Teasing the Korean

Great, we've gotten to the point where even digital pianos need to be tuned. I give up...

To say nothing of "horses" instead of "horse's."

RIP. I am familiar with him from all of those Joe Cuba albums. He was billed as Jose Feliciano back then. Guess we know why he changed his name.

That is the only Santana album I own, purchased because of Alice. I will have to re-spin this one soon.

I know so little about rock music. I had no idea he even played with Santana. I knew him as the "master of Afro-Cuban interpretation" from all of the Shearing albums.

RIP. I wonder how many listeners in the US were introduced to Latin music through Armando's contributions to George Shearing records.

Mercury must have employed some design executive with a triplet fetish...

Mercury had a thing for 3-women covers.

I completely agree with leeway, and I will only add that even if something does not meet some square critic's definition of jazz, it may meet a listener's criteria for music.

I'm fine with someone not liking Bill Evans, but Crouch's reasoning is flawed. I think Bill Evans could swing. As far as there not being enough blues in his playing, big deal. There is no shortage of blues-based players in jazz, rock, blues, R&B, and who knows how many other genres. So if it's blues you want, throw a rock and you will probably hit someone who can play the blues. I don't need or expect to hear blues when I listen to Bill Evans.

This thread inspired me to pull out Andrew's mid-70s solo piano album on Arista Freedom. Haven't spun it in a while. Great stuff!

Gary McFarland beat him to it by six months.

There is a legal precedent for lifting public domain works that another label issued. Bear Family found a very rare Carter Family track and spent time and money to sonically clean it up. Another European label put Bear Family's restoration of the track on their album, claiming it was in the public domain. Bear Family argued that they invested time and money into the restoration. The European court ruled in Bear Family's favor.

That's probably why it's a favorite of mine. Sometimes fake jazz is better than the real thing!

Yes, great suggestions. Not sure if Manhattan Tower quite fits, as it is almost a quasi-musical written for records and radio. Never heard the Ralph Burns! YES! I remember finding a clean copy of this for $2.99 at Cheapo records in Cambridge, MA. It too is a gem, but it's been a while since I've spun it. Hmmm…Do you think his initials were J.N.?

Just picked up "Live on Direct" on Fantasy red vinyl. This guy was so prolific. There must be about 25 albums on Fantasy alone, before the 1960s. Can't get enough Cal! Suggestion to Mikeweil: Could you adjust the thread title to something like Los Ritmos Calientes: The Cal Tjader Forum? Whenever I look for this thread, I can't remember the title, and when I do, I forget the "S" at the end of calientes.

Never even heard of this mid-60s Oliver Nelson album on Verve. Just stumbled across a pristine vinyl copy for low dough. I am a sucker for these concrete jungle tone poem jazz albums, and I have at least five that fit this category (not counting crime jazz soundtracks). I don't think Jazzhattan Suite was ever on CD. What do folks here think of it? While we're on the subject, what do you think of some of the other albums that fall into this category? Examples would include: George Russell - New York, NY (Decca) Manny Albam - Soul of the City (Solid State) Larry Elgart - The City (MGM) - Composed and arranged by Bobby Scott Kenyon Hopkins - Lonelyville (ABC) - released under Creed Taylor's name for contractual reasons

I have not. Is it good? You know, I don't listen to rock/pop much at all these days, but I swear, those opening bars of the Yardbirds' "Lost Woman" never fail to thrill.

For better or worse, technology has changed the way musicians play and think. Otis's generation was probably among the last that had any experience doing things live in the studio, because there was no other choice. When overdubbing, punching in, and alternating between takes came into vogue, there was no looking back. Once humans experience a luxury, they consider it a necessity.

Probably, but like Dark Side of the Moon, Kind of Blue has remained a consistently strong weekly seller through several decades. If I'm not mistaken, it is on average the best selling back-catalog jazz title. As you know, it has also attained mythic status outside of jazz circles since at least the early 1990s if not earlier. Wikipedia, FWIW, reports that the RIAA certified it as selling quadruple platinum in 2008.

I mean, who doesn't know where Brooklyn is?

For those of you who heard "Kind of Blue" when it was originally released: Could any of you have guessed what a massive seller (by jazz measures) and hugely influential album it would become over the decades to come? What was your reaction to the album at the time, relative to previous Miles albums or albums by contemporaneous artists?