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Teasing the Korean

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Posts posted by Teasing the Korean

  1. In another thread several years back, I posted a pic of our LP shelving, which runs across a long wall, floor to ceiling.  It was built with white modular stackable shelving that Home Despot used to sell, and I secured it to the walls to prevent buckling.

    When we got it set up, we had a couple of empty cubes.  I said to my wife, "That's as far as we go.  Anything that doesn't fit in here, we have to make room by getting rid of something else."

    My wife had a day gig at a radio station, and also has a show there.  She kept all of the LPs and CDs that she spins on her show in her office.  I knew the day would eventually come when she would have to bring those records and CDs home.  

    Well, that day came.  She recently got a new job, working remotely, and we lugged home hundreds of LPs and CDs.  And keeping true to my word, we are going through the LPs, unloading duplicates (in most cases; I have to keep two copies of Serge Gainsbourg's "Je'taime"), and unloading the dogs.

    I am being pretty brutal, but nowhere near as brutal as I could be.  There are certain things that I simply can't get rid of, even for a single track.  For example, I have a rare late-60s religious "rock" musical that is almost all terrible, except it has this one wild hallucinogenic sitar-and-tablas  track.   

    We are having the sale in the first weekend in November.  It will be interesting to see what "vinyls" the kids are buying these days.

    Also, there will be almost zero jazz, aside from a very trashed copy of Alligator Bogaloo, Johnny Hodges' Don't Sleep in the Subway, and doubles of some jazzy Mancini soundtracks.  I can't really part with any jazz, at least not yet. 

  2. This was an incredibly prolific period for Morricone, and of course, we have to recognize Bruno Nicolai's contributions to Morricone's scores. Morricone was doing mafia films, giallos, and spaghetti westerns, among other genres, during this time.  We are fortunate to get expanded versions of these scores.  

  3. 21 hours ago, JSngry said:

    Red was a master accompanist.

    Not according to the name-dropping professor in the university jazz program, who told us that Coltrane didn't like Red's accompaniment, and that "only those of us who were very close to the band" knew this.  :rofl:

  4. Playing this now.  It reminds me of the Neal Hefti masterpiece Pardon My Doo-Wah on Epic.  It definitely gets filed in the Space-Age Bachelor Pad section, as opposed to jazz.

    Now, can anyone tell me the name of Joe's sad-looking long-haired moggy on the album cover?

  5. 27 minutes ago, Ken Dryden said:

    I can tell you that late night programs don’t vary that much in audience numbers, in my experience, while underwriting is a hard sell for that period of the day. Most stations sell drive Tim, a few specific shows with bigger audiences, then everything together in a random run of schedule that covers all day parts, with no guaranteed shows or time slots. I had 26 years of experience as development director for WUTC and many membership drives. We quit fundraising live on air after 8 pm on weekdays and skipped weekends as well, it wasn’t worth the effort.

    Interesting.  Ms. TTK has a Saturday radio show from 4 to 6 pm, and in fund drives, hers is one of the highest performing shows.

  6. 5 minutes ago, John L said:

    That is an interesting way of thinking about it.  Indeed, creative packaging can sometimes go very well with creative music.   But I really admire Mosaic's approach, which focuses not on creative packaging but on the music: the best possible sound, extensive liner notes from the best possible experts, the most accurate and complete information about the music.  

    I'm sure Mosaic saves money by using its cookie-cutter design template, but it does nothing to entice me to buy.  

  7. 12 minutes ago, Ken Dryden said:

    I remember running into Bob Seymour at IAJE back in the day. If the Jazz program had a paid host, I understand the economics of the decision. But I can't believe that the three programs that are replacing jazz are going to draw any significant audience at that time of day, while it is unlikely any of them are free.

    Carriage fees were ridiculous for numerous syndicated shows by the time I retired from WUTC in 2015. We dumped Garrison Keillor a second time, as it was close to $30,000 a year, while many shows were repeats.

    Bring back local radio...

    I'm guessing the decision was based on audience numbers and fundraising.

  8. 22 hours ago, ghost of miles said:

    Saw this news posted to the Jazz Programmer Listserv.  I wouldn't be surprised if WGBH in Boston also eventually pulls the plug on its remaining evening jazz programming with the passing of Eric Jackson.

    WUSF has a sister station, WSMR, which is all-classical.  I wonder if they are considering programming any jazz on there and keeping their main station all news/talk programming.

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