Teasing the Korean

I heard all of it, which would include Kenyon Hopkins' Rooms if true. I know he owned the Everlys.

The MCA branch was huge - Decca, ABC Paramount, Kapp, zillions of others. And Andy Williams owns Cadence.

Universal has MCA, EMI, Capitol, and all that fell under them. BMG has RCA and Columbia, and all that fell under them. Polygram may or may not be a part of Universal now. Not sure who owns WEA or Atlantic/Atco.

Too many to list. In another thread, I complained about a wonky stereo mix of a Miles Davis 60s album, which had Miles and Wayne overbearingly loud in the center, while the rhythm section was panned hard left or right. I remixed the album using Audacity. I used the conventional left/right channels, and then created a third mono track with just the rhythm and no horns. I placed this track in the center and faded it up to the proper amount. The net effect is that the stereo spread of the rhythm instruments is narrowed, and the horns are pulled back to where they are integrated into the band. My stereo mix is much more balanced than the conventional stereo mix. That may or may not fix the problem, and depending on the mix, it may make it worse. A variety of things can happen when you fold stereo to mono, including boosting the center image or losing elements through phase cancellation. I think the OP is talking about dedicated mixes. Back to the mono button, I think that most of RVG's 1960s stereo mixes are improved when folded to mono, because the bass and piano are boosted to the level that RVG intended for the mono versions.

Wrong forum. Try here:

In fairness, some of those Blue Note tracks work better than others, and you could assemble a decent compilation with the best tracks from all of them.

Side 1 is The Drum Suite, and side 2 is the Jazz Messengers doing their thang. The Columbia album grooves much more. As I wrote in another thread, my problem with the Blue Note albums is Blakey sounds like he's fighting against the African/Latin grooves, rather than grooving with them, and I don't mean going against them in a rhythmically interesting or compelling way either. Hoping that Mike Weil will waddle into the discussion.

The whole side of the album is great. The Drum Suite is IMO much better than any of Blakey's Blue Note drum/percussion albums.

No, I'm talking about Neal Hefti Oscar Pedersen, the European bassist.

Art Blakey's The Drum Suite was released on Columbia in 1957. Bobby Montez's Jungle Fantastique was released on Jubilee in 1958. Blakey's album includes a track titled "Oscalypso," credited to Oscar Pettiford, who plays bass on the album. Montez's album includes a track called "African Fantasy," credited to Montez. The melodies are very similar. I don't know if it is a routine pattern that was often played over tumbaos or other grooves, but I don't think I've heard this precise riff on other Latin records. I wonder what the story is.

www.oldweirdeyes.com

Did the Mosaic set include a piece of Mike Love's toga from the Sunflower photo shoot?

I'm hoping for flute and bongos, for a beatnik vibe.

I realize that many of the regulars here will react in horror to jazz musicians playing today's "rock" music, but really, it is inevitable that this is happening. I don't consider myself a fan of today's sounds, but whenever someone tries to tell me that today's music is all noise, I point to the Beatles as an example of a group that is doing some creative things. As more and more jazz artists cover their songs, it will be refreshing to hear Beatles music delivered in the professional, refined, and genteel manner that we associate with jazz.

It is overdue for a revisit.

Yeah, I have that album. It is more restrained than you may think possible for Kenton.

The Bossa musicians did not like Regina when she first came on the scene. They accused her of yelling. By contrast, Joao Gilberto would invite a friend over to his place, have his friend stand at the other end of the hallway, and repeat "O pato" over and over as quietly as possible, trying to determine the lowest possible singing volume that could still be understood, Obviously, Regina was accepted, and her album with Jobim in particular is considered a classic. I have that documentary, but it has been ages since we watched it.

In Ruy Castro's book between pp 232 and 235, he indicates that Lennie Dale, a US choreographer working in Brasil, "...decided to jump the gun and invent a dance before some other gringo did." Castro indicates that the dance never caught on in Brasil, in part because "men did not feel comfortable dancing it because it did not suit their masculinity terribly well...and the only women who were capable of executing such contortions, without ending up at a chiropractor, were...professional dancers." Elsewhere in the same section, Castro describes Bossa as "a form of music that was meant to be exclusively listened to." Castro does not reference the Jequibau at all, so could be.

As to whether anyone ever in Brasil did or did not dance to it, I don't know. But the photos of live performances from that era all show young scenesters listening in rapt attention.

I just did summarize it for you. There was no dance in Brasil called the Bossa Nova. The music was not a tie-in to a non-existent dance craze, or vice-versa. The dance was a US concoction. I don't know how to make it any simpler than that.

Ruy Castro goes into detail in his book.

I don't think we could prove that nobody in Brasil ever danced to the Bossa, but it was intended as listening music, much like jazz has become (for better or worse). My point was the music was not centered around a dance, and there was no dance in Brasil devised to go with it. Roy Castro addresses this in his book, which I recommend.

Whether some tried to dance to it or not, I don't know, but the name had never been used in relation to a specific dance. Brasil in the 1950s was on the verge of coming into its own as a major player on the world stage, but that never quite happened the way it was promised. Bossa was basically willed into existence by a group of young upper-class intellectual Cariocas. They were obsessed with Frank Sinatra and Stan Kenton, and wanted to create a music that was both inherently Brasilian and modern. Joao Gilberto is credited with coming up with the guitar pattern. It was intended as quiet, introspective, sophisticated music. Ruy Castro's book is worth reading.

Maybe the Brasilians didn't want to let this one slip past them, as they had with the Bossa Nova!

I have that LP. I remember it as being good, but it's been ages since I've spun it. Yeah, I don't hear any evidence that it caught on.