Teasing the Korean

That is crazy! I have never heard of this show. Jane Getz and Billy Preston were pretty amazing for that age, but all of them were really good!

Oh, that's bad! I should add here: Wynton Marsalis dresses nicely, but I do not like his music and have no interest in him.

This sometimes happens to me with late-70s and 1980s records by aging jazz artists. The lack of fashion sense will be a stumbling block on the path toward appreciating the music. Bad fashion choices by the artists are sometimes exacerbated by hideous graphic design choices on the LP covers. I just think, how can someone who dresses so badly make good music? By contrast, I love the fact that Ornette Coleman's quartet on the cover of This is Our Music looks like a ska band. This record was a perfect introduction to Ornette's music for this very reason. It seems that it all started to go to hell in the late 1960s, but things got particularly bad in the post-disco era. Does this ever happen to you?

How is his Komeda ECM album? I've never heard it, but have long wanted to pick it up.

I know him only through his association with Thee Great Krzysztof Komeda. RIP.

The same name-dropping music professor sat down at the piano to demonstrate something about "Lady Bird," which a student ensemble had just played. He messed up one of the chord sequences, and one of the students corrected him. After having the right chords, he said, "Of course. Tadd would kill me if he knew I'd forgotten those changes!"

Well, at least she doesn't look like she was recording in 1910!

I like the film more than the album!

Is there a label with more hideous cover art than Chronological Classics?

I just compared my copy of After Hours with the Columbia Years double LP. All of the tracks from the former appear on the latter. 1949 to 1952 seem to be the correct years, according to the liner notes. (The 1953 tracks on the double album are not on After Hours.) In addition to Joe Lippman, Norman Leyden, and Paul Weston, the arrangers include Hugo Winterhalter, Tadd Dameron, and Percy Faith.

Yes, that was my point. Too often the Jazz Police have very conservative tastes, and they lack the language to describe things that fall outside of their quaint notion of what "jazz" is supposed to be.

I collect vintage Playboys, and I love how the trombone section would never change from year to year in the jazz poll. They would keep giving them better comb-overs and bushier sideburns each year.

The Amazon blurb for the double album listed above references 60 tracks. They add, "Weaker pop material is gone, and what remains is largely superior renderings of ballads with Vaughan's rich voice tastefully enhanced by good orchestration." I'm not finding a collection with all 60 tracks. I guess this means that the Jazz Police decided which tracks we needed, and as we know, the Jazz Police are not prone to error.

I completely agree with you. My point is that if we can get all of our information from books, why even have the forum? Let's just shut it down. Mjzee correctly directed me to an album that I already have that I had forgotten about. Much of the discographical information is there. That was a helpful response. I participate in a number of forums, and I'm always happy to answer someone's question if I know the answer. I don't dismissively tell a member to buy a book, nor refer to a question as "needy."

Don't worry, there are plenty of nice people here who will. Now go back to bed, Gramps.

Not when there is a free internet.

I just realized I have that double album referenced above, among several hundred LPs I haven't gotten around to playing yet. I will compare tracks and see what I can dig up on the After Hours tunes.

Thank you both for the replies. This was one of the first vocal jazz albums I ever owned. It holds together remarkably well for the compilation, and it does indeed have a coherent after hours mood.

Is this an actual album or a compilation? Does anyone know who did the arrangements? There are no credits on my copy.

No, the reverb-free versions have been out before. I think they lack the mood and vibe of the film versions, but that's just my opinion. There is one track in the movie that has never been on any LP or CD version I've heard. It includes drums and piano and maybe bass, but I don't think there are horns, at least not the segment that is used in the film.

Thanks all for the replies. So I guess it was bull@#$% after all. Most people don't listen to jazz, so they don't agree with either of us. When he hooked up with McCoy, Elvin, and Jimmy.

A name-dropping former music professor of mine indicted that John Coltrane didn't like Red Garland's piano playing, that "only those very few of us who were close to the (Miles Davis) group knew this." I thought this was a funny statement even as a teenager. Well, John Coltrane certainly recorded with Red Garland outside of the Miles Davis group. At the same time, Coltrane to me didn't fully become Coltrane until he hooked up with McCoy Tyner. So name-dropping aside, is there any truth to this? Was Coltrane simply doing his thing and waiting for a player like McCoy Tyner to show up?

And then there are chains of love.

A Hammond B3 with the click and percussive harmonic engaged is as percussive as a piano, IMO.