Teasing the Korean

Here are the 19 composers who composed original scores for The Twilight Zone, followed by the number of episodes they scored. All are gone. Tommy Morgan made it to 2022, and Henri Lanoe, whom I never heard of, died this year. Nathan Van Cleave (12) Bernard Herrmann (7) Jerry Goldsmith (7) Fred Steiner (7) Rene Garriguenc (4) Tommy Morgan (3) Jeff Alexander (2) Lucien Moraweck (2) Nathan Scott (2) Leonard Rosenman (1) Robert Drasnin (1) Franz Waxman (1) Leith Stevens (1) Lyn Murray (1) Wilbur Hatch (1) William Lava (1) Richard Shores (1) Henri Lanoe (1) Laurindo Almeida (1)

And Earl stars in the first episode!

I assume that all of the composers have died, though there are a few I would need to look up to be sure.

Muted trumpet playing in unison with an organ is one of Hugo Montenegro's trademark sounds, as heard on the I Dream of Jeannie theme and More Music from The Man from UNCLE RCA LP.

Regarding the four Monk tunes that were yanked from Genius of Modern Music, are the best-sounding versions on the 2001 RVG Wizard of the Vibes CD? I ask because those four on the Milt Jackson CD do not sound as good as the RVG Genius CDs. Perhaps they were not recorded as well?

He recorded with a Wurly. Even better!

...whose senior fellow is Christopher Rufo. Avoid.

Herbie Hancock - Death Wish OST (Columbia) Part of a holy triumvirate of fantastic Charles Bronson scores, the other two being Jerry Fielding's The Mechanic and Morricone's Citta Violenta.

Miles '60s Quintet box, discs 5 and 6.

Saw Herbie last night. Nosebleed balcony seats, five tiny stick figures on stage. Turns out the trumpet player was Terrance Blanchard. Who knew? Overall, the set - a single set - had what I would characterize as a 70s jazz vibe. Herbie was on a grand piano for most of the set, but also had keyboards. Highlights included the opening overture, as he called it, and closing with "Chameleon," on which Herbie played the keytar. The guitarist was using a lot of crazy effects throughout. Downsides were that it was way louder than it needed to be, even in the balcony, and the grand piano sounded kind of harsh. With my earplugs in, the piano sounded like a Wurlitzer electric piano in the middle register. It was one of the more diverse crowds I've seen at a concert in recent years.

Purchased from the Zayre cutout bin for 99 cents, circa 1980. It was the victim of a record purge 8 years later.

Herbie/Yardbirds - Blow Up OST (MGM, mono) For those who don't know, the mono LP has edits of a few tracks that are significantly longer than their stereo counterparts. Mono is definitely the way to go with this one.

Watched a couple of short films. Crimes of the Future (1970), David Cronenberg's directorial debut, not to be confused with his more recent film of the same name. Room 8 (2024), the true story of a domestic cat who wandered into an Echo Park, CA elementary school classroom in 1952 and continued to show up every school day from then until 1968.

Thank you!

Well, that's a relief. Because I have been doing the same with my external drives for the past 15 years or so.

I am going to see Herbie Hancock tomorrow night. I have no idea what he's doing. The entire Headhunters album? Chestnuts from his 1960s Blue Note albums? Something else? We'll see.

So if the answer is routine transferring of files to new hard drives from older ones before they fail, what is the likelihood of errors being introduced into the chain of copies?

Well, it's all subjective, but inaudible bass typically leads to my unloading a record. I can't remember if there is enough bass on the original to bring it out further. But I have the version where Mingus overdubbed the bass, so in that sense, it is probably not the best example.

Digital technologies available in recent years allow for the extraction and isolation of various instruments, even with mono recordings. Are there examples of older jazz recordings with less-than-optimal mixes being reissued in recent years using digital de-mixing technologies to remix them? For example, could Mingus's bass on Massey Hall be isolated and brought up in the mix? I know that this technology has been applied to some pop records, but I wonder about jazz. I assume there wouldn't be much financial incentive to do so.

Well, you could pair Nine Flags and Spanish Rice, unless the latter was paired with another Clark Terry album.

I had this album, played it once, and unloaded it. The arrangements sounded really dumbed-down, as though impulse wanted some kind of a lame crossover album. Still, I'm not sure who or what the crossover audience for this album would have been.

I started a thread some years ago in praise of the 70s twofer reissue jazz LPs (linked below). These albums were indispensable to me as a young person trying to acquire classic jazz at affordable prices. There is a sub-category of these twofers that I have a soft spot for, and these were albums that were made up exclusively of unreleased tracks and/or unedited tracks pulled from a range of albums/sessions. Examples would include the following, all from Columbia, circa 1979-81: Monk - Always Know Mingus - Nostalgia in Times Square Miles - Directions Given the fact that a CD holds basically two albums' worth of music, I'm assuming that most if not all of the unedited or previously unreleased tracks on these have appeared as bonus tracks on the expanded CD releases of the original albums/sessions. But considering the time/space limits on LPs, these compilations were worthy additions to catalogs. And some of them work very well as compilations in their own right. I played the above three albums to death. Are there other examples of these kinds of albums?

I've heard different versions, and I suppose it depends in part on who you ask. If they weren't technically fired, it may have been an untenable situation if they all left en masse.

No, I believe she and the other alums/outcasts all became the Carnival. EDIT: The Carnival had the other woman, forget her name. Not sure when Karen arrived.

Precisely. Instead of getting arrested, the guy should be put in charge of the RIAA. Someone finally figures out how to make money in the contemporary music business, and he gets arrested.