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Teasing the Korean

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Posts posted by Teasing the Korean

  1. Teddy Charles

    in Artists

    Posted · Edited by Teasing the Korean

    On 9/15/2022 at 8:40 PM, Joe said:

    COLLABORATION WEST is pretty fabulous. Early experiments in modality and serial techniques with assistance from Shelly Manne, Jimmy Giuffre, Shorty Rogers, Jimmy Raney... sadly not all tracks from these two sessions appear on the OJC CD. You'll also have to get EVOLUTION, which features some good-if-not-great work by an ensemble featuring J.R. Monterose and Charles Mingus.

     

    Thank you!  So do Collaboration West and Evolution capture most of the better Mingus collaborations?  

  2. A statement on the continued decline of music in popular culture.

    in Miscellaneous Music

    Posted

    3 hours ago, AllenLowe said:

    not to digress, but I actually invented AOR (Album oriented rock). When I first started listening to WOR, the first progressive rock station, in about 1966 or 1967, they still played only singles. I (either 12 or 13 at the time) wrote a letter suggesting they play all cuts from albums. I never got a response, but about a month later they started doing exactly that. No station had ever done that. I believe they got the idea from me.

    Thanks for that!  :tup

  3. Does Oscar Peterson get a bad rap?

    in Artists

    Posted · Edited by Teasing the Korean

    In the mid-90s, when I was buying any solo piano album I could find by anyone, I picked up a cheap CD of My Favorite Instrument by Oscar.  I listened only a few times and unloaded it, but not before extracting the files.  I have not listened to it in more than 2 decades.

    So this afternoon, I put the files in a playlist to revisit.  I couldn't remember why I unloaded it to begin with.

    During the first three songs, he keeps reminding us every 16 or 8 or even 4 bars that he is Art Tatum - oops, I mean Oscar Peterson - and I totally understood Allen Lowe's use of the word "vulgarity."  On tracks 4 and 5, he seemed to relax a little - either that, or my ears adjusted to hearing a Tatum fill every 4 bars.  And then the overkill - or vulgarity - picked up again with tracks 6 through 9.  

    I completely remembered why I never listened to it and why I unloaded it.

    I don't mind hearing a solo pianist referencing Art Tatum here and there.  Hank Jones, whom I adore, does this, but it is done in a tasteful and integrated manner.  Oscar on this record comes off like he is trying to impress us all with his technical prowess.  While I can admire his dexterity on its own terms, the results do nothing for me, except make me want to listen to a different piano player. 

    I should add that when Oscar on this record was not doing Art Tatum, he seemed to be doing George Shearing or Bill Evans.

  4. Teddy Charles

    in Artists

    Posted

    4 hours ago, Rooster_Ties said:

    First and foremost, by all means (and with all due haste) get the Tentet album -- and if you do CD's, get the CD reissue with the 3 bonus tracks from his Word from Bird album.  Those specific 3 tracks from Word from Bird are substantially more similar to the entire Tentet album, than the other half of Word from Bird.

    Some of the most unique and amazing music of its kind I can think of.  I don't know enough of the rest of Charles' other output to really comment, other than (from what I gather) it's not as compositionally-complex (or the arrangements aren't as elaborate) as that Tentet +3 material is.  (But I'd LOVE to be proven otherwise, if there's other stuff by Teddy that I'm overlooking, because I just don't know it.)

    Thank you!  I just ordered an inexpensive copy of Tentet, sadly without the bonus tracks.  I will keep my eyes and ears open for those!

    2 hours ago, mikeweil said:

    I find all of his leader dates interesting, but they are all very different. There is a comprehensive discography at https://attictoys.com/teddy-charles-discography/  ...... he was very versatile, as you can see there.

    The trio with Hal Overton on Three For Duke is great and the recent Japanese reissue sounds excellent. 

    About half of the tracks. Gil Evans,  Jimmy Giuffre, George Russell etc. did the others.

    Thanks for this!

  5. Teddy Charles

    in Artists

    Posted

    Teddy Charles came up in the Booker Little recommendations thread.  We discussed how most of the Booker Littler/Booker Ervin Sounds of Inner City came from a Teddy Charles album called Metronome Presents Jazz in the Garden.  

    So I'm listening to random Teddy Charles things on the InterTubes - I am unfamiliar with him, aforementioned album aside - and much of what I'm hearing falls into my beloved Twilight Zone Jazz sub-genre, about which I've written prolifically around these parts.

    So my two questions are:

    1. Was Teddy Charles doing the arrangements on these albums?

    2. What are some of his most Twilight Zone Jazz-sounding albums?  The Tentet album sounds promising, based on digital needle-drops. 

  6. Does Oscar Peterson get a bad rap?

    in Artists

    Posted · Edited by Teasing the Korean

    2 hours ago, JSngry said:

    How about Eric Kloss on Mr. Rogers! 

    I have asked jazz fans of a certain age group if they paid attention to Mr. Rogers's piano player, Johnny Costa. After I got into Bill Evans, I realized that I had heard those kinds of chord voicings as a kid on Mr. Rogers.  That guy was a gateway player for me.  I don't have any of his records.

  7. Booker Little

    in Recommendations

    Posted · Edited by Teasing the Korean

    41 minutes ago, JSngry said:

    Look at all that Ed Shaunessy! 

    Drummer on the first jazz album that I heard all the way through, and also the album with the greatest title ever!

    Which album is this, you ask?

    Why, none other than TV ACTION JAZZ! by Mundell Lowe!

     

     

  9. Booker Little

    in Recommendations

    Posted

    1 hour ago, kh1958 said:

    Sounds of the Inner City was a Teddy Charles album that was originally on Warwick.

    Yes, but the DJ didn't know that, and either did 15-year-old me.  I was happy to hear the music.

    By the way, my copy of Sounds of Inner City has a track not listed above, "Witch Fire."  Was this not on the Teddy Charles album?

  11. Does Oscar Peterson get a bad rap?

    in Artists

    Posted

    3 minutes ago, Ken Dryden said:

    I had a cover feature assignment on Previn for The New York City Jazz Record to promote his gig at the Blue Note. I was told at length by his manager of the topics to avoid and that I could have ten minutes, mind you, for a cover story. He finally agreed to a Saturday morning, well past my normal deadline for submitting copy. This necessitated a special trip to my station, a 36 mile round trip and I was already tense. The interview quickly went downhill as he acted like someone who didn’t want to talk at all. Afterward, I knew that I didn’t have enough quotes, so I emailed Christian McBride, who was playing with him, a handful of questions, which he answered promptly in a friendly manner. Then Previn’s rep called me to scream at me, “How dare you contact one of MY ARTISTS without going through me?” I would have responded what she could do with herself but realized it would have put the editor on the spot to create a new feature to replace it. In almost 35 years of interviewing jazz artists, this is the only time that I had to deal with complete jerks like Previn and his representative.

    The funny thing is that the article ran and Previn missed the gig due to illness…

    On the other hand, great artists like Oscar Peterson, Clark Terry, Joe Pass, Gerry Mulligan, Jaki Byard, Dave Brubeck, Marian McPartland and so many others were a joy to interview, often making me feel like I was an old friend as we laughed about funny stories that we shared. None of them acted like egomaniacs or put me off so long without committing to talk.

    Thank you.  The funny thing is that what you describe is precisely how I've always imagined him, despite my admiration for his skills.  

  13. Booker Little

    in Recommendations

    Posted · Edited by Teasing the Korean

    When I was about 15, a community radio station started up where I lived, and they played jazz in the evenings, Monday through Thursday, between around 7 pm and 10 pm.  It was a great time and place for me to begin exploring jazz at an impressionable age.

    I remember hearing tracks from the Booker Little/Booker Ervin Sounds of Inner City LP.  I didn't know either name at the time; I guess it stuck in my head because I liked the music, and thought it was interesting that there were two jazz guys named Booker.

    Anyway, I was happy to find the LP many years later, on the TCB label.  It is apparently an early 70s issue of recordings from the early 1960s.  Includes Teddy Charles on vibes.

     

  16. Lou Reed Sings The Beach Boys

    in Artists

    Posted

    1 minute ago, JSngry said:

    It was a gig. The business needed product so they paid people to provide product.

    Simple as that, and although the need for THAT type of product might seem mysterious to us today, there were many isolated-y pockets of the country that did not have ready access to regular record stores. So this type of stuff showed up in dime stores, at affordable prices.

    Plus, you know, not everybody was going to pay attention. Even worse, not everybody cared. Some people just wanted somebody/anybody singing the songs. and at the price points these things went for, they sold enough to keep going for a while.

    Plus - tax write-offs. always.

    Yup.  And you occasionally got budget-label albums that were better than much of what you could find on major labels, e.g., the aforementioned Robert Drasnin album. 

  17. Lou Reed Sings The Beach Boys

    in Artists

    Posted

    11 minutes ago, felser said:

    Whole thing sounds like a bad joke.

    Well, you never knew what you were getting with a budget label album.  They spanned from the sublime - Robert Drasnin's Voodoo - to the ridiculous, as is the case here.  

    Still, it's pretty cool to hear Lou Reed sing "Little Deuce Coupe!"

  18. Brother Cleve RIP

    in Artists

    Posted

    From Modern Harmonic:

    It's with very heavy hearts that we acknowledge the passing of our dear friend, Sunraologist, musician, mixologist, writer, and most of all a really great guy, Brother Cleve (aka Robert Toomey). He's written notes for numerous projects for us including Sun Ra releases, our Edison International doo wop album, the Ridiculous Trio, an upcoming bongo compilation, a couple Something Weird albums, and was helping to curate and write notes for a future Combustible Edison project we're working on. He was a keyboard player for them along with a lot of other bands over the years. He played on our Barrence Whitfield Soul Savage Arkestra album, and even mixed an upcoming Sun Ra project. This one really hurts as it was so unexpected, and far too soon. We had several projects in the works and always loved working with him. Our mutual friend Irwin Chusid informed us of this horrible news and we thought you too would like to know. We're lucky to love what we do and it's working with people as great as Cleve that make our day's special. You will be missed my friend, thanks for the great times, and the great art. We raise our glasses to you. (photo by Michael Piazza) #ripbrothercleve #combustibleedison #sunra #barrencewhitfield

    https://www.facebook.com/ModernHarmonic

  22. Les Baxter Centenary March 14, 2022

    in Artists

    Posted

    Les Baxter Music Preservation Project: 
    "To celebrate the Les Baxter centenary, the Les Baxter Estate has partnered with the University of Arizona and Neumation Music to initiate a comprehensive preservation project that aims to protect and promote the legacy of Les Baxter for his contributions to American music. The initial phase of this project will involve digitizing several thousand pages of score, sketch, and instrumental parts. The musical works range from student compositions, Les’ many innovative recordings for Capitol Records, Reprise, and other labels, and his film scores for American International Pictures, United Artists, and MGM. Dozens of tape recordings and hundreds of photographs will also be digitized.
    "In addition, Bax Music - Les’ publisher, will expand operations to include score publications and a concert rental library with authoritative editions engraved from the original scores and parts. Orchestras, ensembles, and bands around the world will be able to perform Les’ original arrangements for the first time. In addition, composers and arrangers will be able to study Les’ inventive arrangements exactly as written.
    "We wish Les was here to witness the appreciation for his music. He was a welcoming figure to musicians who approached him for guidance and always encouraged younger composers, arrangers, and performers to delve into music studies. In the early 1990’s, Les donated a selection of his professional papers to the American Heritage Center, University of Wyoming. These materials were later transferred to the Fred Fox School of Music at the University of Arizona with a supplemental donation of additional materials provided by the Baxter family -- in total, 56 boxes. Unfortunately, the majority of the collection was unprocessed and inaccessible for many years. It is our goal that by the completion of this project, nearly all of Les’ music will be available for performance or scholarly study."
     

  23. Latin Percussion Going Into Double Time

    in Musician's Forum

    Posted

    1 minute ago, mikeweil said:

    The timbalero is supposed to lead a Cuban rhythm section, so he may start a bar early to cue the others in. This may happen spontaneously in longer improvisations. but when an arrangement calls for double time, maybe there is a break or an arranged passage or simply an abanico, and they are all expected to switch at the same point. depends on what was agreed upon beforehand, and how well the players know each other.

    Thanks. In the examples I'm thinking of, the tunes are fully arranged.  While the percussion guys were generally reading 4 slashes per bar in the charts, I'm sure there were notations to go to double time in specific sections, based on what else was occurring in the arrangements. I didn't know if the arranger specifically indicated for the timbales to start the double time on bar early, or if it was an idiomatic thing.   

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