Teasing the Korean

Not to hijack my own thread, but the Riverside version of "Coming on the Hudson" from In Action feels kind of rushed, compared to the more laidback Columbia version that I first heard. Carry on.

Would that be John Lamb?

Here is a 13-minute suite of the music. I love that early 70s TV cop show funk sound.

Pat Williams' film and TV music is very underrepresented on LP and CD, but last year, Lalaland released a 2-CD set of his music from The Streets of San Francisco. https://lalalandrecords.com/quinn-martin-collection-vol-3-the-the-streets-of-san-francisco-limited-edition-2-cd-set/

Great responses so far, thanks all! I will review in greater detail. The proprietor's wife!

There are two - one on Roulette and one on Columbia. Because Basie was signed to Roulette and Tony to Columbia, the labels worked out a reciprocal deal for two records, one on each label. Both great.

I read someplace that after Miles went to Columbia, those Prestige albums got a huge boost in sales. Columbia was essentially marketing Prestige's product.

Monk Riverside.

I read someplace - maybe here - about the time when Mercury approached Quincy Jones to head up their jazz arm. Q asked, "What is your idea of a jazz record?," to which the exec allegedly replied, "Anything that sells under 5,000 copies." This got me thinking about jazz LP sales and distribution between, roughly, the dawn of the LP era and 1964. That latter date may be more symbolic than anything, as it represents the Beatles' arrival in America. Still, the date signals the start of a general cultural shift in music, as evidenced by Liberty absorbing Blue Note in 1966, and Fantasy absorbing several other jazz labels in the early 70s. At any rate, 1964 doesn't have to be a hard stop for the purposes of this discussion. But I am curious about sales and distribution of jazz LPs during this postwar period. How many units, for example, would Riverside have to move in order for a particular LP to be considered a good seller for them, as opposed to a good-selling jazz LP for Columbia? We can assume that Columbia had better distribution. Anecdotally, many of us would say that we found more vintage Riverside LPs in the northeast and more vintage Fantasy LPs on the west coast. What was distribution like back then? Did jazz labels focus on major cities within a particular radius, assuming that there was more culture in the big cities? Would a jazz fan in Iowa have been able to find Blue Note or Prestige LPs in a record store? I assume they would have found Cadet and Argo LPs. Just looking for general information and round numbers. If this has been discussed elsewhere, feel free to provide a link.

I agree. It did have an air of "importance" around it at the time, both because of the players and the fact that they weren't playing disco, fusion, or CTI grooves, but it is hard to imagine it being singled out in jazz histories written in 50 or 100 years. History tends to favor the innovators, and when innovators had long careers, history tends to favor the most innovative parts of their careers.

It probably is well-known, and it is probably something I should've known by now but only just learned.

I'm having issues with posting pix.

Was the turban inspired by Korla Pandit?

We can't all know everything. I didn't know the circumstances of Monk leaving Blue Note or Prestige. I adore the Blue Notes. l reinstated the Milt Jackson tracks. The brevity of the tracks really works for me. They are like Monk's equivalent of the Raymond Scott Quintette 78s.

I plucked this album from the cutout bin when I was in high school. I love everything about this record.

Understood.

Who signs Monk expecting him to be normal? Keepnews, apparently.

Does anyone know why Monk's first two Riverside albums consisted entirely of tunes by other composers? Was this a producer-driven decision, or was it Monk's idea?

Two albums on Alshire both used the same cover art: Tijuana Beatles and Les Baxter's Que Mango. Some CD packages used LP covers from completely unrelated albums. For example, the cover of Ralph Font's Taboo was used for an Arthur Lyman Best of CD, and Spencer Hagen's Essence of Romance was used for an exotica CD comp. Identical images.

There are many instances in which two shots from the same photo shoot ended up on two different albums: Martin Denny Latin Village and Don Swan Latino Martin Denny Hypnotique and Ethel Azama Exotic Dreams Nelson Riddle Sea of Dreams and Les Baxter Jewels of the Sea

We all approach music from our own perspectives.

Piero Umiliani - Today's Sound

Oliver Nelson - The Blues & the Abstract Truth One of my first jazz LPs. This would be an amazing album if it were not for that annoying shit-kickin' redneck track on side 1.

Across 110th Street - J.J. Johnson & Bobby Womack