Teasing the Korean

Do I really have to hold your hand?

Leatherwood may be sgcim, based on the story he told.

I think she is fantastic, and the kind of gal I would want to have drinks with while listening to jazz.

Does it specify the theme, though?

But they could have gotten it from a library. Here is a link to the entire series:

The show, incidentally, is incredible, and right up my alley.

https://www.cnn.com/2022/04/21/entertainment/robert-morse-death-mad-men-broadway-cec/index.html

When I play a jazz album, I try to connect with my 13-year-old self who fell in love with jazz. I try to imagine that the album in question is the very first jazz album that I am hearing. In this context, I tend to be much more appreciative of the music.

Thanks all. So it appears that virtually all of the OJC LP reissues made it to CD in some form or other, although certain tracks here or there needed to be deleted to fit two albums on one CD, correct?

This was framed and displayed in our first tiki room.

Ah, I have been forgetting about 70s twofers that got reissued as CDs. This was a missed opportunity. The cover art of Yambu is at least half of the attraction.

How long of a gap was there between your experience with the cover art and the music housed inside?

Don't know about the royalties, but they certainly deserved the credit. The intro alone is iconic.

In the 1990s, I picked up the vinyl OJC reissue of Mongo Santamaria's Yambu, which has one of the greatest album covers of all time. It doesn't appear that this was reissued on CD. (Correct me if I am wrong.) This has me wondering: Were there significant numbers of OJC LP reissues that did not make it to CD?

I see that Lawrence Welk is a proponent of the Flying V formation. Not many conversations necessarily include both Stan Kenton and Lawrence Welk!

It would be interesting to know if any producers/engineers used this Flying V configuration in the studio for non-Kenton bands, in order to achieve the stereo split that I mentioned earlier.

Thanks. I'm just wondering about the relationship between configurations for stereo recording sessions and those for live settings. Do you know when the Mellophonium Band began recording?

Understood. I wonder about the recording studio, though. As early as the 1950s it was common to hear a stereo big band/jazz orchestra record with the rhythm centered, the brass off to one side, and the reeds off to the other. Was this a common studio setup to achieve stereo? And then did Kenton apply that to live settings?

Of course.

This is great. I have the LP. Overdue for a spin.

That's interesting. I certainly saw stage bands using this configuration in the 1970s and 80s.

Thanks for sharing, and welcome to the forum! The stacked configuration you describe is typical, but another typical setting was rhythm in the center, reeds on one side, brass on the other. Did that present challenges with syncing the reeds and brass properly?

I sometimes hear the bridge played as a series of three ii-V-I progressions before the turnaround to the home key. But I have also heard it played with the first chord of the bridge as a major 7th chord on the IV, related to the first ii-V-I key if that makes sense. So, playing it on the piano in Eb, that could mean the first chord of the bridge is an Abm7 or a B maj. 7. I kind of like the sound of the latter because it seems a little less expected, but either work. Last night, I listened to a very early recording by Benny Carter, and I heard the series of three ii-V-I progressions, but the fidelity wasn't the best.

That is awesome. Thank you for sharing.

Any memories or stories? Not looking for tabloid stuff, just anything interesting about him as a musician or a person. Were you friends to any degree?