Teasing the Korean

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.

How common is it, when Latin percussion sections go into double time, for one instrument, such as the timbales, to set it up by going into double time one bar early? I have heard this device used, and I think it is very effective. Is this standard, or is it the exception?

Don't forget Hal Wilner's Weird Nightmare album.

Love his Dynamite Brothers score. "Betty's Theme" is the money cut.

Brass and Bamboo - Tak Shindo (Capitol, mono)

Yeah, well that's how you get into trouble! Hydrating with fizzy water now!

+1

Sinatra?

Not only the intro, but the melodies leading into the bridges of both tunes are similar.

Don't think I heard any of that. I have the Biography 5-LP set, which I think goes to the mid- or late-1980s. How are his standards albums?

Agreed, especially in the 1960s and 70s. He started to lose it by the late-1970s IMO.

Yeah, what constitutes "good singing" is based at least as much on what is communicated than it is on technical ability. Bob Dylan once said he was a greater singer than Caruso, and he had a point. It sounds like he may have been on the same track as the backing vocals, and the engineer was a asleep at the wheel.

It's hard for me to listen to CTI this early in the day. It makes me want a glass of wine. Maybe I should reserve CTI for 2pm or later.

He is the lead vocalist. Pre-Velvets, he had a salaried gig at Pickwick. This probably fell under "assumes other duties as assigned." He does not sing lead on any of the other tracks from the album.

Yes, that is a great one. I place Hubert Laws' "Fire and Rain" in this category also.

File under: Things you never expected to hear.

Expressions East - John Berberian (Mainstream, stereo)

Stylistic similarities are stylistic similarities, regardless of who came first. In this case, I don't care all that much, but thank you for pointing it out to me regardless. I would have assumed as much.

Now listening to the CTI recording of Hank Crawford "We Got a Good Thing Going" and I'm not picking up on an SNL Sax sound, for whatever that's worth. I am getting a hint of Jr. Walker, who is OK with TTK.

OK, now listening to the title track from Red Clay, and I am totally digging it. I knew I held onto the LP for a reason, and while it may have at one time struck me as being "not CTI enough," it is certainly delivering the goods now. I will spin the whole LP soon.

All I can tell you is that when the track came on, I ran for the delete button. If it is not the SNL Sax sound, it was something that irritates me equally as much. And I LOVES me some Tom Jones!

Many years ago, I started an award-winning Organissimo thread titled SNL Sax. I loaded a bunch of CTI stuff into a playlist, and I found myself deleting the stuff by Hank Crawford, who seems to favor the SNL Sax sound.

I figured that anyone named Turk Murphy would be involved in Dixieland or whatever you want to call it. During the Great Vinyl Purge of the 1990s, whenever I would dig through the collections of WWII-era guys, there would always be at least a few Dixieland albums in there, including Pete Fountain and the Dukes of Dixieland. Even WWII guys with otherwise good taste in music would always have a few of these.

You're further along than I, as I am familiar with only Turk Murphy by name, and couldn't tell you anything about his music. Don't know the other two.

Yes, what I was really trying to get out was how those early albums influenced our taste. I am slightly younger than you. I started buying jazz in the late 1970s. Lots of classic stuff was out of print at that time, or just coming back into print via OJC twofer LPs. (They weren't called OJC then, but basically Fantasy and all the labels they acquired.). There were lots of Blue Note and impulse! albums in the cutout bin also. This trend continued into the early 80s, and helped me acquire even more jazz after high school. I then went through a long period in the 80s during which I did not listen to jazz at all, as chronicled in my thread titled "University Jazz Nightmare Stories" or something similar. I got back into jazz in the late 1980s, through getting into Sinatra and the Ella Songbook albums, and also driving around with my Dad, who played jazz cassettes in the car. (This is how I first heard Doin' Alright by Dexter.)