Teasing the Korean

If you are talking about Alice Coltrane, I would be among those influenced.

If you don't have bass or treble, I would recommend demoing speakers using an LP or CD that will work for your purposes.

I have a pair of B&W bookshelf speakers that cost around $500 maybe 6 or 7 years ago. I mounted them to the wall. They are excellent. I typically listen at low to medium volume. Good top and bottom ends with the bass and treble set in the flat positions. I sometimes boost these if I am listening at.a low volume, but for medium volume, they are great speakers for the money.

Years ago, I found a pristine copy for a dollar. I gave it a scrub on the ol' Nitty Gritty, played the LP once - and promptly sold it to Dusty Groove. Once was enough for me.

Thanks. It looks some of these are out of print. Since the sessions made it to Milestone, it is possible some of the grey-market multi-disc sets are digital clones. I may spring for one of these first. Many thanks!

Can anyone recommend CD collections or multi-disc sets that include material from his earliest period, in particular the Riverside albums Trio and Solo; Randy Weston Trio; With These Hands; and Cole Porter in a Modern Mood? I see these albums on a number of European grey-market sets on labels such as Enlightenment, but I know these can be dicey. Any insights into which to buy or which to avoid? Milestone reissued this stuff on LP in the 70s. I'm assuming the masters must exist someplace. Or maybe not anymore.

Seriously, great work! It sounded like the solo where you were sitting down was more relaxed than the other. Had you been playing that one longer? I used to spend a lot of time transcribing solos, and I found it fascinating. There is so much rhythmically you can't capture with traditional western notation. Also, it was interesting to study the beats on which lines began and lines ended.

Not the response you are looking for, but I must say I LOVE the sound of the guitar and the tenor sax playing those lines together! As a response to the "Music Minus One" series, maybe you can launch a "Music Plus One" series.

Thank you!

The link that Moms posted is apparently no longer good. Is there another way to access the story?

https://www.newyorker.com/magazine/2021/02/08/audrey-hepburns-favorite-song

I highly recommend that you listen to Boo Boo's Birthday. If you've already played it today, I highly recommend that you listen to it a second time.

I am assuming that discographers in the 21st century are compiling their discographies digitally, probably using a database of some sort. So if someone wants discographical information on a particular session, and not an artist's entire discography, why don't discographers offer single-session, digital purchase options? Just as I can buy a single mp3 for 89 cents, and not buy the whole album, why can't I buy the info on a single obscure session for a buck or two? Maybe some discographers are already offering this option.

In the late 1990s/early 2000s, Scorpio was doing vinyl reissues of some rare Columbia LPs. I bought at least five of these. They do not sound at all like they are sourced from vinyl. I was told at the time that the LPs were mastered from digital tape copies provided to Scorpio by CBS/Sony or whatever the company was at that time.

Here is Golding's character Hans Groiner:

In the 1990s, I was eating this stuff for breakfast. The LPs were a buck a throw, and what you couldn't find on LP was being reissued on CD. I first heard this track on one of the UK Easy Project/Loungecore collections. I kind of burned out on this stuff and didn't play it for a while, but revisiting now, I love it more than ever.

You really have to look beyond jazz and even beyond music to understand this trend. Is it any coincidence that, after some 30 years' worth of innovation and progress that marked the postwar period in the US, jazz got conservative and nostalgic at the same time that everything else did? I listen to lots of film music. The period from roughly the mid-1950s to the mid-1970s produced some of the most amazing film scores ever. And then, just a couple of years before the young Alfred lions, John Williams scored Star Wars with a neo-Korngold swashbuckler score. It changed the face of film music. And look at how conservative and throwback everything became in the 1980s - pleated pants, padded shoulders, short hair, pink-and-turquoise neo-deco architecture, Neo-conservative politics, The Good Feeling Music of the Big Chill Generation, Volumes 1-47, Spielbergian feel-good kitsch cinema. It was as if the US collectively engaged in a mass delusion that it was the prosperous 1950s again, except without the sociological, cultural, technological, or economic forces that produced the original 1950s. In the US, we went so far as to elect a mummified 1950s TV Dad for president not once but twice. So everything that happened in jazz at that time with the young lions was in lock-step with everything else that was going on culturally. It was a dreadful decade. And as much as I personally avoid the young lions, they were actually right in a perverse way. Jazz has become a legacy genre, like it or not, and the only broad cultural impact that jazz has had over the past 40 years or so has occurred via sampling in hip hop and electronica. Artists have life spans, and so do art forms. C'est la vie.

I forgot how truly badass this track is. Here you go.

I love Joe Chambers' compositions on Blue Note LPs from the 1960s. They remind me of Twilight Zone scores, which is one of the highest compliments I can pay to a composer.

A hipster classic, collected on Rhino's excellent "Beat Generation" box set. Based on the song's definition, you can rest assured that TTK is indeed a bebopper.

One of the greatest jazz albums ever made is "Blue Martini" by John Neel and Plas Johnson, on the AVA label. Someone needs to reissue this.

One of the greatest jazz albums ever made is "Blue Martini" by John Neel and Plas Johnson, on the AVA label. Someone needs to reissue this.

Thank you! I wonder why I could not find this when I used the Amazon "Look Inside" feature??? I just read the references, thank you! It must have been that I was looking for "Kenyon" and not "Ken."

If you can trust the book's index - and as Kurt Vonnegut reminded us, never index your own book - there is not a single mention in the book of either Kenyon Hopkins or "The Hustler." Could you imagine being the primary soloist in an iconic film like "The Hustler," and having the honor of playing music written by someone as great as Kenyon Hopkins, and not even mentioning these things in your book? No Hopkins, no sale. EDIT: Hopkins is apparently mentioned in the book. Never mind...

That's what we wanted to hear!