Teasing the Korean

Side 2 of the soundtrack LP for David and Lisa by Mark Lawrence (Ava AS-21) consists of "Jazz Impressions of David and Lisa" by the Victor Feldman All-Stars. My copy of the LP does not credit the musicians. Have they been identified anyplace?

Now, that's what I call coyote, volume 3!

There must be some but I can't think of any. Every one that I think has a coyote simply has a full moon on a western landscape. I realize that, depending on the lighting and composition, a wolf and a coyote might be mistaken for each other.

The music industry?!? The graphic design industry.

Seen it!

We don't seem to have a thread on Patsy. I am admittedly not much of a country fan, but I am currently enjoying Ken Burns' Country documentary. I pulled out the double LP The Patsy Cline Story on Decca and am listening now. What a voice. And I really love many of these songs. If Willie Nelson had never done anything other than write "Crazy," that would have been enough to immortalize him.

Side 2 of Polynesia is incredible. The poetry sounds like the delusional, fever-dream ramblings of a shipwrecked sailor who has contracted a tropical disease. Which is one of the highest compliments I could possibly pay to a record.

The Sonny Rollins with Cecil Taylor is a scream. If you start them both at about the same time, Cecil is going apeshit at the final chorus of "I'm an Old Cowhand."

There were a few times when things matched up remarkably well!

It is a Cageian approach, I didn't think about that! Although the results do not sound like Alexander Courage's score to The Cage. Sonny Rollins "I'm an Old Cowhand" with Cecil Taylor on piano!

I was really struck by how perfectly certain things lined up. If I had hit the play button on one or the other a second earlier or later, it wouldn't have happened that way, but another fortuitous combination would have occurred. I'm a Grand Prix guy, not Nascar. Gran Prix is all about European elegance, champagne, Anouk Aimee, bossa, and Steve McQueen.

This is one of the reasons I bought used LPs and CDs. I'm keeping unwanted things out of the landfill.

Here is a fun activity: Open up two InterWebz tabs and go to YouTube on both of them. On one, open up an Anthony Braxton solo album. (I go for the 1979 solo alto improvisations.) On the other tab, open up any one of many ubiquitous, polite Music Minus One jazz soloist tracks. Play them together and adjust the volume of each accordingly. The results are sometimes hilarious, but also, things eerily match up from time to time. It is pretty funny when he keeps playing after the tune ends. Have fun, and you're welcome!

How does it compare to Michael Daugherty's?

I realized yesterday that I have all these Perez Prado albums, and that I've hardly listened to him in years. I need to correct that. Now listening to an excellent Rhino collection on CD.

I have a lot of Moog and electronic records, spanning the spectrum from "serious" to pop cash-ins. Dick's first (aforementioned) Moog album inhabits a very interesting space someplace between those two extremes. It is probably my favorite Moog album from that post-Walter/Wendy Carlos period. "The Moog and Me" is a real fave. And the beautiful "Evening Thoughts:"

Perez Prado - Pops and Prado - LSP 2028 - "A Latin Goes American."

My wife interviewed him for NPR in the 1990s and they talked about the Moog record. We did not know of Moon Gas at that time. Do you know this album? It is unbelievable. My parents were in the biz and they worked with Dick Hyman in the 1950s and 60s.

Did you ask him about either of these two albums: Moon Gas, with Mary Mayo, on MGM; or Moog: The Electric Eclectics of Dick Hyman on Command?

Now playing The New Sound of Brasil by Joao Donato on RCA, with arrangements by Claus Ogerman. I hereby officially declare my love for Claus Ogerman arrangements.

I have (and love) that album, but I'm not hearing Stan Getz in it. I realize that we all pick up on different things while we're listening.

How old is he? Are there any other living jazz legends?

True, dat.

I did consider alto/tenor ranges, but it seems that Getz is playing in a relatively higher register throughout. I wonder how different it would have been if Desmond played in a lower register, which would have reinforced the bossa aesthetic.