another thread: Since this is a jazz list - and in recognition of Lou's passing - I will tell a personal story that has to do with Lou Reed and jazz: In the early 1980s, I was a freshman majoring in jazz at a university that, at the time, had a reputation for being one of the best universities for jazz in the U.S. As a part of my music scholarship, I had to work two hours a week at a desk dispensing keys to practice rooms. I chose a Saturday or Sunday morning slot, probably 10am to noon. I would typically bring my boom box with me. This was not only for listening to music, but - more importantly - to drown out the cacophony of 50 simultaneous readings of 50 different Charlie Parker Omnibook solos creeping through the cracks of 50 practice rooms. One morning only a couple of weeks into the semester, I brought a cassette with "The Velvet Underground and Nico" on one side and "White Light/White Heat" on the other. A student I knew stumbled through the front doors. He was an older student - a junior or senior - who had been assigned something of a leadership role in the freshman/sophomore ensemble in which I was enrolled. He comes to the desk to get a practice room key, and he stops and listens for a minute. He asks, "What is this shit?" I reply, "The Velvet Underground." He listens for a few more seconds, then he says, "Man, you shouldn't be listening to one-chord crap like this, you need to be listening to Wynton Kelly and Red Garland, so you can get that swing feel, not this shit! Why are you listening to this?!?" I just looked at him. This kind of got the semester off to a bad start for me, and became emblematic of everything I hated about the university jazz experience. I ended up leaving and majoring in English at a different university. It was probably four or five years before I could ever listen to a jazz record again, it was that bad. Thank you, Lou Reed.
  7. After Hours with Sarah Vaughan Columbia CL 660

    Is this an actual album or a compilation? Does anyone know who did the arrangements? There are no credits on my copy.
  8. Let's Talk About Gary McFarland Now!

    Well, what are we waiting for? I have most of the albums he was involved with, either as a leader, arranger or producer...And I've got to say, I love them all - the jazz, bossa, and pop albums, equally. Love him or not, he's a pretty unique figure in jazz, at least in the US. He's the only US musician I can think of who could switch from jazz to pop to rock as effortlessly as the Brasilians do. (They are light years ahead of Americans in this regard). What a shame more of his stuff isn't readily available.
  9. TTK's First Organ Groove Record

    When I was a high school student teaching myself about jazz, I used to listen to a local community radio station that played jazz in the evenings. There was one DJ who spun a lot of organ groove stuff, and this was the first time I had ever heard this music. This was ten years after this style had gone out of fashion, and ten years before it would become hip again. I would spend my free time combing the cutout bin at Peaches, and spending my lavish busboy's salary on cheap LPs. This was during a period when Blue Note and Impulse! titles routinely showed up for $1.99 a throw. If I knew nothing about the artist or the style of music, I knew enough to look for certain record labels. So when I came across this LP for $1.99, I knew nothing about it, except that it was on Blue Note, it contained a cover of Aretha Franklin's "Think," and that the dude on the cover looked like a real badass in his pin-striped Nehru jacket. It ended up being the first jazz organ LP I ever bought. Last night, I was mixing cocktails and spinning LPs, and played this album. The opening track is killer, and I remember how much I dug it the first time I played the LP. The drumming on this track is sensational. So, from the first jazz organ LP I ever bought, here is Lonnie Smith performing Hugh Masakela's "Son of Ice Bag:"
  10. Miles Davis & Bill Evans

    Has there been any substantiation or speculation as to why Miles didn't work with Bill Evans after "Kind of Blue?" Bill Evans's playing really creates the mood of that record, arguably to a greater degree than any other single participant. IMHO.
  11. On my stereo copy of John Barry's "Thunderball" soundtrack, it says: Scott Dougherty 12/65 From Mike Bruno For my birthday
  12. 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?
  13. Oh, it wont bounce. I promise. BTW, the Blue Note guys play the riff usually over a dominant 7th. Is that chord acceptable?
  14. The diminished chord is still alive. And the check's in the mail.
  15. You are not important enough to kill the diminished chord. But I still love you.
  16. 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.
  17. Please help TTK compile a list of pulpish, noirish, world-weary, ennui-laden standards and substandards. Musically, these tunes are likely to be downtempo, bluesy, and/or minor key. Lyrically, they likely involve alcohol, coffee, or cigarettes; lost love; late nights; and general feelings of being a loser and feeling isolated within an urban environment. Most of the best examples will likely date from the 1940s or 50s, perhaps extending a decade into either direction. The best examples may include occasional pulpish slang or Cain-esque, Chandler-esque language. If you can imagine music playing at an urban 1940s lunch counter at 4 am while a tough-talking waitress named Doris serves you bacon and eggs with black coffee, you are on the right track. Here are some examples off the top of my head: Black Coffee No One Ever Tells You Cry Me a River Lonelyville Detour Ahead Blues in the Night One For My Baby Angel Eyes Everything Happens to Me All the Sad Young Men It's not an exact science, and there will be tunes that offer more of this than others, but hopefully you get the idea. Thanks in advance, pal.
  18. 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.
  19. 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.
  20. 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.