Teasing the Korean

Equally irrelevant, I suppose. I would think that any back catalog artists whose albums aren't flying off the shelves would be considered "obscure" by some of these hacks. Do you think any of them could even list all of the defunct labels that comprise the current Universal catalog, let alone be able to name any of the key artists who recorded for those labels?

I just thought it was funny skimming through the thread, I kept seeing all these references to "OP" and I though they were talking about the the original poster, or Opie from the Andy Griffith show.

But we are talking about the OP's playing, not Oscar Peterson's.

I suppose that if you are working for a huge entertainment conglomerate in the current millennium, Ahmad Jamal might meet the criteria for an "obscure artist from the 50s."

The OP wants to know about Oscar Peterson, yet everyone is talking about the OP's playing.

Interesting that Jackie Gleason was credited as "Minnesota Fats" on the LP cover. Supposedly, this is because Gleason was a recording on Capitol at the time, and The Hustler was released on Kapp.

Tell us what you think! I listened to it on repeat at work yesterday, and then last night my wife and I listened again. Hopkins has such a distinctive sound, something about the way he uses woodwinds, electric guitar, and vibes. He often has the vibes on fast vibrato, and he often has saxes/woodwinds playing melodies in two-part harmony. His music comes off to me like some kind of secretive mid-century jazz that is written in code. It communicates this sad, late-night mood.

My copy arrived today. It sounds great, and the bonus tracks are very worthwhile, not just a bunch of needless add-ons. Well worth the money - and the wait!

http://store.intrada.com/s.nl/it.A/id.10730/.f Kenyon Hopkins fans celebrate! Legendary soundtrack from legendary Academy Award-winning film finally gets CD world premiere! Expanded, too! Robert Rossen directs from book by Walter Tevis, gifted Dede Allen edits, Eugen Schüfftan nabs Oscar for his stunning widescreen black-and-white cinematography, Piper Laurie, George C. Scott both provide unforgettable, Academy Award-nominated supporting roles. Lead actor Paul Newman vividly plays “Fast” Eddie Felson, arrogant pool shark, who determines to best legendary “Minnesota Fats”, played with dignified class by Jackie Gleason. Detailed characterizations, events and powerful outcome create one of the defining pictures of the sixties. Stunning score by Kenyon Hopkins roots score in smoky pool hall jazz, then adds emotional depth, flavor to dramatic tale. Numerous musical devices are worthy of spotlight: Hopkins has trumpets, trombones typically utilize mutes, playing open in select passages only. Orchestration is equally unique: requisite sax-led big band forces appear but widening rainbow of sound comes from decidedly symphonic colors courtesy English horn, oboe, French horn, flute. Even electric guitar has its say. In another move of genius, Hopkins frequently writes in very transparent manner with exposed solos often heard without accompaniment. Jazz sequences play to tempo of montages, pulse of pool games while solos, woodwind colors play to inner drama, love story. Hopkin’s harmonic vernacular is also striking. This is serious, jazz-influenced original music! Inexplicably, prolific 50’s and 60’s film composer Hopkins has been mostly ignored in CD universe. The Hustler joins Baby Doll, The Fugitive Kind as lone trio from large LP catalog that boasts The Yellow Canary, Lilith, The Strange One, This Property Is Condemned, Eleven Against The Ice, The Reporter, East Side West Side, others. Courtesy 20th Century Fox, all-new Intrada CD presentation of The Hustler offers original 1961 Kapp stereo LP program, then doubles length with treasure-trove of previously unreleased outtakes, unused cues, demos, all from absolutely pristine condition stereo master tapes, mixed by Mike Matessino. Hopkins fans will be delirious! Julie Kirgo provides informative essay about picture and composer, Kay Marshall assembles dramatic “flipper-style” booklet with both original Kapp artwork plus 1961 film poster design, Nick Redman supervises production. Interesting movie footnote: Decades later, reprise of Eddie Felson role brought Paul Newman an Oscar for 1986 Martin Scorsese sequel, The Color Of Money. It’s hard to overstate importance of getting Kenyon Hopkins’ most important film score out on CD at last. Savor it! Kenyon Hopkins composes, conducts. Intrada Special Collection CD available while quantities and interest remain!

I loves me some of that Eddie Henderson bossa LP with Lalo Schifrin on piano.

I have - and love - all those Chico Hamilton impulse! albums with Gabor Szabo. I especially love the eastern-tinged stuff. When I used to DJ, the title track from El Chico was among the tracks I would set aside for the height of the party, and it never disappointed. I can't find it on youtube.

FREEBIRD! I would request that he simply not play. I think Bruce is simply awful on every conceivable level.

One of the cool things about accumulating a lot of records over the decades is that you forget what you have and then are constantly rediscovering things. This track should have been used in a Blaxploitation flick. Was it?

I have a Viscount, and when you run it through a Leslie, it sounds amazing. No idea what they go for these days.

Let me know when this one is released:

We can only hope!

I don't want to continue to take the thread off-topic, but the health of an art form is determined by a nexus between the creativity of the artists, a committed audience, and some sort of a cash-flow. Any musician accepting a jazz or pseudo-jazz gig in 2017 at a neighborhood watering hole who is offended if an audience member requests a tune like "Stella by Starlight" is living is a fantasy world.

I hope you are staying around.

One of my favorite musical/cultural experiences used to be listening to AM radio late at night and hearing songs I liked coming from a distant station.

I was there 2003-2005, maybe 2006. The final straw for me was when they banned Clave, who used to post here as C-Line. She was one of the more knowledgable participants over there, and I still have no idea why she got the boot. Also, in the musician sub-forums, there were a couple of regular blowhards who posted so obsessively that I have no idea when they ever found the time to practice their instruments. Their posts often came off as, "This is the right way; all other approaches are wrong," "No, you must think about it this way, not that way," etc.

Several key contributors were banned from AAJ, which is why I stopped participating ages ago. I'm sure it is preserved on the Wayback Machine, if anyone is feeling nostalgic.

"Black Coffee" by either Peggy Lee or Julie London.

I'm excited about the Allspice Dram. I use that when I mix Ancient Mariners.

I did not intend to be critical with my post. I know and like much of what you included in your playlist. I just think that the evolution of associating jazz with noir is an interesting one, because only a very few of the late films noir had jazz scores (and some purists do not even consider some of these later titles as film noir). I read a fascinating piece in which a film professor showed classic films noir to his class. The films all had orchestral scores by the likes of Miklos Rozsa, Adolph Deutsch, etc. After the films were shown, he asked the class about the music. Many of the students used words like "jazz" and "saxophone" to describe the music, even though there was no jazz or sax.