Teasing the Korean

I think they were still using it well into the 1960s. They may have even used it on the Who's My Generation LP.

I love the opening scene in "Obsession" when it is supposed to be 1959, and all the actors have long hair and mutton chop sideburns.

I think the "Marnie" theme may be the closest thing (other than "Taxi Driver") that Herrmann wrote in song form, although it lacks a bridge. I would imagine that the "Vertigo" theme, "Scene d'Amour," "Conversation Piece" from NxNW, the sad theme from "Snows of Kilimanjaro," and "Marion and Sam" from "Psycho" could conceivably work in a jazz setting, with the caveat that these would not be 32-bar AABA kinds of tunes.

Beautiful! When will you guys record some Bernard Herrmann? Love the Evans-esque minor chord on the end!

Yes, that's the track. I think we have somehow mixed "So Danço Samba" into the conversation about "Blue Bossa/Vai Querer." I brought up "So Danço Samba" separately to address the Clare Fischer tune with two titles.

You may be right. I unfortunately no longer have the album. Is Nat Pierce credited? Either way, Mitch was still involved as conductor. Machito was briefly with Columbia in the early 1950s. Mitch plays oboe on this tune.

Yes, like 24 or 25. Do you know the finished album? It is very good.

Teo Macero, Gil Evans, Manny Albam, John Lewis, and Bob Prince are the arrangers on the existing 13 tunes. Presumably, they are also the arrangers on the other dozen or so that were lost.

It is interesting to see how Mitch did or did not get involved with pop/jazz crossover projects. For example, he arranged the (excellent) Other Voices LP for Erroll Garner, certainly a crossover artist at the time. Mitch was apparently not involved with Johnny Mathis's first jazz LP for Columbia, produced by George Avakian; but after Mitch took over and moved Mathis into more of a pop direction, Mitch wiped the tapes of the unreleased tracks from those early jazz sessions - a full album's worth of tunes. I would love to hear these, but they are gone. Mitch didn't understand why Tony Bennett wanted to do a jazz-leaning album for his Columbia 12" LP debut, Cloud 7, but allowed him to do so. My copy of the LP does not credit a producer.

The song that sounds like "Blue Bossa" is on "Contemporary Music of Mexico and Brasil." It may be the first or second track.

Just shy of his 99th birthday. Godspeed, Mr. Bongo! http://www.sandiegouniontribune.com/entertainment/music/sd-me-music-jack-costanzo-obit-20180819-story.html

Amazing that there was a time when a major pop label would release and album like this.

Completely the opposite. I don't want to see pictures of musicians on covers. I want to see art, architecture, design, or beautiful young women. 1950s album covers ar the BEST.

When did "Carnavel" become "Joao," or vice versa? Cal calls it "Joao" on the Soul Sauce album. On my copy of Fischer's So Danco Samba album, it is listed as "Carnavel" on the label and rear cover, but "Joao" on the front cover.

Not familiar with this one. I've never been a big fan of Kudu - the records I've heard are a little to commercial, for lack of a better word, even though I love plenty of "commercial" music.

Killer LP on Verve. Arrangements by Q.

Everything I've heard with Bob James is too "happy" and "peppy." Are there exceptions? What I love about CTI early 70s albums is the dark, introspective sound. They are like the soundtracks to industrial films about ecology and solar energy.

This is my rule of thumb: Any album on CTI pre-1975 without Bob James involvement is going to be at least good. My favorites involve Deodato and Don Sebesky, usually the ones with two long, introspective, delirious tracks per side. For example, this:

Thanks all for the replies. So it seems that there are two, um, threads involving this phenomenon. The first is when the artist does the best they can under the circumstances. So, if it is the 1970s and you want to look good, but your cotton clothes have worn out, you were pretty much forced to buy petroleum-based clothing in hideous colors. The other thread involves the artist simply not giving a damn and showing up to the gig or photo shoot wearing worn jeans and a wife-beater.

Did Monk ever record his set break theme?

Didn't he sometimes record the two hands separately?

Since starting this thread many years ago, I have acquired the original mono For Hi-Fi Bugs and I really do prefer the close-miked sound the cavernous sound on the corresponding tracks found on Out of Space.

Amazing to think that a little over ten years later Billy would be on the roof with the Beatles! A lot changed in ten years!

Thanks for the info. I think that must be the same Jane Getz for a variety of reasons.

I wonder what ever became of the other three kids.