Teasing the Korean

Check out this 9-minute jazz quartet track from Un Amore.

I first became aware of Gaslini through his score for Antonioni's La Notte. I am now listening to his score for Un Amore, half of which is played by a jazz quartet with Gaslini on piano. Incredible stuff.

Right! It is ironic that an audiophile label deals with rock and pop, the least audiophile-relevant genres.

In stereo! Wiith the entire wall of sound in one speaker, the vocals in the middle, and the strings - unbearably high in the mix - in the other speaker. One of the funniest thread titles at Hoffman was something along the lines of "Audiophile Masterings of Punk Albums." I stopped lurking at that point.

I assume that post was made in jest? Then again, we are talking about the Hoffman forum...

Starting out with the notion of an audiophile pressing of, say, Thriller. How do you get audiophile quality out of something that is largely recorded through electronic circuitry rather than acoustically in a room?

Andromeda Strain was released by Intrada in 2010. It sold out quickly, as it should have.

This story is hilarious on so many levels. I don't have enough keys on my teletype machine.

In 2019, La-La-Land released for the first time Melle's 1977 score for The Sentinel. It is a limited edition, but still available. https://lalalandrecords.com/sentinel-the-limited-edition/

Martin Denny is now a Blue Note artist. Take that, Mosaic! https://www.qobuz.com/us-en/album/exotica-suite-martin-denny-si-zentner-and-his-orchestra/dm9ewevdnf5ta

Positive vibes, amigo!

Thanks for sharing. I never heard of this guy. I need to check him out.

The Kenyon Hopkins albums on ABC/Paramount date from the late 1950s/early 1960s, so they are not at all of the CTI aesthetic, but rather a jazzy/space-age bachelor pad aesthetic reflecting the period. Kenyon Hopkins is perhaps most remembered for his score to The Hustler, starring Paul Newman, Piper Laurie, and Jackie Gleason.

She nearly died from a brain aneurism several years back. This may have been her first public performance since then, though I don't follow her career.

Thanks for posting. A couple of thoughts: I completely agree with your opinion of CTI between 1970 and 1974, although I am not fond of Bob James. But any of these albums from that period with either Deodato or Don Sebesky contributions are very worthwhile. I associate the 1974 cutoff date with the arrival of disco in late 1974, not that I'm knocking disco, but that early-70s introspective, urban, minor-key, black-consciousness aesthetic was largely traded in for a forget-your-troubles-and-shake-your-booty ethos. The cultural shifts at around 1974/75 are fascinating. Disco arrived in a big way. Jaws created a new paradigm for the summer blockbuster film. Ennio Morricone stopped working with Bruno Nicolai, marking the end of Morricone's great period. When discussing Creed Taylor, don't forget his early work at ABC/Paramount, in particular with the great and underrated Kenyon Hopkins. These albums were released under Creed Taylor's name for contractual reasons. They include The Sound of New York; Lonelyville; and the trilogy of Shock, Panic, and Nightmare.

Interesting how the author groups these. Monk, Nichols, Randy Weston, and Sun Ra are pianists whom I have sometimes filed in the Space-Age Bachelor Pad section. I have not done this with Andrew Hill or Cecil Taylor, although some of the latter's early recordings may fit this aesthetic.

More than any other single act, the Delfonics for me epitomize Philly Soul specifically and 70s Smooth Soul more broadly.

Happy Caturday!

When everyone is whistling in unison, it is easy to go off key and not be able to hear what you are doing.

The singers generally whistled. I don't think they received doubling rates, but they did receive doubling rates if they overdubbed their parts to make it sound like a bigger group. This typically didn't happen, unless the group was mixed too low and couldn't be brought up in the mix (in the days of mono).

https://www.nytimes.com/2022/07/20/arts/music/william-hart-dead.html?fbclid=IwAR2zg5Wn72OxlPJ5AiYzcN6-uXKxSBqAJrxxYpCIOgrjZ7v7VfmVPB4Os5o

I think "Papa Loves Mambo" would have predated her association with Perry/Ray. Her run was around 1957-58 to 1964-65. She didn't smoke, although that generation lived its life in a perpetual haze of cigarette smoke. It was neither throat nor lung cancer. My Dad all but checked out after she died, and managed to exist for another five years. Aside from it being hard to lose parents at a young age, as a music lover and occasional musician, I have so many questions I would love to ask them. For example, they are on a Raymond Scott track on the Manhattan Research compilation. They had worked with him on Your Hit Parade. I never heard them mention his name, or if they did, the name didn't resonate with me as a kid. I think I've mentioned elsewhere that my Dad knew Dave Lambert and was on several Dave Lambert Singers sides, predating LHR.