Teasing the Korean

Sorry to see you go. We love you. https://ultimateclassicrock.com/steve-martin-caro-dead/

And if the Mosaic is out of your price range, you can get the original albums in mint condition for a buck a throw at a thrift store near you.

Understood. I guess I meant that in certain situations there can be a practical difference between the two terms, depending on who is telling you what is unlawful. Does that make sense?

But a corporation will use a liberal interpretation of what is and is not permitted under law, to protect their product (and profits). If it were as cut and dried as you make it appear, we would not need lawyers, and you would be out of a job. In other words, the party that is telling you what is "unlawful" may have its own agenda and may be misleading consumers. For example, record companies have made the claim that you can't keep legally extracted digital files if you sell the original CD. To my knowledge, this has not been tested under US law, and US lawyers do not universally accept this interpretation.

Don't forget the difference between "illegal" and "unlawful."

Monk would have known "Powerhouse," and they both have this mechanized, futuristic sound. I'm sure "Powerhouse" was an influence, but I have no direct proof, though.

Can't see the image, Jasper!

I just thought that the family connection to Henry Mancini may have given him a genetic predisposition for succeeding with The Hustler. I am an optimist at heart.

Thank you, my Big Beatster! I shall!

I have one Mal Waldron LP filed in the Spy/Private Eye section of the LP accumulation: A mono copy of Sweet Love, Bitter on impulse! It is filed alphabetically between Ken Thorne's Help! and Franz Waxman's Crime in the Streets. I have never seen the film, but it appears to be right up my alley. I assume the LP was a re-record, as was common at the time? Has anyone seen the film? Is it any good?

I just learned that Duane Tatro, who scored the Quinn Martin series The Invaders, was a Kenton alum. Who knew?

Maybe the Nash kid could pull it off?

I've seen that top one, but I can't see the other images. I take it that these pre-date CTI - let alone that 80s album with the horrible cover where Sebesky looks like an annoyed golfer.

Never heard 'em! I can't know everything!

Like many in my age group, I was introduced to Jack via his gig with Merv Griffin. Now, Jack and Merv have been reunited, along with Zsa Zsa Gabor, Truman Capote, and Orson Welles.

The notes to the Wagner album were pretty funny IIRC, but that is one that I re-imprisoned at the thrift store after briefly liberating it.

One of my favorite things about Stan Kenton is the liner notes for his Capitol albums. For about 20 years, Capitol's copy writers had to keep coming up with bold, new, innovative ways of saying how bold, new, and innovative Kenton's music was - even though Kenton never really deviated from his original 1940s approach, i.e., bigger + louder + more dissonant = better. It's as if he arrived at the apex of "modern" and just stayed there.

Could you imagine if JALC did The Hustler by Thee Great Kenyon Hopkins?!?

I don't doubt any of that, but knowing this does not make the June Christy album any easier to listen to. But as I said, I'll be happy to revisit it.

The work for arrangers was often feast or famine. They all had assistants. Gordon Jenkins wrote his charts with all the instruments as C instruments - strings together on one staff, winds together on another, etc. An assistant would do the rest.

You may want to expand your sources. That has been disproven. The University of Arizona has all of Baxter's existing arrangements. Many of these are in Baxter's own hand; others are in the hands of his assistants, Hall Daniels or Albert Harris. Albert Harris, who was a highly respected arranger who worked with just about everyone in Hollywood, said that Baxter's sketches were very detailed, and regardless of which arranger did the grunt work, the end results would have been the same. Albert Harris composed and arranged an orchestral suite for Frank DeVol, titled Bacchanal. Listen to it sometime. It is gorgeous, but it sounds nothing like Baxter's exotica albums. There is a consistent thread in all of Baxter's exotica works, from Voice of the Xtabay in 1950 to Que Mango in 1970, and everything in between. Same with his gothic scores for AIP films. That can't be a coincidence.

Unless I'm misremembering, he sounds to me on this album like he is trying very hard to be self-consciously "modern." I guess one could say that about his entire output. Every chord is a huge, fat, dissonant chord with lots of extensions. He doesn't vary his approach enough for my taste. Maybe I should give it another listen.

A friend of mine made an absurd amount of money when he sold the Starker Mercury Living Presence set on the InterBays.

Maybe you would appreciate it more if it included studio chatter between tracks. I'll burn you a version with the chatter from Blue World interspersed.

Bump. Jackie Gleason's 1956 Christmas album must be heard to be believed. Have you ever heard "Jingle Bells" done as a dirge?