Teasing the Korean

Understood. From my perspective in the US, the Swingles sound - which was pretty ubiquitous in the 1960s - was like the musical equivalent of how Europe was visually portrayed in the "foreign" films that I loved watching as a kid, even though I didn't understand anything about them. There would always be these montage scenes that juxtaposed, for example, rococo fountains and ancient Roman ruins against images of Mini Coopers and stylish young Europeans. The mixing of jazz and classical in the Swingles for me reinforced that juxtaposition of a long, rich, cultural tradition against unabashed, bold modernism and modernity. So much of the music recorded between, say, the late 1950s to about the mid-70s to me comes across as this crazy and irreverent tapestry of styles. It was like everything was up for grabs and the artists could make anything fit. And while some of this may have been driven by trendiness or a need to simply stand out, the best stuff always reflected optimism and possibility (for me, at least). HA! Not only a favorite of mine, but the version of "Tin Tin Deo" on that album is my very favorite rendition of that tune!

That is an over-simplification. There was something about Bach's music that resonated with 1960s sensibilities. There were the Swingles, Jacques Loussier, Walter Carlos, plus lots of baroque influences in rock/pop music, film scores, etc. The baroque sound was everywhere. There was also a healthy irreverence to "classical" music during that period, and these records were a way of saying both that the music endures, but nothing is sacred. I would also argue that, from my experience in the US, the Swingles were a gateway into classical music just as much as they may have been a gateway out.

It is interesting how culture and location affects your perspective on these things. As a kid in the U.S., the Swingles sounded like an idealized modern Europe, and I loved them for that very reason. Pretty cool that a guy born in Mobile, Alabama was able to pull this off! To this day, I love seeing any record with a Philips label spinning on my turntable.

http://www.classicalmusicmagazine.org/2015/01/ward-swingle-1927-2014/

I agree. Iif the tones of different instruments lie in different parts of the frequency spectrum, that can effectively make them "louder" or "softer," depending on what is happening around them.

Thank you, let me explain. I posted this in the musician's forum. I am asking working musicians, either professional or semi-professional, if they notice a difference between how their older peers and younger peers approach group dynamics. There will of course be outliers in either category. I am curious if -in general - huge PA systems, amplifiers, rock-era aesthetics, louder instruments, and any combination of these may (or may not) affect how musicians of different age groups approach group dynamics. If I did not articulate this well enough in my original post, kindly attribute this to my limitations as a writer.

Also, to clarify, I'm not really looking for a list of musicians. I am asking the musicians on this forum if you notice a difference between playing with, say octogenarians and younger guys, and if you also notice a difference between gear from different eras. For example, contemporary timbales are nearly twice as loud as 1950s models. I am also curious if you have encountered situations that seem to demand a quiet, understated approach, and someone insists on blowing to the rafters.

I'm talking about what kind of 21st-century musicians - jazz or otherwise - I can hire. And I'm also talking about when the instruments played by 21st-cnetury musicians were manufactured. That makes a difference.

I have been listening to some 1930s and 40s jazz recordings. The bass is unamplified. The rhythm guitar is acoustic from all that I can tell. It seems like musicians from this era were great at listening and adjusting their individual performance volumes for the benefit of the group dynamic, so that everyone could be heard. It seems that instruments - especially drum and percussion instruments - keep getting manufactured to be inherently louder and louder. Several generations of musicians and sound men have been affected by rock music. If it hasn't destroyed their sensibilities, it has destroyed their hearing. If we were to get rid of PA systems, bass amps, and guitar amps, I wonder if today's musicians could play with the sensitivity of their counterparts from earlier generations. Thoughts?

This is a favorite party album. I love the Wurlitzer electric piano on some of the tunes:

Is there an online Website or portal that contains historical listings of dates and cities of concerts performed by major jazz artists?

I would too. *IF* the "legitimate" sources would get up off their lazy asses and release them. I will only wait so long.

In fairness, they have released some collections of stuff that includes titles otherwise unavailable on CD.

Thanks!

Is Real Gone Jazz related to Real Gone Music? Because the latter is a great reissue label and is now working with Dusty Groove on reissues.

RUGOLO AND GRAETTINGER GOOD!!! JOHNNY RICHARDS GOOD MOST OF THE TIME! HOLMAN AND RUSSO, HIT OR MISS, BUT WITH LOTS OF PONDEROUS UNLISTENABLE STUFF ALONG THE WAY!

I should clarify that I am actually happy that Kenton stuck to his principles, because those albums reflect the period so nicely. In my experience, even Kenton's biggest fans criticize him on some level or another.

Actually, there are occasionally "space-age bachelor pad"-themed film scores these days, but they are few and far between. I think the distinction that Mr. Salt was making - and correct me if I'm wrong - was that Sun Ra's concept of futurist music kept evolving, while Kenton stubbornly maintained one vision of the future. The latter is inherently paradoxical: At some point that future becomes the past.

I think that's the trick with Kenton: get into that space age bachelor pad listening mode, preferably with an large cocktail in hand and your there! I keep him filed in the space-age bachelor pad section. He seems right there. It seems weird to put him in the jazz section. I also have less empty shelf space in the jazz section, so that plays a role!

Don't you love it in "Flamingo" where on beat 3 of bar 5 in the bridge they blast that dissonant chord out of nowhere? It's hilarious.

Thanks for that. The version that was cut from "Fantasia" uses a different orchestration than is typical, with two flutes playing the opening melody:

Uh, I'm confused.

I MISSED THIS!!!!

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