Teasing the Korean

I hear you, but d minor is related to F major, hardly a strange key to jazz.

Does anyone here have the second Playboy After Dark collection that includes Cal Tjader's performance on Playboy's Penthouse, circa 1959 0r 1960? I have the first volume with Cy Coleman, Lenny Bruce, Ella, etc. The second volume seemed to go out of print quickly. If I had known Cal Tjader was on it, I would have hopped on it immediately. Can anyone tell me which and how many songs he does, who was in the band, if he talks to Hef between songs?

No one?

In playing situations, I have encountered this tune in these three keys. They are all close, and the harmonies to this tune are fairly straightforward, but does anyone know if one of these three keys tends to be favored?

Have you listened to the OST? It is KILLER!

I consider Barbarella to be a masterpiece, both the film and the score by Bob Crewe & Charles Fox. Check out this killer track from the soundtrack, "Pygar's Persecution" and "The Black Queen's Beads."

New Orleans, New Schmorleans. Paris, baby, Paris!

In the circles I travel in, the film is very much loved, as is Roger Vadim and French New Wave cinema in general. In fact, I consider jazz to be a French art form, because whenever I hear jazz, in my mind I automatically see black and white images of Paris in the 1950s. I am forever indebted to the French for inventing jazz.

From the above interview, Dylan on Sinatra: He was funny, we were standing out on his patio at night and he said to me, “You and me, pal, we got blue eyes, we’re from up there,” and he pointed to the stars. “These other bums are from down here.” I remember thinking that he might be right.

I read the George Shearing chapter and found it very interesting.

Disappointed in the cover art. It should have used imagery from the film, or a modified version of the poster. Oh well, beggars can't be choosers.

I suspect that the 2-LP set will be pricey. Still, I might want the LP over the CD. I will be sure to get one of them. Thanks for the info!

Well, the Velvets' VU album sounded more like an 80s album than a 60s album. They were radically ahead of their time, so hearing that record for the first time in the mid-80s along side albums like Psycho Candy by the Jesus and Mary Chain forever cam

But Louis Prima, the inventor of rock, has been dead for several decades. So it is not that young.

I didn't know he was still alive! Great lyricist. RIP.

I'm not suggesting that it does not make sense to consider the music within the context of the time of recording, but it is also worth considering within the context of the time of release. This is why Emily Dickinson is frequently anthologized in collections of 20th-century poetry - because that is the century in which she made her impact and influenced other poets. I'm saying that both approaches are valid.

Does such a recording not equally belong to the year or decade in which in made an impact? The Velvet Underground's VU album sounds like an 80s album to me. It came out at the peak of their influence, and fit in so perfectly with contemporaneous releases. It is just as much a 1985 album as it is a 1968 album.

I would keep the version with the superior cover art.

Peter Nero did a good Mancini-esque film score in the early 1960s called Sunday In New York. I assume that he wrote the themes and that they were orchestrated by his arranger, Marty Gold. Anyway, I occasionally make compilations of what I call "bustling metropolis" music, and I often include two of the tracks from this soundtrack which capture that vibe, "Taxi" and "On Frantic Fifth."

Hour-long documentary:

What is the best book on Sun Ra? I know very little about him, despite the fact that I may have more albums by him then any other single jazz artist. How did he afford to keep the Arkestra together, and how was he able to afford releasing so many albums? Did the Arkestra gig regularly? What was their pay like? Did any of them have day gigs?

Listening now to "Palo Congo." For years I have had many of the titles referenced in this thread, but this Blue Note album has eluded me. Blue Note occasionally released these oddball (for them) titles. Does anyone know the story as to how this album came about?

He does not vocally blend with the others. When he comes in at the coda, it is like oil and water.

All this talk about Bruce and Surf's Up is reminding me how much I dislike Bruce Johnston songs.

The liner notes of the CD indicate that there was an earlier orchestration of City of Glass that did not include strings. Was this version ever recorded? Is it on the Gunther Schuller CD? Also, why is This Modern World not in the album order on this CD? I guess I will have to burn a CD in the correct order.