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Teasing the Korean
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Posts posted by Teasing the Korean
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2 minutes ago, Larry Kart said:
Tampa folks -- please report when you are able to.
Will do. It's supposed to really happen tomorrow, but we may be hit by bands tonight.
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Just now, Larry Kart said:
Good luck to all in the Tampa area.
Thank you!
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5 minutes ago, JSngry said:
Did not. I found the Tampa-St. Pete driving infrastructure at the time to be hopelessly constipated and stayed home as much as possible. No expressways, red lights all the way on every damn street/road. Every damn one of them. Drives that on the map looked like they would be 10-15 minutes ended up taking 30+. I understand it's better now? I sure hope so!
As I recall, Drew Jr. was working in a "smooth jazz" club/restaurant playing what I assume was that type of music. The only "real" jazz club was in Clearwater(?), and hour+ drive, and that place had a house band that had been there forever. Not a bad band, really, but nobody sat in on that gig, I was told. One more reason to just stay home and take care of the kids day and night.
Truthfully, we did not enjoy our time there at all.
Between fall 1990 and April 1991, I had a "jazz" gig in South Tampa backing up a female singer who was pretty good but was always three sheets to the wind by the second set. The proprietor was always trying to put the moves on her, and she would have none of it, not even when she was drunk. The bass player was good, an old warrior who played acoustic bass. The drummer, not so much.
You could have sat in with us if you had brought your sax.
I had a legal pad on which I drew a vertical line down the middle of a page, with "reasons to stay" listed on one side and "reasons to leave" listed on the other. That gig was listed on the "reasons to leave" side. The extra cash was nice, but that was about it.
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2 minutes ago, Dan Gould said:
11 AM update has shifted southeast again, with center not hitting Tampa directly.
OTOH the center of the projected path is maybe 2 miles to the southeast of us now. So basically this trend better keep going. My wife is barely on the controlled side of hysteria.
Well, only the cone has shifted slightly south. We are still well within range.
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4 minutes ago, JSngry said:
1990-91
You and I overlapped. I left in April 1991, and came back in March 2003.
Did you hear Kenny Drew, Jr. when you were here? I think he arrived in '89 or '90.
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1 hour ago, JSngry said:
We lived in Tampa for a year and a half back in the day.
May I ask what years?
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We are on high ground, and we have hurricane-grade windows, so we are riding it out. Thanks for the well wishes!
Another member with whom I communicate is near Orlando. Hopefully they won't get hit as hard.
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Miklos Rozsa's Spellbound theme was recorded by jazz and pop artists for a while. Not sure it ever attained "standard" status. I don't think there were lyrics.
Trying to think if Rozsa wrote anything else that reached a similar level of popularity.
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Brooks Bowman, "East of the Sun." Brooks died very young. I think this is the only song he wrote that is regularly played. Are there others?
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14 hours ago, Larry Kart said:
Can't beat "The Love Theme from 'The Brothers Karamazov'"
The piano version sounds like the theme from a 70s European erotic film. Which is a good thing.
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17 hours ago, Bill Nelson said:
Kaper's theme to 'Butterfield 8' gets me every time.
Nice! Do you know who is playing that? I'm guessing it's not the film version.
14 hours ago, riddlemay said:Kaper's score for Lili contains the song "Hi-Lili Hi-Lili Hi-Lo." I don't know if it qualifies as a standard--but I bet a lot of people (at least people of a certain age) would recognize it. It starts at about 53 seconds.
I didn't know Kaper wrote that! Even Tim Buckley recorded it!
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48 minutes ago, Rabshakeh said:
I really enjoy that record Peterson did with Milt Jackson too. Vibes seem to tame the beast.
I do really think that the two instruments have a magical sympathy.
The one with "On Green Dolphin Street?"
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11 minutes ago, JSngry said:
You can look at the litany of MOR records from the middle 50s thru....whenever, and sense the almost desperate attempts to create new standards from various shows and movies, all those records with Song Title (from the ______ ________), shit you never heard of before and very seldom wanted to after. Apart from an occasional fluke like "Hello Dolly" and the ongoing stream of Mancini's, not a lot took. Tastes were changing. I mean Bricusse-Newley, a niche market. Legrand, a bigger niche, but a niche market nevertheless.
How many people outside of a very fixed demographic are going to recognize those songs today.
There is an industry that is fully invested in keeping the Broadway legacy alive. They are doing their job and their job is not looking for worthy additions to their Parthenon.
I would also suggest that notable film scoring is well on its way to having somewhat the same.
Yes, agreed, we are saying the same thing.
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3 minutes ago, JSngry said:
The Broadway musical was the main conduit for "success" before film and TV. The writers who had success there had a running start, which created a business apparatus to lock it in. That apparatus continues to this day
Outside of that realm, though, you have Tin Pan Alley and the song pluggers. All you have to do is look at the collective early recordings of, say, Billie Holiday to see that most of those songs were drek and failed accordingly.
And really, of those writers who had hits outside of the world of musicals, how many had LOTS of hits.
Success feeds on itself, but until the business comes along to entrench it, that feeding is usually going to be a snack.
I think the better question is not who gets to write a standard, but who gets to own one after it is written. That is who will ensure that it stays one.
My point is that Kaper's tunes kind of accidentally became standards. I don't think Kaper was setting out to write tunes that would be played by jazz musicians. Compare this to songwriters who were desperately trying to score a hit, and were never capable of achieving hits. Compare this also to celebrated film composers who, through their popularity, might have set themselves up to write a standard, or at least a sub-standard, but never did so. Goldsmith and Williams com to mind.
Did you know that two Bernard Herrmann melodies were turned into "songs?" "Marnie" and "Madeleine." I'm guessing the lyricists thought they might be another "Laura" or "Stella by Starlight." They weren't.
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1 minute ago, JSngry said:
I don't know that anybody "gets" to write a standard.
What you might get by composing a film theme or a show score is an initial chance for exposure, but after that, no. A song has to catch on with both musians and listeners, and then keep on catching on. That sort of feeds on itself. Or not.
Yes, agreed. But by the law of averages, some have a greater shot than others.
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It is fascinating to me who does and does not get to write a standard.
Within the film world, celebrated film composers such as Bernard Herrmann, Jerry Goldsmith, and John Williams never managed to write a tune that became a "standard" in the way we think of jazz standards and the Great American Songbook.
So it is all the more fascinating to me that Polish-born film composer Bronisław Kaper, who is nearly forgotten today, managed to write not one but two jazz standards.
Supposedly, when Kaper was told that Miles Davis had recorded "On Green Dolphin Street," Kaper did not grasp the gravity of this event. He was told that once Miles recorded a tune, everyone else would also.
So he is remembered today far more because of those two tunes than anything else he did as part of his routine day gig. I would love to know how much money Kaper made over the years off of "Invitation" and "On Green Dolphin Street" relative to his film work.
Here is the composer playing these tunes in 1975.
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Martin Denny:
- Exotica
- Exotica II
- Forbidden Island
- Primitiva
- Exotica III
- Quiet Village
- The Enchanted Sea
Nearly every 1950s record by Cal Trader on Fantasy.
Bobby Hutcherson's BN albums.
George Shearing's early MGM records.
Also, his Capitol debut "The Shearing Spell."
And any of this Capitol albums with the word "Latin" in the title.
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Karma is one of those gateway albums that you will sometimes see in a collection where there is not a lot of jazz. Maybe people bought it for the cover art. It is an incredible album. I don't think of it as jazz.
RIP.
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1 hour ago, bresna said:
Stereo Review's Julian Hirsch sat down with 16 members of the Detroit Audio Society and did a blind test of a Pioneer solid state amp and a Mark Levison tube amp. He got a lot of grief for that article because statistically speaking, by a very slim margin, listeners preferred the sound of the Pioneer receiver. However, this was a two-part listening test. When people saw what they were listening to (un-blinded so to speak), they overwhelmingly chose the tube amp. I think that is the part that got him in the most trouble.
I don't remember this stopping them from doing blind tests though. In fact, I think they did a blind listening test of speaker wires shortly after this amplifier test. I found that Stereo Review article here: https://www.soundandvision.com/content/speaker-cables-can-you-hear-difference
Thanks for the details!
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Does anyone remember the story - and I may be getting details wrong - about an audiophile rag that did blindfold tests? In one test, on a very high-end system, they apparently replaced the high-end tube amplifier with a solid state Panasonic that you could have bought at Sears. All the other gear in the chain was high-end and unchanged. Apparently, the participants in the test could not tell the difference, and the rag stopped doing the blindfold tests. Anyone know what I'm talking about?
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18 minutes ago, JSngry said:
Put it in a nebulizer.
I'll wait for the gummies.
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40 minutes ago, JSngry said:
I do that, but then I smoke the dust. THAT'S what makes everything sound REALLY good!!!
Haha! I have asthma, so that wouldn't work for me!
Hurricane Ian
in Miscellaneous - Non-Political
Posted
I don't know about Dan, but Temple Terrace, where I live, is on very high ground (as Florida goes). We are rated a Y on a scale of A to Z for elevation, with Z being highest. This is an area where people evacuate to in these storms. Our house has Miami-Dade approved hurricane windows, and also a brand new roof. Between all of those things, I feel good about riding things out. On the other hand, a tree could fall on the house, so I by no means take this lightly.
I will report back as long as I have an InterWebz.