Teasing the Korean

He's been alive this whole time?!? RIP.

Nice! Was this your show?

Various - Alfred Hitchcock Hour Vol. 3 Music by Leonard Rosenman, Benny Carter, and Lalo Schifrin

Herrmann/Hitchcock: A Partnership in Terror Silva Screen compilation performed by the City of Prague Philharmonic.

That was a wild ride!

I must check this out! NP: Bernard Herrmann - The Ghost & Mrs. Muir

We premiered this locally at the time of release. It probably leaves more questions than answers, especially in light of his death.

Check out Kenyon Hopkins' version of "You're Driving Me Crazy."

Half of the tracks on this album sound like outtakes from the 1964 Soft Samba album. The rest are in a now sound vibe. A great album, assuming you like Gary's aesthetic from this era.

Kenyon Hopkins - the Shock trilogy: Shock, Panic & Nightmare The first two were released under Creed Taylor's name for contractual reasons, but they are pure Kenyon Hopkins.

Lalo Schifrin & various - The Exorcist Includes "serious" music used in the score, as well as Lalo Schifrin's rejected score.

Yes, I understand this. I am trying to separate the musician's in-the-moment intention from actual accomplishment in terms of what we may hear and enjoy and assess. We know there were all kinds of musical and cultural moments that were not recorded. We can trace influence, and we can read accounts by the people who were there. But those are subject to hype, just like the hype stickers that record labels use.

We get that, but from a functional/practical standpoint, the record is all that is left after the artist is dead. Even while an artist is alive, the record is all that exists for most listeners. If music is meant to be a live event experienced in the moment, only a tiny sliver of listeners gets to enjoy it. This is setting aside the fact that many of my favorite albums were conceived for the studio and were never performed live. I consider live gigs to be merely way for the jazz musician to get paid and stay in practice between recording sessions.

Howard Shore - Ed Wood

The recordings are ultimately what survive, until we perfect time travel. The live gigs allowed musicians to stay in practice and pay the rent so that they could make good albums.

I hope they served it with hash browns, and that tabasco or sriracha were available as condiments.

That is the least of the quote's problems.

Yes, this one: https://www.discogs.com/release/3056357-Thad-Jones-Mel-Lewis-Thad-Jones-Mel-Lewis

A 70s Blue Note twofer LP.

Jack Marshall also arranged "Fever" by Peggy Lee," and his arrangements on Latin a la Lee are fantastic. Marshall also wrote the theme from The Munsters, which alone places him the pantheon of the greatest musical artists of the 20th century.

"...In 1965, at the Village Vanguard, a child was born. In almost a decade that has elapsed, his cries have been heard and received with elation wherever true jazz has been heard. Never has a youngster been more prodigious in his ability to communicate in the universal language of music. I would like to believe that the recordings of this orchestra will find their way into every library of music, every college music department, every connoisseur's collection, whether he grew on Basie or Brubeck or the Beatles or Herbie Hancock. There just aren't any greater sounds being created by any musical organization. "Am I overextending myself in my praise? Listening to these four sides you will be convinced that if anything the case is being understated."

Sadly, it seems that you missed "Invitation."

Yesterday: Robert Cobert - Dark Shadows, Vol. 3 & 4 Robert Cobert - The Strange Case of Dr. Jekyll & Mr. Hyde

I started a "with Strings" thread a few years back that can still be found. I think there is a big difference between records placing a jazz guy in an orchestral setting and what I think of as the "with strings" albums. The former category, including Focus, seem to aim for a hybrid between jazz and symphonic music. The "with Strings" albums lean more toward creating a relaxed late-night mood, consisting primarily of ballads played by the soloist with "romantic" strings. There must be albums that fall on a spectrum someplace between the two.

Les Baxter is the obvious choice. But luckily for us, he had bigger plans than arranging for jazz artists.