Teasing the Korean

Bumping this older thread. Currently listening to "Spike Jones is Murdering the Classics" on RCA. Early 70s compilation LP. Fake stereo, but much milder than the extreme fake stereo RCA used in the 1950s. Hilarious stuff.

Supposedly he came up with it in the 1970s or 80s.

The phrase is credited to Byron Werner.

I've had Little Shop, and I've also heard his writing on Chico Hamilton records, notably "With Strings Attached." This is top-notch space-age bachelor pad music. You can barely recognize the tunes from which the arrangements are based. What a cool record.

Picked up a pristine mono copy of Folk Songs for Far Out Folk for an obscenely low price - $2.99 - at Amoeba when I was in San Francisco. What a cool record!

The Count Basie Orchestra on the triangle.

The fact that a previous owner went to the trouble of "hiding" these records in what I assume to be a professionally bound album obviously speaks to his/her likely idealogical interests in the records, as we can all surmise. However, aside from the binding, the 78s themselves are part of a historical record, and the medium was used to preserve all kinds of audio during that era when media formats were limited. The idea of a private citizen and or an archive wanting to own these records for historical purposes is not so far-fetched. I detest fascism as much as the next fella, but I also don't believe in erasing history. Such documents are valuable, if for no other reason than to provide a reminder of paths to avoid. That said, I wouldn't devote shelf space to these things either.

Fifty years? Pop artists are truly blessed if they 50 years. Most of them don't get more than three.

Rose Marie Kaye Ballard Wally Cox Morey Amsterdam Jan Murray Buddy Hackett Marty Allen Charlie Weaver Paul Lynde Charo

Miles had already recorded two or three space-age bachelor pad albums with Gil Evans by the time of Kind of Blue.

I have often wondered if KoB and Blues and the Abstract Truth were inspired by hi-fi private eye jazz, or space-age bachelor pad music in general. The latter genres featured a kind of stylized, Hollywood jazz, so why not take a cue from stylizations?

inneresting. so that's why you started all of this. it's a concept thread! Exactly. I am partially responsible for ruining jazz for myself!

All of this reminds me of why I both love and hate jazz, increasingly the latter.

The fact that people have not gotten over it is the very thing that allowed a project like this to happen. How many jazz albums are there that are well known enough to allow a casual listener to even recognize that they are hearing the same solo? If "Kind of Blue" never existed, they would have chosen whatever album ascended to that stature. Recognition is the whole point of the exercise.

That is interesting. I'm guessing that at least part of the reason that they chose this album is it is one of the few straight-ahead jazz albums that large enough numbers of the general public would own, allowing for comparison and recognition on a fairly large scale for a jazz album.

Original front and back sleeve art Original album running order Consideration of mono mixes if stereo mixes were weak Bonus tracks following the album versions or placed on separate discs.

Yes, and it is the superior mono mix.

Edited. I misread your post. Lo siento.

The fact that they have raised the dander of a bunch of aging male jazz purists indicates that they have succeeded on some level.

http://www.jazzwax.com/2014/10/sort-of-blue-clone-or-art.html

How is the Pat Williams? Is it straight-ahead, or does it have have any hip now-sound elements?

Very happy about Trip to the Mars! That has eluded me? How is the Pat Williams? I bet it is amazing. I wish more of the groovy stuff was included. Maybe a lot that stuff has already come out in one form or another.

Do 45 RPM EPs count?

The film was scored for a big band plus a string section. Elmer apparently didn't know that when you wrote straight eighth notes for jazz guys, that they would automatically swing them. So, anything with a swing feel that should have been written in 4/4, Elmer wrote in 12/8, with a tie between the first two eighth notes of the triplets, so that the musicians reading the charts would "swing." I guess you can see where this is going. The string players had no issues whatsoever reading the oddball notation. But the rhythm, brass, and reed sections, which were primarily if not entirely composed of jazz guys, had no idea what they were looking at. It caused real problems at the sessions. But, of course, it all worked out in the end, because it is a great movie, and a great album, as long as you find the mono version and not the reprocessed-for-stereo version.

Did you ever read Raksin's response to why "Laura" became a standard? He said, "It has a lot of shoulder chords." The interviewer asked him what he meant by "shoulder chords." Raksin replied - and I am paraphrasing - the kind of impressive chords that cocktail pianists like to identify by raising their shoulders right before they play them! Have I ever posted here the story of how Elmer Bernstein notated "swing" in his charts for "The Man with the Golden Arm?" Pretty funny stuff.