Teasing the Korean

Sad. http://www.rollingstone.com/music/news/lou-reed-velvet-underground-leader-and-rock-pioneer-dead-at-71-20131027

I've had my eye on this. It appears to be somewhat of a mixed bag: A few of his schmaltzy Columbia LPs, various stuff from the 60s and 70s. That said, it has: "Legrand Jazz," which I'm guessing anyone here with a remote interest already owns; The Richard Rodgers album, from the early 60s, much jazzier than the Columbia easy listening records, and a real gem; The Bud Shank album, which is pretty good; "Communication 72," with Stan Getz, which is great. I can only guess at the contents of discs 8 through 15.

Cochise Jones always liked to play against your expectations of a song, to light the gloomy heart of a ballad with a Latin tempo and a sheen of vibrato, root out the hidden mournfulness, the ache of longing, in an up-tempo pop tune. Cochise’s six-minute outing on the opening track of Redbonin’ was a classic exercise in B-3 revisionism, turning a song inside out. It opened with big Gary King playing a fat, choogling bass line, sounding like the funky intro to some ghetto-themed sitcom of the seventies, and then Cochise Jones came in , the first four drawbars pulled all the way out, giving the Lloyd Webber melody a treatment that was not cheery so much as jittery, playing up the anxiety inherent in the song’s title, there being so many thousand possible ways to Love Him, so little time to choose among them. Cochise’s fingers skipped and darted as if the keys of the organ were the wicks of candles and he was trying to light all of them with a single match. Then, as Idris Muhammad settled into a rolling burlesque-hall bump and grind, and King fell into step beside him, Cochise began his vandalism in earnest, snapping off bright bunches of the melody and scattering it in handfuls, packing it with extra notes in giddy runs. He was ruining the song, rifling it, mocking it with an antic edge of joy. (p. 279)

Fondue, yes; pajamas, no.

Well, that's another strike against him. I prefer drinking wine while I'm listening to music.

I've traded in hundreds of albums over the years, have regretted only a few.

"She May Call You Up Tonight" is brilliant.

I have always wondered if "I'll Keep Loving You" was inspired by "You are Too Beautiful." The chord changes are different, but there are certain similarities, in spirit if not in actual notes, although there is the recurrence of the flatted 9th.

Here is my previous thread;

I have volume 2. Great price, nice booklet, nice sounds. I skipped volume 1 because I already have most of those, and I believe I have everything on volume 3. I would not hesitate to buy these volumes if you don't already have the music.

The crime/private eye knockoff albums will often contain at least one amazing track, sometimes a track from the original with a novel arrangement, or an "inspired by" track.

I love strings in jazz and just about any genre. They are the most expressive instrument in the orchestra. And, of course, I the Aaron Bell 77SS and Peter Gunn, what am I, an amateur?

I think that Lalo Schifrin title is pretty rare.

Doe the John (Towner) Williams album really suck that bad? His contributions to the Peter Gunn album are very nice.

As a film score listener, I don't think that's really relevant, unless they described the music as being from that performance. They were probably looking for something that captured the mood of the passage. Could have been Bird or anyone else.

http://www.amazon.com/La-Discotheque-Ideale-Vogue-Jazz/dp/B0087PI57K/ref=sr_1_1?ie=UTF8&qid=1382155909&sr=8-1&keywords=jazz+vogue

Yes, I have both the Shorty Rogers "Wild One" EP (reissued on the "Short Stops" collection) and the Leith Stevens Decca album. I love both of these. Brilliant. I have heard tracks from "Hot Rod Rumble" on internet radio shows. I had a reissue LP in my hands sometime in the late 1990s. It was only $9.99, but I was feeling broke and I passed. Still kicking myself. "Hot Rod Rumble" is by Sandy Courage, later known as Alexander Courage, composer of the "Star Trek" theme, which nicely reflects Les Baxter's exotica. Nowhere near as brilliant, but in a similar bag. Courage also scored some of the early episodes, such as "The Cage" (The Menagerie) and "Where No Man Has Gone Before."

Staccato was Elmer Bernstein. There was a Capitol LP that was briefly on CD. 77SS was by Warren Barker. Conte may have been involved; all those cats were.

Have they finally released Flirt and Dream?

The thing that got me into west coast jazz was fake movie/TV/crime/private eye jazz from the late 50s and early 60s. This would include Henry Mancini's "Peter Gunn," Stanley Wilson's "M Squad," Leith Stevens' "The Wild One" and "Private Hell 36," and Johnny Mandel's "I Want to Live." There was only so much of this to listen to, so eventually, when I needed a fix, I had to settle for "real" west coast jazz. While the latter is good, it is nowhere near as inventive or exciting as the fake stuff. This is where it's at. I'll take the fake stuff any day. Pete Rugolo is an important conduit between these two poles, so he is worth exploring too. And some of Shorty Rogers' early stuff (Cool and Crazy, And His Giants, etc.) sounds like fake TV jazz, so this really good.

A few Blow Up details. The mono album runs longer than the stereo. Several of the tunes go on for significantly longer in the mono mixes than the stereo, so the mono is worth tracking down. I have never compared the recordings very closely between the albums and the film. In the US, it was common during that era to re-record the music for LP, because of musician union rules, but there were exceptions. And as this is a European film, it is more likely that these are the same tracks. In the film's main titles, after the "beat group" segment, it goes into a jazz part completely different than that on the LP, but if you play the isolated score on the DVD, you hear the LP version. I'm not sure if this means that the album is a separate session or if they used a different segment of the same recording for the film version. More than the lost British sessions, I would be particularly interested to hear what else exists from the film/album sessions, considering edits such as the one I described, fade-outs, etc.

Have you played the Komeda yet? How is it? How is the sound?

Did you receive the Komeda yet? I need to get that one.

I posted this once in the Vinyl forum and it got lost. So here is a slightly expanded version: Once, in my late-20s, during a period in which I was moving a fair amount, I found myself in a strange city with very few possessions, and I had only ONE jazz album with me: Zulu, a 70s twofer reissue of "Trio and Solo" and "With These Hands.". I played it non-stop. You have NO IDEA how great a " really good" jazz album can be until you have only that one to listen to. Years later, I saw Randy Weston play and lecture during a master class at Harvard. I wanted to tell him this story, with a lot more detail, but did not get the chance.

Completely agree. Using so many unnecessary, clumsy and often inappropriate adjectives presents a frequently insurmountable stumbling block for an otherwise careful, responsive and engaged reader.