Teasing the Korean

Yes, sorry, I'd forgotten that "Desafinado" pre-dated "Ipanema." I realize that I am probably being harsh on Stan Getz. But the last two times I tried to play that album - on CD - I would listen to Joao sing the choruses, and when the sax solos came, I just skipped to the next track. Maybe it's me and not Getz. Brubeck was one of those jazz artists whom you were likely to find in the record collections of mid-century listeners who were not jazz fans. You would find Sinatra, West Side Story, and if there was a jazz album, it was likely to be Brubeck, or Erroll Garner, or MJQ. I do think there would have been at least a tangential recognition of Desmond at that time. But I agree, I would hate to lose those Desmond RCA albums with Jim Hall, and the subsequent stuff on CTI. You won't believe this, but I read this part last night while I was watching Monte Hellman's Two-Lane Blacktop with James Taylor and Dennis Wilson. It was the perfect complement to the on-screen action!

We can't go back in time, at least not yet, to test the theory. Regardless, bossa's time had come and it was already beginning to make a dent in the US prior to Getz/Gilberto. "Girl from Ipanema" was a hit because of the song, Astrud, Joao, and Stan Getz, in that order. Desmond would have also had a little more name recognition with the general public at that time than Stan Getz, who to my knowledge did not have a hit record. "Getz and Gilberto" was a bossa nova gateway drug for me and certainly a lot of other gringos. But hundreds of Elenco and Philips records later, I can't even begin to listen to it now. Getz sounds all wrong. If others enjoy it, that's fine, but I'm finished with it. I'd love to hear what Desmond would have done if he had been on Verve at that time.

I don't know, as someone who listens to a lot of real bossa, I see Desmond's style as being much more simpatico to the music's overall vibe and mood. Getz's comes off as too angry and disjointed for bossa, to my ears, at least.

Yes, exactly.

Love his bossa stuff. I've often wondered how the Getz and Gilberto album would have turned out if it had been Desmond and Gilberto.

We are simply having a discussion. What makes you think that all film scores are recorded to film recording stock? And what is the relevance of the composition's original intent to its commercial release on LP? The thread title is "What's the earliest recorded stereo release in your collection," so I don't see how we can ignore film scores in the chronology.

Music is music, regardless of why it is written; and recordings are recordings, regardless of the reason they are recorded. Film scores are music, and film score recordings are recordings. They are recorded to tape. They were released on record. People bought them and listened to them. The Rite of Spring was written for a ballet, and I am not interested in ballet. Shall we discount its musical or cultural importance because some guy on the internet doesn't like ballet?

That is my point. I don't see how anyone writing about early stereo would not include a section on the pioneering work done in Hollywood. The cinema would have been the very first place that the general public would have experienced recorded stereo sound. As for "films" and "records," once again, some of those early stereo film score sessions were subsequently released on LP and CD, so they were in fact records that could be purchased and enjoyed at home.

I would generally agree, but the quote is still misleading, assuming that the piece quoted did not reference the fact that stereo recording had existed in Hollywood for some time. Either way, that 1953 session would not have been released on stereo LP until several years later, as stereo LP technology had not been perfected. This is functionally no different than Fantasia being recorded in stereo in 1940, but not being released in stereo on LP until 1957.

I infer that the emphasis is on "stereo recording" and not necessarily the medium (tape). And regardless, some early stereo film scores were being recorded to tape prior to 1953.

Not sure how they are defining "very first commercial stereophonic tape recordings." Stereo recording for films predated 1953, and some of these were subsequently released on record and tape in stereo, including my aforementioned Fantasia example.

People stream. That is the current reality. It is natural for companies to print fewer CDs and not pay for the shelf space when they don't sell.

Oh, I have TONS of this stuff. I will simply need to take the time to sift through some of it to find a representative example. IMO, the best of this stuff was done for the KPM library, and some of the key tracks were collected on the first volume of Music for TV Dinners. But I will find some tracks that use the specific device I'm speaking of.

Thank you!

Thanks. I wonder if it was ever recorded again after Paul Whiteman. Incidentally, I picked up Ferde Grofe's 1964 World's Fair Suite (RCA Victor) during the Great Vinyl Purge of the 1990s, but ended up unloading it on the InterBays. I thought it was boring. I bet Trylon and Persiphere is more interesting.

OK, I'll see what I can find on the InterTubes...

Ferde Grofe composed this symphonic piece for the 1939 World's Fair. It was recorded at least once by Paul Whiteman. I can't find it on YouTube. It is apparently on Spotify, but I am not on Spotify. Has anyone heard this, and can you describe it? Does anyone know if there are any hi-fi/stereo recordings of this piece?

No one gets what I am talking about with regard to Tyner's open voicings using notes of the pentatonic scale, and its similarity to happy pizzicato strings used in health and safety films, industrial films, and David Rose records?

One more reason to go with Verve is that I don't think any of the Blue Note albums included a photo of Alain Delon. How would you generally categorize these? My first Jimmy Smith LPs were Blue Notes that I rescued from the cutout bin on my busboy's salary when I was in high school. My recollection is that at least two of these albums consisted of Smith blowing over single tune at a breakneck tempo for an entire LP side. These must have been earlier LPs, as they were electronically rechanneled stereo. I should revisit these to see if my memory is correct. I should also see how many JS LPs I have on Blue Note and Verve. EDIT: It looks like I have 8 Blue Notes and 16 Verves.

Bingo.

Of course I bought them: They were 50 cents or a buck a throw, like everything else I bought in the 1990s. Can't remember the last time I spun them, but I bought them!

Yeah, but most of us were smart enough to avoid Verve after Creed Taylor left.

That wouldn't work for me.

Lots of people say this, but my mind does not work that way. If a jazz artist recorded one kick-ass Latin record, I have to file it with the Latin records, or I'll never remember that I have it.

On the Mercury soundtrack LP, the tune is poorly warbled by some kid whose career began and ended the day he went into the studio to record the song. Tony Bennett and Sarah Vaughan both recorded the song at the time.