Teasing the Korean

Thanks all for the replies! I'll see if I can find any of these albums YouTube or Spotify. I love those records and the MPS EZ sound in general, but I've never paid much for a Horst Jankowski record. They were always everywhere for short dough.

And when Herb Alpert covered it on his mega-selling Going Places album, Horst must have collected a pretty penny. I will keep an eye out for that album you mentioned. Thanks!

I absolutely adore Horst Jankowski. I've paid more than a dollar for some of his albums. I think his MPS album For Night People Only is one of the greatest albums of the 1970s, including the definitive version of "Light My Fire." I read on his Wikipedia page that Horst started out as a jazz pianist. Can any of our European members tell us if this early period was captured on records? If so, I doubt that these early records were released in the US. Thanks in advance.

Picked up - for free - Until Spring by Morton Subotnick on Columbia Odyssey. The previous owner - P. Dorham? - wrote on the cover, in a black sharpie: 'you Won't believe This one! Keep the Volume Down!" Then written beside this, in a thinner black pen: "(yeh! you sed it- HAH!" Then, in the thinner black pen, someone wrote the following, with an arrow pointing to the Subotnick illustration: "No eyes- No Brows - No Eyelids - No Cheeks No Branes!"

I recently attended a performance of La Mer, by an excellent community orchestra. The tympani hit that Larry described in the first post was very prominent in this performance. I unfortunately did not have a chance to chat with the conductor afterwards.

On many of the Capitol albums featuring the quintet with some sort of orchestra or ensemble, the arrangements are co-credited to Shearing and an arranger. Does anyone know how this worked? Would the arranger take the quintet's existing arrangements, with Shearing's chord substitutions and melodic variations, and create an arrangement around what the quintet was already doing? Does anyone know if the orchestras were recorded at the same time as the quintet, or if they were overdubbed later?

Cheap Sonic Upgrade would be a great band name.

Why not check out some of the examples that I posted?

This version unfortunately does not include the piano comping that I added, vastly improving the session.

I will take the opportunity to post a suite of David Raksin's wonderful music for this film. RIP, Kirk!

I will have to re-spin "Jack the Ripper." I would say that Lalo's Mission: Impossible albums fall on the cusp between the 1960s spy sound and the emerging sound of 70s urban cop show funk. His "Bullitt" main title from a year or two later really ushered in the 70s urban sound. To my ears, I hear a difference between what we might call "crime jazz" or "private eye jazz," and what I'm referring to as "Twilight Zone jazz." That latter is more abstract; has an ambiguous tonal center; and conveys a sense of nervousness, desperation, confusion, or unease. I would also suggest that some of the best Twilight Zone jazz may have been written by classically trained composers who may not have been fully immersed in jazz. Franz Waxman's Crime in the Streets, which I posted above, may be a good example of this phenomenon.

Hi Jazzcorner, Thanks for sharing. I have most of the albums you listed. The Rhino Crime Jazz collections are excellent. Off the top of the my head, the tunes that best encapsulate the sound I'm seeking would be Kenyon Hopkins' "Contract with Depravity," Leith Stevens' "Toss Me a Scalpel," and Henry Mancini's "The Boss" (incorrectly credited to the conductor on the CD). I don't think there is anything on the Ultra Lounge collection in this style. I have the two Pete Rugolo albums on LP. I will have to revisit these. The main Pete Rugolo tune that I think has the Twilight Zone jazz sound is the track "For Hi-Fi Bugs," later retitled "Stereo Space Man." I don't have the other crime scene collection; I will seek it out. Page 2 of this thread, near the bottom, includes some Jerry Goldsmith Twilight Zone scores that I think best encapsulate the sound I'm seeking.

I have some symphonic CDs with a dynamic range that was so wide, there was no single volume at which you could listen to them. Either the quiet passages disappeared, or the loud passages woke the neighbors. I had to load into ProTools and compress/limit in order to make them listenable. They are now very good, but it should not be the listener's job to finish someone else's album. Dynamic range is overrated.

It's killer, isn't it? It inspired me be listen to Barry Gray's soundtracks for Thunderbirds and Captain Scarlet today!

Thanks all. Are you guys hep to this album? This has inspired me to listen to my Thunderbirds CDs today!

What do you know about Roland Kovac? In the late 1960s, he recorded one of the greatest albums ever made, Trip to the Mars, for the MPS label (or a precursor label). Stylistically, the album reminds me a lot of Barry Gray's work for Gerry Anderson supermarionation shows. It is modern, swinging big band, but with definite outer space touches. I love this album, but I know virtually nothing about the artist.

Norah Jones - 17 years.

Does it include the original cover art? I am now cleaning the house and listening to Duane Tatro's music from the Quinn Martin TV series The Invaders. There is now a 2-CD set. Most of the music is either by Tatro or Thee Great Dominic Frontiere.

It is out of print and pricey!

I saw this film last night and thought it was excellent. Anyone else see it?

Duane Tatro, Jazz for Moderns. Does anyone have this on either LP or CD?

In the 1990s, did you pick up the Crippled Dick/Hot Wax releases of Franco soundtrack collections Jerry Van Rooyen at 200 MPH by JVR and Vampyros Lesbos by Hubler & Schwab? Absolutely top-shelf collections.

We may be the only two here who pick up on these obscure film references! It's nice to know a jazz guy who loves Bernard Herrmann as much as you do!

Orloff senior (The Sinister Dr. Orloff) told his son Michael Brown that he could take home all of the money rather than having to split it five ways with those four losers. This led to the breakup. The remaining four recorded a second album that is remarkably good, considering that their main songwriter was booted. Caro used to frequent a bar I went to. We were always told not to approach him, as he would deny who he was and would then abruptly cut off the conversation. He was bitter about the whole thing. Considering that they had only two hits and recorded only two albums, their influence is huge. "Shadows Breaking," which I posted above, is like proto-Raspberries. What a voice. RIP.