riddlemay

I still listen primarily to physical discs, namely CDs. Since I like several genres of music, the discs are grouped by genre. All the jazz is in one grouping, all the film scores are in one grouping, etc., etc. Within a grouping, there are subcategory groups. For instance, in the jazz section of my personal Tower Records, discs that are piano-led are in one group. Discs that are guitar-led in another. Discs that are horn-led in another. Big band discs in another. Etc. Within those subcategories, discs are grouped by artist. So, within the piano-led subgroup, all the Bill Evans are together, all the Monks are together, etc. I can find what I'm looking for without too much trouble.

I'd rather see this than Point of Departure. It was a good record!

I find it pretty reliable. It comes up empty some of the time, when you're hearing music that no one in the history of the world has inquired about except you--and sometimes with classical pieces, it will identify the piece correctly but give you an incorrect artist--but it's pretty amazing by and large.

I got this album on Verve's budget label VSP as a teen in the sixties, loved it immediately, and it's been a "desert island disc" for me ever since. Only it was a long time before I knew that it was originally issued as a Ray Brown date. As you can see from the cover, VSP presented it as co-led by Brown and Adderley, with Cannonball getting (slightly) top billing. And changed the title to that of one of the tunes.

I liked his charts for Vikki Carr's early albums, like this one:

I don't get to the Half Price in Skokie very often, but I have fairly recently, and it seemed to me that prices on used CDs the store was selling were not appreciably lower than before. It makes sense that demand for CDs is down, what with streaming, digital downloads, and the resurgence of vinyl. But then you'd think the sales price on used CDs ought to be something more like a dollar. And it isn't.

Wow--I don't remember the Crossroads label (apparently a tiny little division of Columbia) at all! I well remember their budget classical label Odyssey, which had lots of good repertoire in good performances in good sound on good pressings, but not Crossroads. I love the Seymour-Chwast-meets-Peter-Max graphics, too.

In that video (and on the record they're lip-synching to), it's my strong suspicion, just based on sound, that Lani is double-tracked and Karen isn't singing at all. Karen is there because Brasil 66 had two girl singers and it would have looked weird if she wasn't. (And for the additional eye candy.) Karen was a good singer; I just don't think we're hearing her on this cut. But I could be wrong.

Much as I love Sinatra's original recording of Cahn-Van Heusen's "All My Tomorrows" with Riddle's arrangement, I think Costa's arrangement on the remake inspired one of the greatest Frank Sinatra recordings of all time.

Well I'll be. Her husband Artie Schroeck arranged on Jackie and Roy's Grass.

"Now there's a gal who can sing." Except I'd put money on her lip-synching to a session singer who isn't her.

If anyone's using the PayPal link for the first time, don't type a $-sign onto the indicated line on the Organissimo page--just a numeral, including a decimal point followed by zeroes. I kept getting error messages until I figured that out.

Had a good title song written to promote it (not sure if it was used at any point in the film) by Harry Warren and Harold Adamson. Eydie Gorme made a recording of it.