Teasing the Korean

RIP http://sharonjonesandthedapkings.com

Oh, well there you have it! Thanks!

The press thought you said "Thank God" but you actually said "Thanks Rod." The whole thing was blown out of proportion, and Rod Stewart would not be big for another five years. You may be thinking of another piece of UNCLE merchandise. The photo was not used on either of the RCA LPs.

That is a shock. I assumed that McCallum was like 10 years younger.

RIP Mr. Solo.

Yes. I'm taking it out of storage. I assume it still works but it probably needs some TLC. I will try these if there are any issues. Thanks!

No, it is a late 70s/early 80s analog keyboard, with drawbars, percussive harmonics, and percussive click, that is the closest thing to a Hammond B3 that I have ever heard. When I bought mine, I ran it though a Leslie and A/B'ed it side by side with a digital Hammond through the same Leslie, and it sounded closer to a B3 than the digital Hammond.

I have one of these that has been in storage for ages. Does anyone know if it is easy/possible to get parts for these? Are they easy or difficult to get repaired?

The album All the Sad Young Men is a favorite. Superb Gary McFarland arrangements, an atypical song selection, and Anita's vocals. This time of year, for some reason, I tend to listen to a lot of jazz/pop vocal Great American Songbook stuff, and this is always one of the first albums I reach for.

I wouldn't know. Stan Kenton is a dollar bin artist for me. I will happily pluck his albums for a buck a throw on either LP or CD, but I have no idea what is or is not available in what format. As for the Wagner album, I paid a dollar, played it once, and dragged it right back to the thrift store.

I love records by aging jazz and easy listening artists who are tuning in and turning on to the moods and vibrations of today.

http://www.nytimes.com/2016/10/29/arts/television/john-zacherle-dies.html

http://variety.com/2016/tv/news/john-zacherle-dies-at-98-1201903371/

Ogerman's arrangements are what make this album so great, as far as I am concerned.

Agreed. In another thread, I mentioned that I was perplexed at the exclusion of the Milt Jackson Monk tracks from the Blue Note Genius of Thelonious Monk CDs. The fact that those may have been Milt Jackson sessions was irrelevant to me, as they were part of the LPs that I grew up with.

I agree. But those "afterthoughts" can have just as much impact and feel just as authentic as a "real" album.

I understand why some would want to differentiate between a "real" album and a compiled album, but that does not mean that the latter cannot have just as much of an impact on a listener.

I find it interesting that anyone is actually able to do this. I couldn't even list my five favorite Sun Ra albums. I suppose I could list five early jazz purchases that hooked me at an impressionable age and stayed with me, but buying five completely different albums may have accomplished the same thing.

I'm not sure what you mean by "recede into the foreground."

It is interesting that people of a certain age group - myself included - have viscerally felt this divide. But in retrospect, you realize how close those two eras were, and the degree to which the eras overlapped. Frank Sinatra was having hits on the charts and was played on the same AM radio stations as the Beatles. You could see, for example, the Rolling Stones and Jack Jones on the same variety show. So when Dylan did his Sinatra tribute album a few years ago, it seemed to people in our age group like he was trying to bridge some unbridgeable divide. But if some millennial who was hip to 20th century pop music picked up this album, I wonder if the album would be perceived as being a very logical artistic expression.

I think Dylan deserves the Nobel Prize in Literature for the five album stretch running from Another Side of Bob Dylan through John Wesley Harding alone.

Let us know if you hear any difference and if you think it is either better or worse. The difference is less noticeable with the narrowed stereo mixes, because partial folding has already been accomplished.

Gotcha. I was interpreting "pop" more broadly, to also encompass the Great American Songbook, etc. This speaks to the very long and complex relationship between jazz and pop music. Yes, but bossa was also an attempt combine American jazz with a Brazilian sensibility, so again, we get into the very long and complex relationship between jazz and pop music. The scene that gave birth to bossa consisted of primarily wealthy Brazilian kids who were obsessed with Sinatra and Stan Kenton. I am sure that is true, to the point that the blues influence is there whether anyone is consciously listening for it or not. I suppose I expect to hear a "blues" feel in certain sub-genres of jazz more than others. That said, lots of bossa tunes have a heavy blues element, for example, some of Jobim's more groove-oriented tunes like "Captain Bacardi."

Any recording using multiple microphones is mixed, whether you are mixing to mono, or to two track or more. It takes a great deal of skill to mix on-the-fly to mono. Strictly speaking, RVG was mixing to two track, but he was placing the instruments and levels in such a way that he was essentially mixing to mono, but also producing a stereo tape in the process, at least from my understanding of how he worked. Yes, but when you fold a stereo mix, the information in the center is boosted a few dBs relative to what is on the sides. RVG typically placed the inherently louder instruments (drums, horns) to one side or other, while placing the bass and piano - the instruments most likely to get lost - in the center. When you fold those mixes, the bass and piano come up in the mix a tad, but still enough to make a difference The mixes sound great in mono, and I think creating great mono mixes was his priority, again, from my understanding. So, folding mono essentially produces a slightly different mix if there is center information present (as there typically is).