Teasing the Korean

Bumping this old thread. I realize that I have all these jazz versions of P&B, but I've never even heard, let alone owned, the "opera" or whatever it is as it was originally written. I looks like Larry likes/liked the Simon Rattle version. Which should I listen to first? Incidentally, I'm not an opera fan, and I'm mildly concerned that my general distaste for the genre will get in the way.

Camouflage pants in 2013? How pathetic. I miss the days when musicians had a sense of fashion.

Dusty Groove grades VERY conservatively, you will not be disappointed by anything you buy from them.

Half of it is the BEST album he ever did. The other half sounds ancient by comparison.

Lots of good stuff, Gil Scott Heron, Leon Thomas, early Lonnie Liston Smith, and an Oliver Nelson-arranged Count Basie album that is half amazing and half boring.

I think you're right. I have only a fairly beat copy of that LP. I need to spin it soon.

I had some cheapo 80s vinyl reissues of his (non-Art Pepper) 50s or early 60s sessions. I swear, the cover art looked like it was done by precocious 15-year-old girl into unicorns. The albums were not very satisfying from either a jazz or space age bachelor pad perspective, and I unloaded them. i was happy to have those album covers out of my life.

I absolutely cannot stand stereo records where the bass is placed on one side. It should always be dead center in any kind of rhythm/groove-based music. I wonder if this session ever received a dedicated mono mix, although the late date makes me suspect that if there were any mono pressings, they were folds. I generally like Nancy Wilson and over the years have accumulated probably 20 LPs, mostly mono, mostly mint, and none for more than a dollar. One thing that annoys me about Nancy Wilson is that she is frequently lazy with complicated melodic lines and simplifies them under some misguided notion of "reinventing" them, or being "jazzy." At some point, a line is crossed between interpretation and doing it wrong.

Thanks. I have the CD that includes both the LP and film versions of "Once a Thief." I'll have to listen for that music late in the film.

I will have to check these out. Which Lalo Schifrin score do you mean, Once a Thief?

http://www.screenarchives.com/title_detail.cfm/ID/5667/THE-WRONG-MAN/

Bassist Schmassist. The score is by THEE GREAT BERNARD HERRMANN.

Hold it to the light at the right angle and you will see your own head inside of an album cover.

Come again? Teasing, you really ought to start more threads around here. You are obviously tapped into a bunch of shit that most of us don't even know exist. I've gotten great recommendations from you over the years! Well, thanks Impossible. You are apparently one of the few around here who appreciates my contributions. My three-star rating tends to support my theory, and it is a pure insult; I deserve either a full five stars, or nothing above one star. And, as I think about it, I would prefer one star. Most of the threads I start die a fairly quick, but not necessarily painless, death. Yes, my taste in music draws me to the cracks between genres, hence my enthusiasm for an album such as "Like Tweet," which I'd never even heard of until I stumbled a across a copy in the 49 cent bin. I would love to hear from someone who has heard this record. My LP cleaning fluid is on backorder and I may have to wait a few weeks. Maybe I'll start a thread on "Swinging the Jingles" by Sascha Burland...

A few more examples: Franz Waxman - Crime in the Streets Jerry Goldsmith - City of Fear

Just picked up "Like Tweet," a Columbia LP of jazz version of authentic bird calls. It features lots of the usual New York suspects, such as Dick Hyman, George Duvivier, and our hero, Don Elliott. Anyone have this? My copy needs to be cleaned and I'm out of cleaning fluid.

I worked my way through volume 2 and here are my observations: Disc 1: The Wild One (Leith Stevens); Crime in the Streets (Franz Waxman) The Wild One has 12 tracks. They use the four Shorty Rogers arrangements from the EP; the other 8 tunes represent the balance of the Leith Stevens Decca LP. (In other words, there is no repetition.) Crime in the Streets is the same as side 1 of the Capitol LP. (Side 2 was music separate from the film.) If these are mastered from vinyl (likely), it is a very good transfer. Disc 2: I Want to Live! (Johnny Mandel) This uses all the music from both the Johnny Mandel and Gerry Mulligan LPs, but places the Mulligan album first and the Mandel second. (The commonly available CD is the opposite.) Sound is similar to the common CD. Disc 3: Les Tricheurs (JATP); Paris Blues (Ellington/Strayhorn). I never had either of these. Les Tricheurs has 7 tracks and seems to be LP length. Paris Blues has 10 tracks. Les Tricheurs is in clean mono sound. Paris Blues alternates between mono and stereo and the sound varies. I cannot compare these to any LP or CD issues. Disc 4: The Subterraneans (Previn) This has 18 tracks, making it longer than the original LP but shorter than the expanded limited edition CD that came out a few years ago. Everything from the LP is here. Another one I never owned. Not sure what the source is here, but it is generally clean. Disc 5: Shadows (Mingus); The Connection (Freddie Redd) Now the Mingus "soundtrack" is the one many of you may have been wondering about. It has four tracks. It has been ages since I have seen this Cassavetes film, but the first track, "Untitled Percussion Composition" appears to be mono and is actually from the soundtrack. It is a 7+ minute track with mostly percussion and flute. The sound is pretty clean. The other 3 tracks, "Nostalgia in Times Square," "Alice's Wonderland," and "Self Portrait in Three Colors" are stereo and are the same as the more common released versions from around the same time. So, not the great discovery some may have been waiting for, but not the first time a soundtrack album had different recordings from the film. (I did my own version of Les Liaisons Dangereuses this way.) The Connection is another I've never had. It has seven tracks, is stereo, in clean sound. The book is very good, both illustrations and text. So, this is a good value if you don't have any or many of these, but if you already do, you can probably pass.

Funny, I tend to seek out flute, especially alto flute, in jazz records and tend to avoid sessions with predictable ensembles.

This is in many ways the defining piece of music for the 20th century, isn't it? It is like a road map for so many things to come, pointing the way toward film music, jazz, exotica, even wizard rock. And, of course, it simultaneously drove the final nail into classical music's coffin. The two definitive versions for me are the Dorati/Minneapolis on Mercury, with the tiki on the cover; and the Ansermet on London, with the topless virgin on the cover.

Who was Buddy Bregman and how did he get the gig? With all of the talented arrangers working during that era, it's hard to believe someone better would not have been available.

I've known so many people who named a cat or dog Miles, I thought this was about someone's pet.

I have two versions by Stravinsky but am not familiar with the others. Isn't it interesting that the most ubiquitous version for so long has been so hard to find on CD?

Has anyone compared the Mickey One LP to the CD? The CD apparently has a lot more music. It's my understanding that these are alternate takes. Beyond alternate takes, is there any music on the CD that did not make it to the LP?

Well, the Bernstein arrived. The cover art is nice, but not up to the level of the Dorati (with the tiki) or the Ansermet (with the topless virgin). Performance-wise, it is very good. The savagery works in those passages, but some of the brooding mystery is lost in other passages. The brass is very out of balance in places and the woodwind/string detail can get lost. A very solid performance/recording but not what it is cracked up to be, IMHO.

That's fine, it would be a boring world if we all agreed! I do think the arrangements on the Cole Porter set are a little better than the R&H, but harmonically, they just don't go in the directions that I want them to. I keep waiting for certain resolutions that end up being on the vanilla side. I think Riddle's arrangements on the Gershwin set are really top notch. Sinatra typically brought out the best in Riddle, but I get the sense that Riddle applied the same levels of care and thought with Ella on the Gershwin set as he did with Frank. I wish he would have been involved with more of these.