Teasing the Korean

In the second clip above, I love how the band is rushing the tempo, and Gene is subtly trying to bring them back (without success).

Clip one: Live vocals to the backing track. Clip two: A rare live performance.

I have the Columbia LP where it is paired with An American in Paris. At the time, I bought it for the cover art, and only discovered later that it is considered to be one of the definitive versions.

Absolutely. And I have often felt that the distinctions between genres were a little more fluid then.

This very much reflects my experience with the expanded album. I did like the original LP, but it was nowhere near as engaging as the expanded release. And I particularly agree with "Garner was the consummate musician/entertainer, in a way that really doesn't exist anymore." It's easy to forget today how jazz, pop music, and show biz were all intertwined during that time. You can't have musician/entertainers like this anymore, because the cultural foundations for that sort of interconnectedness no longer exist.

Those of us who were buying vinyl in the 1990s - back when you could find rare LPs for a buck a throw - will remember stumbling across a certain album, taking a chance, being very surprised, and never coming across that album again. For me, one of those albums is Class in Session by composer-arranger-pianist Jack Quigley (Sand Records C-30). Why did I grab it? I never heard of Jack Quigley. Eight of the album's ten tracks are originals, and I did not know the other two tunes. The group includes Paul Horn (reeds), Tommy Tedesco (guitar), Joe Mondragon (bass), Frank Capp (drums), Emil Richards (percussion), and Ralph Hansell (percussion), with Quigley alternating between piano and celeste. Dave Pell contributes the liner notes. The album must date from the early 1960s. Stylistically, this album falls somewhere between highly arranged 1950s chamber jazz and a very hip space-age bachelor pad album. Quigley, as you will see in his obituary below, attended the BU School of Music and moved to L.A. in 1961. His biggest claim to fame in an otherwise journeyman career was writing the title tune to the Johnny Mathis album Rapture. He recorded at least three other LPs, all apparently piano trio albums. All ten tracks are on YouTube. If you search for "Jack Quigley Class in Session," a row of them appears, with graphics reading "Way Out Hollywood." Here is Quigley's obit: https://www.legacy.com/obituaries/latimes/obituary.aspx?n=jack-quigley&pid=122000594 And here is one of the tracks. This music nicely captures that spirit of futuristic space-age optimism. It reminds me of the soundtrack of a 16mm science film I would have seen in elementary school.

I don't think I have many albums with him in a group setting, other than Thad Jones/Mel Lewis. But I have three of his solo piano albums that I like very much.

This is great. I have tons of Shearing and Adderley Bros, but not this. And the price is right.

I have often felt that "easy listening" albums by jazz artists tend to be far less interesting than those by the the best EZ artists.

How were these albums regarded at the time, and did the jazz world (whatever that is or was) accept him to any degree?

To the professional, semi-professional, and amateur musicians on the list: Did your high school or college jazz/stage band feature a disproportionate number of freckled redheads? It seemed like every redhead in our high school played trombone, trumpet, or saxophone. Was this a coincidence in my school, or is there a genetic linkage between red hair and an interest in Maynard Ferguson, Buddy Rich, and Stan Kenton?

Before everyone rolls their eyes and groans, I have a serious question about Peter Nero. It seems that Nero tried to reinvent himself with his jazz (or jazz-like) albums on Concord circa late 1970s or early 1980s. How were these albums regarded at the time, and did the jazz world (whatever that is or was) accept him to any degree? I ask this question as someone who owns exactly one Peter Nero album - the soundtrack to "Sunday in New York" - which I own more for Marty Gold's arrangements than the piano playing. Seeing him over the decades on TV and YouTube, Nero always struck me as a player with enviable technique, yet one whose style was built almost entirely on technique and not much more.

As someone who has his film scores and his jazz albums, I do think that film music is where is where he truly excelled artistically.

NOT a Muazak album, as it was not organized according to the stimulus progression principle.

I don't want to limit the discussion, but I was trying to differentiate between singers like Nat (and Frank, Tony, Peggy, Julie, et al) who recorded lots of stuff in a jazz or jazzy vein, regardless of whether you consider them "jazz" or "pop" singers. Personally, I would consider Nat to be a jazz artist who went pop.

Video of ceremony included. https://www.jazziz.com/lalo-schifrin-receives-honorary-oscar/

There are piano, guitar, and vibes solos sprinkled throughout the record. All of the tunes clock in at under three minutes, so the solos generally go for only 8 or 16 bars. Kraus uses a fast setting on the vibrato, which gives it that mid-century futurist sound. The vibes solos are nice.

He did nice work on some of Johnny Mathis's Columbia albums. This is the only album I've seen under his name. I really love the instructional, guided concept of the album.

I know the name Glenn Osser only from Johnny Mathis records. Here is an album he did for Mercury in 1956, Be There at 5: Conversational Music for Cocktails, Mercury MG 20218. https://www.discogs.com/release/397711-Be-There-At-5/images It is basically a George Shearing Quintet knockoff album. It is pleasant enough, but what I really love about it is the cover art and the title. I love the fact that certain postwar adults needed guidance for what kind of music to play for particular social situations. Having a beautiful woman over for cocktails? Just play this album. Ice cubes not included.

Can't see the image. Can you provide a link?

Yeah, you need 7 1/2 IPS for reel-to-reel, and it's a roll of the dice even with those. Still, if yo get a good 7.5 IPS reel tape, it can sound amazing.

Bumping this old thread of mine. I finally got around to picking up the Doris Day with Andre Previn album. It is indeed very good, and I also like the fact that the song selection is a little bit unusual. "Nobody's Heart" by Rodgers and Heart is such a great tune, and it is not recorded often.

Not sure how this would work, as I have an old-skool stereo system with cables. The Blu-Ray player I am using is hooked up to the stereo and not being used for video.

My CD player died a few years back, and I ended up using a Blu-Ray player. It works great, but there is no track readout, so it is practical only for playing CDs top to bottom. I have to use my laptop if I'm searching for tunes or adding up track lengths.

A lot of people swear by those early-model CD players. They show up in thrift stores for next to nothing.