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Teasing the Korean
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Everything posted by Teasing the Korean
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SLY & THE FAMILY STONE - THERE'S A RIOT GOIN' ON
Teasing the Korean replied to JSngry's topic in Recommendations
I have lots of Sly on vinyl, but I recently picked the the five-CD "Original Album Classics" CD box for cheap, which has the first five albums, through Riot. There are bonus tracks on all five albums, but they inexplicably couldn't find a way to include the non-LP singles "Hot Fun," "Thank You," and "Everybody is a Star" anyplace. But for 15 bucks I'm not complaining. I am now listening to the debut, A Whole New Thing, which I've never owned or heard before. Rose is not yet with the group. (She joins for the next album, Dance to the Music.). Anyway, I didn't know what to expect from this album, and I am amazed at how fully formed everything was right from the start, with rock, soul, and proto-funk elements. Epic didn't think it was commercial enough, but it is a really great, varied album. I listened also to Riot for the first time in ages, and I was kind of blown away by it all over again. The instrumental bonus tracks are a nice addition. I would like to reorganize the album so that the instrumentals are worked into the album sequence rather than tacked on to the end. -
BBS, I am awaiting your thoughtful and eloquent response to my question about Andre Hodeir.
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Can Anyone Sort Out For Me Who Owns What?
Teasing the Korean replied to DMP's topic in Miscellaneous Music
OK. I'm working on the complete Ultimate Spinach box set. I will get to this next. Would you like this brick-walled, for listening through earbuds, or would you like a more natural dynamic range? -
Check out Tom Dissevelt's fantastic 12-tone composition, scored for a jazz orchestra. When he later got into electronic music, he hacked this up and created the track "Intersection," AKA "Twilight Ozone." This is the original version.
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This track from La Dolce Vita nicely encapsulates my idea of moderne Euro jazz.
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You don't share my enthusiasm for Andre Hodeir? I have four of his albums, three from the Jazz in Paris series, and one on Vogue. They are fantastic. Mussolini is co-composer of one of my favorite 60s Euro exploitation flicks, Satanik.
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Mentioned in TTK's first post in the thread!
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Just finished spinning this!
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And the Swingles with MJQ album is on the Philips label, which gives it that European stamp of excellence. I have these white modular bookshelves from Ikea. On a late Sunday morning, I love retrieving a Baudrillard book, kicking back in my Wassily chair, and spinning this album. It makes me feel like a leftist intellectual character in an early 70s Euro film!
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I would venture to say that the soundtracks they are known for may not be the ones that meet your definition of "jazz modernism." The Umiliani album that I posted above is the one that I file in the Euro jazz section. The others are more of the groovy "now sound" variety. Umiliani is known for writing "Mah-Nah-Mah-Nah" from Sweden: Heaven and Hell. Piccioni arguably had a greater range, and many of his scores have both "serious" and jazz elements. However, again, the ones he is most remembered for are more on the groovy/now sound side of the spectrum. The aforementioned The Tenth Victim has jazz elements, including in the main title which I posted, and also a recurring Ellington-esque piano theme. Things like Camille 2000 and Puppet on the Chain have elements of funk, Bossa, and EZ/Breezy. So I would classify Piccioni and Umiliani as important figures, based on where they came from and what they did, but their jazzier work may not always be from their more memorable or well-known films. Incidentally, if you've never seen The Tenth Victim, it is a fantastic movie, a futuristic sci-fi Italian sex farce, in which Marcello Mastroianni and Ursula Andress are trying to kill each other as part of the hunting contest that they have entered. They fall in love during the hunt. The design, the music, the visuals, and everything else come together perfectly. It kind of encapsulates everything that I love about the 1960s Euro aesthetic. I guess it is worth mentioning in this context some of the free jazz stuff that Morricone did with Gruppo di Improvvisazione Nuova Consonanza. They scored a giallo called The Cold Eyes of Fear and recorded non-soundtrack stuff also. I believe that Porcy is in Italy, and I would love to get his take on Piccioni and Umiliani. All of these were included in the excellent Vogue box set that was released about ten years ago. As part of this discussion, it is worth mentioning Michel Legrand's early film scores from French New Wave films.
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Can Anyone Sort Out For Me Who Owns What?
Teasing the Korean replied to DMP's topic in Miscellaneous Music
I'm on it! -
I don't have the album in the link you posted, but it looks very good. This album cover sums up my image of European jazz:
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Jerry Van Rooyan's "How Short is the Time for Love" should have become a standard. Here it is, unfortunately mis-titled in the video.
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The Tenth Victim by Piero Piccioni
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Go for the film composers - Piero Umiliani and Piero Piccioni, for starters.
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I was visiting a US city with a friend, and we found this small basement jazz club. He said, "This reminds me of a little place you would find in New York." I replied, "This reminds me of a little place you would find in Paris!"
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It's all about perspective. In another thread, several Europeans on the board were putting down "jazz versions of classical" hybrids by the likes of the Swingles, Jacques Loussier, George Gruntz, et. al. They are to me the height of suave, elegance, and sophistication.
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By the way, when my wife and I got married, we went to the beach in St. Petersburg, FL. At the time, you could get all kinds of cheap vinyl in Florida. I remember dragging huge bags of albums onto plane flights, and having to rearrange my luggage to accommodate the additional bag. Anyway, during that trip when we got married, I will never forget finding a pristine copy of Jack Marshall's Soundsville on Capitol. I also found Tony Bennett's debut Cloud 7, in pristine shape, on that same trip. Ms. TTK shares my taste in music - and cover art - and she was equally thrilled to find these.
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Check out the main title to Marco Vicario's Seven Golden Men, with music by Armando Trovajoli. It perfectly captures the 1960s Euro Jazz aesthetic. Imagine being a little kid in the US and stumbling across this on TV!
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As someone from the United States, I have always associated jazz with Europe, perhaps because I always assumed Europe was more sophisticated than the US, and that Europeans had the good taste to appreciate jazz. If I am wrong, and I probably am, I prefer to retain that idealized image. The images of the cherub fountains in Brussels and Mini Coopers driving around Rome go nicely with the Swingle Singers or Jacques Loussier's Play Bach albums. I saw this film in elementary school, and it undoubtedly cemented Europe and jazz together in my young psyche. Little did I know that the group providing the music includes Thee Great Tom Dissevelt!
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No. I wasn't born yet even if I had wanted to. But I researched this several years ago. It wasn't until around 1959 that the stereo and mono versions were mixed from the same multi-track master. Until then, it was separate recordings.
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The stereo sessions were done with two or three mics strung overhead. If it was a vocal album, it was two overhead mics and one for the vocal. The stereo has a natural room sound, but sometimes details could be lost. For example, the bass is hardly audible on the stereo Kenton in Hi-Fi. The mono session used close miking, with as many as 7 individual channels mixed on-the-fly to mono.
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Some favorites: Krzysztof Komeda - Astigmatic Andre Hodeir - Jazz et Jazz The Double Six of Paris - Sing Quincy Jones Joe Harriott & John Mayer - Indo-Jazz Suite and Indo-Jazz Fusions Martial Solal - A Bout la Souffle (Breathless)
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I was talking about capitol early stereo session from 1956-58 which used separate mic configurations. The effects are drastically different.
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Not sure I understand your response.