JSngry

Stan Getz was already pretty well-know past the hardcore jazz audience, and had been in varying degrees since "Early Autumn" (or so the conventional wisdom has had it ever since I first looked in on it). As far as Ipanema, I was a kid with Top 40 going non-stop, and the thing I most distinctly remembering about it was that !) it was the quietest damn thing on the air, like a Fleetwoods recod on mute; and 2) Astrud, and then Astrud some more. Hearing THAT come out of nowhere on the Top 40 AM radio when you're 9...a bit of a mondfuck. I'm glad Desmond was not on Verve at the time, he'd never have made those sublime records with Jim Hall (and there you go, Jim Hall and Desmond fit like a glove, and good luck getting a hit record out of that, and/although I don't see where RCA even tried)). And as it is, he got his turn with Creed Taylor a bit later, and it was magnificent. I bought that Getz Bossa Nova Years set, and noticed a weird pattern of the records alternating between sublime and cheesy. I'm much more of a Desmond fan than a Getz one, but when Getz was in the good zone, I love it, and when he's not, it's annoying as fuck. And that's true for me of all his records, not just the bossa ones. Wait, hold on,now... Gold record in a day when that meant something! That reminds me...I found a redneck diner (not truck stop, diner, greasy spoon, in Garland, Tx) ca. 1978 that still had "Desafinado" on the jukebox...it was pretty funny (and one time a little scary) what happened to the "ambiance" of the joint when I played it the few times I dared. always late-night. I miss original jukeboxes, the ones that only replaced some of the records, those were fun as fuck, especially the ones with selectors in your booth, so you could select anonymously.

Well, sure. But that's why the damn thing was such a hit. People who didn't know "real bossa" liked it, and there was (and probably still are) a lot more of them in America than those who did.

I'm skimming it now. This is not really a "Miles Davis record", it seems to have undergone some/a lot of post-production(s). The cuts with vocals are the best things on here, actually. Either way, I think they made the right decision originally to abandon the project, and not the best musical decision to revive/rebuild it. Marcus Miller knew how to make a "contemporary Miles Davis record", these guys, not so much, and the rest is history. But if this sells for the estate, hey, build that capital. That's important in a way quite apart from "music". Me, I'll be looking for a cheap used copy at some point, probably, maybe. It's not a bad record, it's just not a particularly necessary one, as released or otherwise. I count 3-4 tunes max that could acceptably (imo) make it into a "real Miles Davis" playlist, if people still do that type of thing.

Desmond's playing didn't have the casual aggression needed to make a Top 40 hit. And I know you're thinking "Take Five", but I've hear it said that what made that a hit was the piano riff, the bridge, and the drum solo. And truthfully, I can't see Getz and Astrud Gilberto working as well as Getz/Astrud, even on a musical level. Desmond was too "smart" for her, not enough contrast.

Nobody was targeting you, dude. Sorry if you took it that way. You're not the only person who can't stand James Carter, far from it. I'm glad you're doing well, seriously. You work hard for it. I do like this new James Carter record, like it a lot. Played it in my car all week, could keep it going for longer, but I got other stuff to get too.

Q.E.D.!

I don't know if Ghost Scientologist Music could - or should - even be attempted, much less made.

This is a DAMN good record.

Indeed. And if not on that site, then on another one talking about Remington, it was noted that at one point in the early days of LPs, classical accounted for 20% of sales. What that says about general market tastes and/or about who were the early-ish adapters to LPs I can't say, but it's a pretty mind-boggling statistic either way. 20%! And this guy figured he could turn a big profit selling classical records. Imagine that!

I found this site yesterday, which goes a long way towards explaining the "mystique", as well as the potential for hype. Main page: http://www.soundfountain.org/rem/dongabor.html Specific label history/etc: http://www.soundfountain.org/rem/dongabor1.html I had not known that Don Gabor was also the guy between Continental, an earlier label of some jazz interest.

I think some guy might want to have a look at this!

Found this on the iPod just now, here we go!!!!!

I'd not get too hung up on too much of anything about that blog post, it's just a deepfan thing dedicated to the Remington label and the people around it. It's correct within itself, I suppose, but I'm not one to take anything like that as coming from a place with a comprehensive world-view, if you know what I mean. What I do find interesting about it is that by all accounts, this Don Gabor guy was all about the price point for his end product. Hardly seems like the type of guy to be "experimenting", but I dunno, maybe he saw marketing value in it at some point?

yeah, well, that pretty much started to suck pretty quickly, so time for some disco.

It's the Afro-Eurasian Eclipse!

I don't mind it, I just think it could be better. It seems a bit on top of the beat to me, I'd like it to lay a litter deeper in the pocket. But it's certainly enjoyable as is.

Butler was already in the UA fold before getting to do blue Note: https://www.discogs.com/artist/251849-George-Butler?limit=500&page=1 1971 seems about right, check this out:

Did you mom do Green Stamps? Mine did.

Perhaps of interest, just found this while researching Remington Records/Don Gabor: https://en.wikipedia.org/wiki/Remington_Records

Are you looking to distinguish between "involved" and "actively involved"?

Modal? Sorta? It's been covered, but it can be done better...