felser

I think same comment would fit for any of those years, just substitute the album from that year and the key songs from the album. I was still hearing them on both AM and FM radio into the early/mid-70's. But as Jim pointed out, it would very possibly depend which songs he was playing by them.

Will pick up that Myers book, thanks for the heads-up!

Yep. For that matter, you can go back even way earlier (pre-"Pet Sounds") in the Beach Boys recordings and find plenty that ain't the basic sound you think it is. And a lot of interesting stuff on "Wild Honey", "Friends", "20/20","Sunflower", and "Surf's Up" (especially the gorgeous title track from the last one, which was the centerpiece of "Smile". Also, understood on "Cabinessence" and "I Went To Sleep", which would never make sense as radio fodder. Although neither did a lot of things back then. I mean, I heard this on WEBN in Cincinnati ca. 1968:

Interesting. Beach Boys were consdidered AM/FM credible in 1969 with the 20/20 album and "Do It Again", "I Can Hear Music", and "Bluebirds Over The Mountain" from that album.

that's a great cut. Love both her version and Dionne Warwick's, and they are so different from each other's versions (just as they were both wonderful but very different signers).

Good and bad, I define these terms Quite clear, no doubt, somehow

To me, this is one of the seminal recordings in the history of music. Staggering talent that hits on all cylanders on this, glad she escaped Columbia and found Jerry Wexler/Rick Hall/Muscle Shoals.

I wouldn't be so sure of the legitimacy, at least in the case of Sun Go with the collections on Varese or Rhino. I'd choose the Varese for later vintage/mastering and many more cuts: https://www.amazon.com/Complete-Sun-Sessions-Roy-Orbison/dp/B00005LNGM/ref=pd_sbs_15_1?_encoding=UTF8&pd_rd_i=B00005LNGM&pd_rd_r=4620f90b-9da9-11e8-8a22-f3d4eee18e06&pd_rd_w=iB5Wk&pd_rd_wg=hA8Ne&pf_rd_i=desktop-dp-sims&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=8702255303818932494&pf_rd_r=SE5V9T6JVFRCWSFZCC1E&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=SE5V9T6JVFRCWSFZCC1E

Not that I can think of. Then Matthews pushed it towards the disco dance floor. And I don't dislike good disco, but his weren't that...

I basically agree, though even the Bob James-era ones were notably better than the David Matthews-era ones that followed.

Yeah, some of those early album covers (the Deodato Prelude was a favorite along with the Jackson) were awesome, but some were, shall we say, a bit twisted (looking at you, Stanley Turrentine's Sugar). But they were all attention-getters, for sure.

There are really a few eras of CTI. the A&M era, the standalone label when Sebesky was the main musical guy, the brief time when Bill James was, and the David Matthews era. My deep affinity is for the Sebesky era in the early 70's. Freddie Hubbard had a bunch of wonderful albums on the label such as "Red Clay", "Straight Life", "First Light", "Sky Dive", and "Keep Your Soul Together" Turrentine's "Sugar", Milt Jackson's "Sunflower", Jim Hall's "Concierto", "Beyond The Blue Horizon" "Body Talk", and "White Rabbit" by George Benson, Weston's "Blue Moses" are all pretty great, and there are lots of other good to excellent recordings. Hubert Laws early work, Airto's "Fingers" and "Free". Some of the Ron Carter records. And plenty more, as well as the Kudu label recordings with

"Moon Germs" is really good. To me, basically the equal of "Outback" and ahead of the first one (though there's no denying the greatness of "Follow Your Heart").

No, I don't truly "enjoy" any of them, but I stand in fascinated awe of them in a certain sense (like watching a car crash), so am more likely to listen to them than to a bland, well-played-by-the-numbers mainstream date from the past 35 years. Does anyone really "enjoy" Plan 9 From Outer Space? Or make any claims to it being anything other than awful? I even own the Coltrane and the Byrd (though the Byrd was just the cost of business to get the attached Grant Green/Larry Young album on the Verve CD).

If they don't like Jackie, what are the chances they even know who Rene is? That being said, they are very different musicians. Maybe a Woody Shaw fan somewhere fills the bill, as Shaw played with both of them.

There is good commercial and bad commercial jazz. My collection is chock full of really good CTI albums featuring brilliant Don Sebesky arrangements, 70's John Klemmer albums like 'Touch' and 'Barefoot Ballet', plenty of Joel Dorn Atlantics, etc. The McLean is horrid commercial, and a desecration to McLean. The cover alone is reason enough, but here's a sample:

I give a second on Parker, who has done some phenomenal work in recent years,

Really interesting comment. On the one hand, I get it and it's great insight and an appropriate reminder. On the other hand, a list like that is an aggregate of tastes and sensibilities, and mine are as valid as anyone else's. I had a friend (since deceased, died at a 29 from leukemia) who was a bass player. He "liked" jazz, but was a classical guy, at times subbing for the Philly orchestra. I played him Mingus's Atlantic-era "Haitian Fight Song" because to me, that is as expressive and wonderful as bass playing gets, and he found Mingus's work ugly and horrifying. So you never know. I get, in theory, what LaFaro was doing, but it's never really grabbed me (I have all those Evans recordings, of course, because I'm supposed to, but when I want to hear Evans, I generally pull out "Everybody Digs Bill Evans" with Sam Jones and Philly Joe Jones). I guess it's really a matter of musical choices rather than "right" or "wrong". I love the acrobatics of Stanley Clarke on the RTF albums, but that is certainly going to be offfensive to a purist view. Yet I much prefer Miroslav Vitous (and Alphonso Johnson, for that matter) to Jaco with Weather Report. Reggie Workman grabs me much more than Jimmy Garrison, but I don't question that Garrison was the right bassist for Trane, giving the music what it needed. My friend Ruth Naomi Floyd has had Ed Howard, Kevin Bruce Harris, Reggie Washington Charles Fambrough and Tyrone Brown (love his playing) play in her groups, but the bassist that works the best for her music is a relatively lesser-known guy named Matthew Parrish.

Billy Harper - Capra Black? Charles Tolliver - The Ringer? McCoy Tyner - Sahara?

When I first started buying the BN CD's, I cut out the pictures from some of the longboxes and hung them on the wall of my office cube. Still have them in a file folder - Art Blakey's "Ritual", Mobley's "No Room for Squares", Andrew HIll "Point of Departure", Lou Donaldson Quartet/Quintet/Sextet, Bobby Hutcherson "Dialogue", Grant Green "Grantstand". Herbie Hancock "Maiden Voyage" (heh heh), and Sonny Rollins, Vol, 2. Hope I didn't destroy valuable collectors items Almost - need to talk 'em up on the Hoffman site, where every version of every CD ever issued is a rare collectors item... I was in London for a few weeks in '91, where I went on a bit of a buying frenzy. At the stores there , they didn't even seal the new CD's, let alone put them in long boxes. They would keep the discs behind the counter, and you'd bring the jewel case up to the counter. Don't remember if that is how they did it at the big Tower Records on Piccadilly Circus, but that is definitely what the smaller stores in Ealing were doing.

What I really wanted was a vintage Applause label bad needledrop CD of it with fake cover, but that one didn't make the series.