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Teasing the Korean

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Posts posted by Teasing the Korean

  2. Best CTI records

    in Recommendations

    Posted

    For years, my rule of thumb with CTI was this:

    • If it pre-dates 1975 and it has either Don Sebesky or Deodato involvement, it is worth picking up.
    • If it is from 1975 or later and/or has Bob James involvement, all bets are off. 

    Of course, this is when I was finding CTI albums for a buck or two.  At today's prices, I might be more selective.

    The other thing is that nearly all of those pre-1975 CTI albums contain at least one or two standout tracks, even if the whole album does not necessarily hold together all that well.

     

  3. Question about Ear and Muscle Memory

    in Musician's Forum

    Posted

    4 hours ago, Gheorghe said:

    About writing myself......If I compose a thing I have to asked somebody else to write it down, writing is not my strongest point. I read chords and can read a lead sheet if I somehow know how the song goes, but I can´t read completly written piano scores with all the chords written out and with bass clef and stuff. 

    I am a lousy reader if you put an unknown piece of music in front of me, but if I know how something goes, I can write it down very quickly.  So I can write out complex arrangements that I wouldn't be able to read if they weren't already in my head.

  4. The importance of subjectivity

    in Audio Talk

    Posted

    I knew an audiophile who claimed that the colors of the cables made a difference.  

    He also claimed that records sounded different at various times of the day, because of the power grid.  He said that records sounded the best at 3 am, because the fewest number of persons were using the grid at that time.

  5. Question about Ear and Muscle Memory

    in Musician's Forum

    Posted

    1 hour ago, JSngry said:

    Remember in school when you had to memorize shit like Gettysburg, Hamlet, Preamble and stuff? Did you memorize separate sections, or one continuous thing starting from the beginning and adding on as you went? You knew you had it good enough for class when you could get all the way through, period. 

    I figure that being able to start anywhere and go on is about the very highest level of learning/internalization. And good luck on that, right? 

    Agreed.  Just making sure that I wasn't any more musically deficient than I already am.  :lol:

  6. Question about Ear and Muscle Memory

    in Musician's Forum

    Posted

    4 hours ago, Michael said:

    I understand what you mean...

     

    3 hours ago, Rooster_Ties said:

    I think it’s probably similar to when you try and remember something, and can’t — but later (sometimes at little as 10-20 minutes later, but after you’ve activity stopped trying to think of it)…

    Thank you both.  I guess it's not really that strange after all!

  7. Question about Ear and Muscle Memory

    in Musician's Forum

    Posted

    About 25-30 years ago, I was very serious about piano and arranging, and I spent a lot of time writing arrangements of standards that I like.  I say "writing," but I got around to transcribing only about half of them.  The rest I have periodically had to dust off and play from memory.  

    After stretches of not playing, which is more and more common these days, I spend time at the piano going through all of them to make sure I don't forget.  Some of these have some very complex chords and complex passing chords, in which the number of voices in each hand will switch based on a variety of factors.  

    A lot of times, if I decide to simply play the bridge, or start at the second chorus, I'll get a few bars in and I will forget some detail, and I'll have to go over that part.  Sometimes I will get it right, but other times, I keep getting it wrong.

    But then I will start playing the arrangement from the beginning, arrive at that section, and play it perfectly.

    My question is: Is this normal, and do other players experience this?  I don't understand why I have to play a passage in the context of the whole piece rather than just randomly dive into a particular section.

    Thoughts?  Is this a weird quirk of TTK, or is this a thing among musicians?

  13. Tony Bennett Covered James Moody in 1967

    in Artists

    Posted

    1 hour ago, JSngry said:

    Looking more deeply at that online discography/sessionography, it would be neat if somebody would reassemble all the mid 60s/early 70s records into session order. I do think that might be a more rewarding listen at this point in time. 

    That went on throughout his career.  A leftover from one album would show up someplace a decade later.

  15. Andre Hodeir

    in Artists

    Posted · Edited by Teasing the Korean

    16 minutes ago, jazzbo said:

    It has been a long time since I listened to my copy. . . but. . . By the personnel I think these are not performances you have:

    Oh, yeah, clearly different.  Thanks!

    Looks like I can get that one inexpensively on Qobuz also.

  16. Andre Hodeir

    in Artists

    Posted

    29 minutes ago, jazzbo said:

    You'll like this Savoy record.

    https://www.discogs.com/master/995033-Andre-Hodeir-American-Jazzmen-Play-Andre-Hodeirs-Essais

    Thank you!  Most of those titles are on either the Vogue disc, or the Kenny Clarke/Jazz Group.  Any clue as to whether or not these are the same recordings, or if they are by a different group playing Hodeir's arrangements?  

    The only title that I'm not seeing on the discs I have is "Alphabet."

  18. Andre Hodeir

    in Artists

    Posted

    I really love Andre Hodeir's music.  I have the following four CDs, in chronological order:

    • 1. The Vogue Sessions - two 10" albums from the early 1950s
    • 2. Le Jazz Groupe de Paris Plays Andre Hodeir - 1956
    • 3. Kenny Clarke Plays Andre Hodeir - 1956
    • 4. Jazz et Jazz - 1960

    How much more is there, and are the above albums the cream of the crop?

  20. Is It Just Me, Or Is This Just A Wee Bit Morbid?

    in Miscellaneous Music

    Posted

    Something that bugs me about both Tony Bennett and Mel Torme is they will often take a generally mid-tempo tune at an unusually slow tempo.  That works every so often, but for me, it usually doesn't.  The activity within the melody often dictates the ideal tempo range, IMO.

    15 minutes ago, mikeweil said:

    Not the tempo for Bennett, that's true. And not for that song, with those lyrics. Were this written for the US version?

    Those English lyrics are on the Brasil '66 version from their 1967 album Equinox.

  21. Does Oscar Peterson get a bad rap?

    in Artists

    Posted

    On 9/19/2022 at 3:30 AM, Big Beat Steve said:

    Which is why these Baroque Jazz Third Stream recordings made a fairly big splash (at least here in Europe) with those who usually listened only to classical music.

    And these records gave listeners in the US a vision of an idealized Europe that both embraced the contemporary while acknowledging its monumental past achievements.  

  22. Teddy Charles

    in Artists

    Posted

    23 minutes ago, Rooster_Ties said:

    His playing (and sound) — along with Charles’ vibes — really give the the entire proceedings quite a different character.

    Yes, the guitar and vibes give it that air of mid-century futurism!

     

  24. Teddy Charles

    in Artists

    Posted · Edited by Teasing the Korean

    2 minutes ago, Larry Kart said:

    George Russell's "Lydian M-1" is a high light.

    Agreed!  On first listen, that stuck out, along with the opening track, and also "You Go to My Head."

    I had it on in the background while I was working, so I couldn't give it my undivided.

  25. Teddy Charles

    in Artists

    Posted · Edited by Teasing the Korean

    Tentet arrived today and I just finished listening.  This stuff is right up my alley:  Postwar Twilight Zone jazz, along with some moody private-eye jazz sounding tracks.  I am kind of amazed that it has taken me this long to find Teddy Charles, but better late than never!  This will pair nicely on a playlist with Duane Tatro's Jazz for Moderns!

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