Teasing the Korean

Interesting. "Jonalah" is on Chico Hamilton in Hi-Fi. My LPs are in storage right now. I wonder if the Sweet Smell of Success track is the same version?

Why would anyone want a John Keating album with a guy in a kilt, when you can have this?

Well, if you have the El/Cherry Red CD, don't unload it yet. The new Verve edition inexplicably omits the Chico Hamilton track "Jonalah," which is one of my favorites. I compared the overall disc times on both discs to make sure that it didn't get indexed with another track, but the El/Cherry Red CD runs two to three minutes longer than the Verve. That said, the sound on the Verve CD is an improvement. Also, integrating both albums creates more sonic and textural variety than the individual albums offered. I like both albums more now that I hear them together. Still, I wonder why that one track was left off.

My copy arrived today. It includes the original cover art for both albums, reproduced in full on separate panels. Also, the Chico Hamilton tracks are integrated into the program, presumably to recreate the film order. The suite of themes appearing on side 2 of the Chico Hamilton album appears as the final track. I will spin this tomorrow and report back on the sound quality.

Conjugate me a verb, Jazzbo: To Perplex. filmscoremonthly.com

Verve has released a 60th anniversary CD edition of The Sweet Smell of Success combining both the Elmer Bernstein and Chico Hamilton albums. This is taken from the master tapes; previous releases were sourced from vinyl. https://www.amazon.com/Sweet-Smell-Success-Anniversary-Expanded/dp/B071K8Q4LD/ref=sr_1_1?ie=UTF8&qid=1506782354&sr=8-1&keywords=bernstein+Sweet+Smell

It is also possible that the applause was added later. Some in the audience may have fallen asleep.

This thread should be moved to the artists section.

When I was a freshman - and I did not return as a sophomore - in a highly regarded (at the time) jazz studies program, students thought I was crazy for wanting to learn the lyrics. They didn't even want to learn the melody. It was like the melody was some necessary evil that you had to endure before the fun began. It was all about changes and blowing.

It stands to reason. Jazz was already a component of bossa, but bossa was not already a component of jazz.

How pathetic. The guy in the picture should have been holding a Morricone giallo score.

This is actually a fairly important and somewhat overlooked album from the early bossa era. It dates from 1962, when not many bossa (or quasi-bossa) albums were readily available in the US. (Black Orpheus came out in the US in 1959 or 1960; Jobim's The Composer of Desifinado album was released in 1963.) Winter had gone on a state department tour that included Brasil and made a sincere attempt at playing bossa, as opposed to simply cashing in. And rather than going for the obvious Jobim/Gilberto songbook, he records tunes by Roberto Menescal, Carlos Lyra, Dorival San Caymmi, and others whose music was not readily available outside of Brasil. It must have been the first time that (North) Americans were exposed to some of these tunes. I have no idea how it sold, but based on the numbers I've encountered in the used bins over the years, someone must have bought it. In this context, it is worth noting the numbers of actual Brazilian albums that were available in the US during this period. Atlantic had released one of Joao Gilberto's early Odeon LPs, and Capitol had released another. Audio Fidelity released a few actual Brazilian albums also. But in general, North Americans had limited access to this stuff. Also, I would not get hung up on the lack of soloing. Blowing was never a part of what bossa is about, and even within jazz "proper," there are albums and compositions where the emphasis is on mood, texture, arrangements, and the ensemble sound, rather than soloing. Anyway, this Paul Winter album is really an important piece of the U.S. bossa puzzle, along with key recordings by Herbie Mann, Charlie Byrd, and Stan Getz.

I was just making fun of the blind McCartney worship over on the dreaded you-know-what forum.

I thought Paul McCartney was the greatest bass player. Was I misled?

I was surprised when I learned that next year Heino will be 80!

If the kid's playing at a gig inspired a total stranger to slap him, you can only imagine how his parents must feel when they hear him practicing for hours on end.

Yes, truly amazing customer service. The repaired my unit free of charge, and said, in the e-mail, essentially, that the problem should not have happened. "Let's just chalk it up to weirdness," she said in the e-mail. I told her that I would sing Nitty Gritty's praises to anyone who would listen. I think I influenced a lot of people over the years to buy one.

I used to communicate with Gayle Van Syckle. Was this the owner? They were very helpful when I had trouble with my unit about ten years ago.

You never realize how noisy our world is until there is a power outage, and you're in dead silence. It's scary. We're surrounded by all these humming, whirring, buzzing pieces of equipment, and we are oblivious to them until they stop working. You know, with classical music, I much prefer older analog recordings on CD than I do digital recordings.

Yes. Beach Boys alum Gary Usher was behind the project. I have the album but have not spun it in a while. Did you see "Guess I'm Dumb" that I posted above? Written and produced by Brian Wilson.

He also played guitar on some of their backing tracks.

Irwin Chusid is a really amazing guy. He did so much for the catalogs of Esquivel, Raymond Scott, and now Sun Ra. Having all those Evidence CDs from the 1990s, I knew many were lifted from vinyl. It was of course better than nothing; good luck finding an original. Still, I am so happy that many of the tapes have survived and we are finally hearing cleaner versions of these albums.