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Posts posted by Teasing the Korean
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As a lifelong Chipmunks fan, I'd delighted to see that Ross Bagdasarian made the cut, but Lennon and McCartney did not.
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5 hours ago, Gheorghe said:
I heard a lot of block chords mostly on later Bud Powell recordings of medium tempo tunes like "Star Eyes" "There will Never be another You", "Like Someone in Love" etc, and another kind of block chords of course by Red Garland. Red Garland is really worth to study, he has a very very special kind of voicings, it´s his own, and I memorized all Garland solos on those Miles albums....
Shearing didn't invent block chords, but the quintet sound featured block chords on piano, with the vibes doubling the top line and the guitar doubling the bottom line, i.e., playing the line an octave lower. It is a classic sound that was often imitated. I knew the sound before I knew the name George Shearing.
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I loves me that Columbia reverb you hear on Tony, Johnny, and Eydie!
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9 minutes ago, JSngry said:
And the closer you get to either side of the turn of that decade, the truer that seems to get. It's like they were trying to empty it out so they could get him out of there.
Do you know his 1957 album The Beat of My Heart with Art Blakey, Sabu, Chico Hamilton, and Candido? The out-takes from that album sprinkled over years' worth of LPs, including the San Francisco album in the early 1960s.
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1 hour ago, JSngry said:
recorded in 1967, not released until 1972... not anybody's priority, right?
Tony's entire discography features tunes that were used on LPs many years after they were recorded, for whatever that's worth.
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49 minutes ago, Ken Dryden said:
The second question is when an instrumental has a lyric added after it is initially published, does the lyricist have to be credited, especially if it's an instrumental and the music has not been altered to fit the lyric?
Gene Roddenberry infamously added a terrible lyric to Alexander Courage's original series Star Trek theme. It is my understanding that the Roddenberry estate routinely collects half of the earnings from the tune, just because Roddenberry scribbled sub-standard lyrics on a bar napkin to go with the tune. Courage was furious. He said he would have been fine with the idea if competent lyrics had been added, but he was not at all OK with Roddenberry's lyrics.
I would imagine that the specifics may vary from one situation to another, depending on the agreement. Thinking of Duke Ellington in particular, most of whose "songs" started life as instrumentals.
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28 minutes ago, JSngry said:
I am just wondering how this ended up on a Tony Bennett record!
Why? Tony was relatively plugged in for a pop-oriented jazz singer, or a jazz-oriented pop singer, depending on your politics.
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2 hours ago, Rabshakeh said:
Which of his records would you have found in the neglected jazz collection, next to Time Out and We Do Requests?
From his earlier quintet period on MGM - which was his "jazzier" period - I have often found You're Hearing George Shearing, which was a comp that included "East of the Sun" and "September in the Rain," two that were early hits for him.
From the Capitol period - which is when he did lots of pop hybrid records with quintet plus orchestra - you're likely to find albums such as Velvet Carpet and anything with the word "satin" in the title.
2 hours ago, Rabshakeh said:Sorry to ask, but what were these? I find this long vanished music really interesting.
George Gruntz did some classical/jazz hybrid LPs. Jacques Lousier did at least five volumes of Play Bach, in which Bach compositions are played by Loussier's piano trio. They date from a period in the 1960s in which baroque music in general and Bach in particular were experiencing a comeback of sorts. The Swingle Singers and Wendy Carlos famously participated in the festivities.
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1 hour ago, Rabshakeh said:
I was going to make the Brubeck comparison upthread too.
Was Shearing in that category?
Shearing was criticized for doing a lot of jazz/pop hybrid records, but in my experience, his playing was generally admired.
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Love Leslie Gore. My favorite Leslie Gore track is this wonderful Phil Spector ripoff. You need the single version, with the sleigh bells and additional background vocals. The LP version is lame in comparison.
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27 minutes ago, T.D. said:
The mountain backdrop looks super fake to me. The band appears superimposed or a fabric curtain is possible, only the rock (or painted Styrofoam) the dude is seated on looks real. But I don't know the state of photo doctoring technology in 1974.
It may have been done at a Sears photography studio! Remember those?
My wife's band in the 1990s did their promo shots at Sears. They were made to look like warm family portraits, despite the fact that the band wore heavy make-up and and 70s glam fashions!
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14 minutes ago, T.D. said:
Wow. Unbelievable to say the least. Words fail me. Pity I was unaware of it in real time.
And those threads are priceless, weirdly appropriate for a band from Nebraska, would probably fit in just fine at a football game or pep rally.
It seems weird to wear bright polyester in nature, unless they were trying to avoid getting shot by hunters who may have mistaken them for deer.
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10 minutes ago, JSngry said:
Funny thing is that I can totally relate to the environment that spawned that type of thing. Back in the day when damn near every lounge and hotel lounge had live bands, there was a LOT of that going around. But hardly any of it got recorded for posterity.
I remember going to see Bobby Palermo - "Florida's Neil Diamond" - at the Ramada Inn on US Hwy 19 in Clearwater. On the weekends, he did a big show, with a backing combo; but during the week, he sang, played keyboards, and did his own sound and lights, pretty much everything except serve drinks and bus tables.
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Eric's theme, at least while I was in Beantown: Horace Silver's "Peace" by Tommy Flanagan.
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1 minute ago, felser said:
Wow. Shatner/Nimoy territory there.
Right? It's so bad it's almost brilliant. It borders on polka in a few passages.
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Two Boston legends in one week.
Also, the great Brother Cleve.
Eric Jackson was a big part of my Boston experience. My wife worked for WGBH and said what a nice guy he was. I met him on a few occasions. He built an addition on his house for his LP collection. My kind of guy.
RIP.
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This version of the Ides of March's "Vehicle," performed by Omaha-based cocktail lounge act the Links, is unbelievable.
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3 hours ago, Daniel A said:
'Motions and Emotions' for instance.
Yeah, that's a great one, less so for Oscar Peterson than for the album's MPS fondue party aesthetic.
Also love his mistitled Soul Espagnole, an album of mostly Brazilian tunes.
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On 9/11/2022 at 10:47 AM, mikeweil said:
Just when I think I've seen every variation on this album.
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I love The Columbia album of Cole Porter by Michel Legrand.
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36 minutes ago, JSngry said:
Ella/Porter got a second chance in 1972 on Atlantic, this time with Riddle.
Granz must have liked it so much that he reissued it on Pablo! And recorded two more songs in 1978, again with Riddle!
Never knew about this!!!
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1 hour ago, JSngry said:
Love Riddle with everybody. He does a lot of easy-expectations things, but he's got a zone that set him apart from anybody except, maybe, Robert Farnon at his most outre.
Riddle's intros alone on Sinatra's Wee Small Hours album are amazing. I have long been tempted to create files of just the intros and listen to them in a row.
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As I wrote in another thread, I think Ella's Cole Porter and Rodgers & Hart Songbook albums are marred by the sub-par arrangements of Buddy Bregman. As a result, those are my least favorite of the bunch. This is unfortunate, as Cole Porter and Rodgers & Hart are among my favorite songwriters of that era. Oh well.
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8 minutes ago, John L said:
That about sums it up for me too. When I draw a blank with a major jazz artist, I have this continual idea in the back of my head that I must be missing something. That turned out to be true for a few artists that I have learned to appreciate over the years, including Chet Baker. So every now and then I will force myself to listen to some of Oscar Peterson's solo and trio records. But that hasn't helped my appreciation yet, and it has been some years now. Of course, I do hear him all the time when I listen to Lester Young, Ben Webster, Roy Eldridge, Lionel Hampton, etc. Usually, I am not bothered by him much in those contexts, but often not too thrilled either. When I compare the Verve recordings of Lester Young and Oscar Peterson with the Verve recordings made around the same time of Lester Young and Teddy Wilson or John Lewis, the difference is huge and not in OP's favor.
I should add that I lifted Oscar's coda to Billie Holiday's "East of the Sun" for my solo piano arrangement of "All the Way."
Bob Dylan's New Book on Songwriting
in Miscellaneous - Non-Political
Posted
Don't forget the follow-up, "Mediocre."