Teasing the Korean

It apparently is something that Wynton Marsalis wrote. I guess a broken clock is right twice a day.

Not sure where it is from. It looks like some sort of introduction to jazz kind of book, but it is hard to tell from one page! We should probably move this to the "Jazz in Print" sub-forum. If you agree, feel free to move it.

I love that album! A crime jazz classic!

I've always liked The Compositions of Benny Golson on Riverside. It is a comp that hangs together well as an album. A few of Golson's Mission: Impossible scores were released on the 6-CD MI set that was released several years ago. The military drums were a real stumbling block for me on that set. As Groucho famously said, "Military intelligence is to intelligence what military music is to music." I need to revisit it, and burn some custom CD-Rs without the military drums. Golson's 1960s Verve album Tune In, Turn On, in which he reimagines TV commercials, is a real favorite. I love this track: and this one: and this one:

I wish I could have attended the brainstorming session in which they were trying to come up with a name for their label.

That is crazy. Never heard of it. Did you check out the Piri album?

From TV Action Jazz? I agree! Oh, I have to get the book just for that! Well, I file Streetcar in the crime/spy section, because it fits nicely there.

Sending positive vibes.

Listening again to Bongo Madness. It is for the most part more minimalist, moody, and abstract than Jazz Heat Bongo Beat. It is kind of similar to Sabu's Sorcery and Safari albums. Buddy does a lot of extended solos over hypnotic patterns.

Ralke later did The Savage and the Senuous Bongos for WB, and he did the arrangements for William Shatner's The Transformed Man, which I think is an absolutely brilliant album despited its irony hipster red.

Do you know the other Buddy Collette Latin album on Crown called Bongo Madness by Don Ralke?

Our stage band director's heart was in the right place, but I wish he would have gone into contours of the tunes and arrangements as we were learning them. For example, pointing out if it was an AABA tune, how many bars the intro had, who had the melody in the first A section, second, etc. There was none of this. It would have been very helpful. I had a similar experience to yours when starting college, as I wrote in that other thread, of having not been properly assessed by the faculty. I was miles ahead in some classes, and miles behind in others.

I do like the 50s stuff quite a bit, but I gravitate toward the 60s impulse! albums with Gabor Szabo. I really love those Eastern-tinged grooves they would get into.

Can I put in a plug for "I Won't Dance?"

The stage band angle is worth mentioning. I was in a high school stage band in the late 70s/early 80s. We were pretty well respected regionally, which probably says less about our ability than it does about the ears of the judges. Our repertoire was all over the map. As I was still discovering jazz, I remember playing some tunes like "Land of Make Believe" by Chuck Mangione and thinking to myself, "I don't ever want to own an album that sounds even remotely like this." I thought the same of Maynard, although decades later, I appreciated his early-70s albums as Bizarro World pop music time capsules. In terms of the music we played that I liked, the main two names were Neal Hefti, who I somehow knew had written the Batman theme, and Sammy Nestico. We played Hefti's "L'il Darlin'" and Nestico's "Basie Straight Ahead." This latter tune stayed engrained in my memory for decades, and I was happy to hear it again when I bought Inside the Score, in which the tune is featured. I also remember playing a nice arrangement of "On Green Dolphin Street," but I don't remember the arranger.

Banning a word gives it power. If black persons want to re-contextualize a word that once was used as a weapon against them, I am in no position to tell them to do otherwise.

Oh. Well, his music didn't resonate with you. We can all say that about particular artists.

You may have seen the reissue. The tracks are in a different sequence, and there are some subtle mix differences:

Fair enough. We are all going to draw the line at different places.

As I mentioned, I had exposure to swing/big bands through my parents, including Ellington, Benny Goodman, and Glenn Miller. And of course the Riddle/May charts heard with singers like Sinatra. This provided a good context for stuff like Kenton, Don Ellis, Gerald Wilson, Legrand, Quincy Jones, Pete Rugolo, Oliver Nelson, Sauter Finegan, Shorty Rogers, Tadd Dameron, Gil Evans, and many others whom I discovered later. I think another important thing about being exposed to the swing/big band stuff early on was understanding how jazz, pop, and show biz all intersected at one time. This was an important reference point for me.

Hoagy Carmichael also adapted the lyrics of a poem for "I Get Along Without You Very Well."

Yeah, I think Charlie Chaplin and the "It's All in the Game" guy probably speak more to how I interpreted your questions. Raksin, Romberg, and Kaper were all trained musicians with careers as such, so if they are not qualified to write standards, I don't know who is.

Kaper also wrote "Invitation." Not sure how the above three who I quoted figure into the discussion, though.

Apparently so. I didn't know he also played Moog.