Teasing the Korean

I started a thread in the vinyl sub-forum a few years back, called something like "In Praise of the Jazz Twofer." By the time that these twofers were coming out in the mid- to late-70s, it seems that there was good jazz distribution and also better record stores, at least in suburban areas. You could find virtually everything in a large store like Peaches, but ever mall record stores were carrying some of these. I imagine that the situation was somewhat different in the 50s and 60s.

How are cocktail parties a problem, unless you are driving? Pandemic notwithstanding.

When I was teaching myself about jazz as a teen in the late 70s, I avoided Dave Grusin albums, having no idea he had done all this film and TV work that made an impression on me as a kid. Grusin also did most of the Girl from UNCLE scores. There was an LP, credited to the arranger, Teddy Randazzo, but the CD reissue credits the album to Grusin. Grusin also did some fantastic film scores in the 70s, including Three Days of the Condor, The Yakuza, and The Friends of Eddie Coyle. I consider him a prime architect of the 70s urban sound heard in film/TV from that period. As to Daniel's question about the status of the scores, Most scores for US network TV shows from the 70s do exist, albeit in mono form most of the time. Releasing them is a question of rights, demand, and the amount of work that would go into making a listenable release. (Film score label producers have said that it is much harder to do TV releases, because there are so many short and static cues, they have a lot to wade through to get to the good stuff.)

I know the Hutcherson/McDaniel version of this tune. May I ask, who backs her up when she sings? The tune is not very complex; it should be pretty easy to produce a lead sheet by ear.

Yeah, understood. Thank you. I have not been able to find a version with English subtitles, as I unfortunately don't speak French.

Urbanity is one of the qualities that draws us to jazz. We are essentially drawn to the gentility, politeness, and civility that the music offers. When we go to cocktail parties, we expect to hear the George Shearing Quintet.

I was playing it on repeat for a couple of days at work. It's a really good representation of the music, if you remember the show. The other under-represented composer from that era is Billy Goldenberg. I hope we get some more of his stuff in the near future.

Les Double Six specialized in contemporaneous jazz, so their covering something wouldn't necessarily be a barometer of a tune penetrating the mainstream. "Naima" is from their second album, which Discogs dates from 1962. There is/was a CD with their first two albums, and it is fantastic. The first album is all based on Quincy Jones' big band charts.

We watched Many Saints of Newark last night. It was good - I don't know how good it would be as a standalone film, but if you liked the Sopranos, you will like it. No spoilers, but the film focused more on Christopher's father than it did Tony.

Halloween Nuggets 3-CD box set https://www.amazon.com/Halloween-Nuggets-Monsters-Sixties-Go-Go/dp/B00LWWB02W/ref=sr_1_1?dchild=1&keywords=halloween+nuggets&qid=1633199197&s=music&sr=1-1

I'm still trying to find fhe Couperin and Vivaldi music used in "Le chat dans le sac?" but I have not been able to identify it. Shazam won't work, presumably because of the dialog over it, and also because the particular performances may not be in the database. Would still like to compile a definitive soundtrack album reinstating Couperin and Vivaldi, and also adding Les Double Six's vocal version of "Naima." Hoping to also find a fan-made alternative album cover using the film's original poster art.

I guess the tempo from the Columbia version is etched into my psyche - I even wrote lyrics to it about one of our cats. I will have to listen more to the Riverside version.

I never even heard of these!

You're quoting yourself? As George Bernard Shaw famously said, "I often spice up conversations with quotes from my own works."

NP: Milton Delugg - Music for Monsters, Munsters, Mummies, and Other TV Fiends! (Epic)

No, just want to confirm which bassist Elvin was referring to. No, just want to confirm which bassist Elvin was referring to. No, just want to confirm which bassist Elvin was referring to. No, just want to confirm which bassist Elvin was referring to. No, just want to confirm which bassist Elvin was referring to.

Never saw this!

Yup. Like this one:

Is that bassist John Lamb?

Completely agree.

It is indeed!

Haha! Did you check out that Vic Mizzy track, it is pretty cool, in a Neal Hefti way.

Well, it's October 1, and this is the time of year when TTK starts busting out the gothic/macabre/supernatural/horror stuff. I prefer easing into October with lighter fare, and working up to the more intense stuff as we approach the 31st. So, I started out today with Vic Mizzy's Addams Family LP on RCA. This is the money cut, "On Shroud 9," featuring Plas Johnson. Very much in a Neal Hefti bag.

The first version I heard was on Always Know, a Columbia 2-LP collection of stray Monk tracks. The version on there came from a 1963 Columbia jazz sampler called Giants of Jazz. It clocks in at 7:31. This appears to be the same version that is a bonus track on the Criss Cross CD.

The name-dropper whom I discuss in the college jazz program nightmares thread said that Herbie had gotten rusty from playing synths in the 70s, and that he had to work hard to get his piano chops together for VSOP. He told the story, like all of his stories, as though he were best friends with the artist being discussed.