Teasing the Korean

Whenever I am seriously into a classical piece, I always seek out multiple interpretations and try to see if there is consensus around, say, three or so definitive versions. There is a general consensus that one of the best versions of the Rite of Spring - the Columbia LP by Leonard Bernstein and the New York Phil, circa 1958 - is one of the best, and some say the best. It has inexplicably been unavailable on CD. It is finally being reissued on CD and LP on April 30th. List price for the CD is US $11.99. http://www.amazon.com/Le-Sacre-Printemps-Leonard-Bernstein/dp/B00BQSSGD8/ref=sr_1_1?ie=UTF8&qid=1365647584&sr=8-1&keywords=sacre+bernstein

This guy has been putting these on Youtube. This is by far my favorite, about 100 times better than the original. It sounds like klezmer: http://youtu.be/HieU2R4KdxI

How do Byron's versions of the Raymond Scott tunes compare to the Beau Hunks? I think the latter did a great job.

I'm not sure how you're calculating those numbers. It should be the same in either direction. Still, it's a perception thing. We're more likely to notice that something has been slowed down. Again, this is subjective, and from my experience.

So, what you're saying is that, when a record's sped up (or slowed down, as someone noted), the inaccuracies that are inherent in speeding up by a constant amount are too small to be noticed. MG If you're thinking in terms of western divisions of pitch, I would say raising something a half step, e.g., C to C#, does not radically change the inherent tonal qualities. It gives it a little tempo bump but not enough to be readily noticed. It can add a bit of urgency to the sound, and make the vocals brighter. Now, I would saying lowering something by that same amount is much more noticeable. It makes the vocal sound lower/flabbier, and it reduces the tempo more noticeably. Technically, it varies the speed by the same amount as the other direction, but in terms of our perception, we hear it more. That is subjective but it has been my experience. When you get to raising/lowering something by a whole-step, you change the tonal qualities and tempo much more noticeably. it is interesting that the Beatles, being the great singers that they were (at least John and Paul), messed considerably with the speed of their voices between Revolver and Magical Mystery Tour. "Here There and Everywhere," "Strawberry Fields," "When I'm 64" and MMT (title song) are some of the obvious examples.

Early Serge Gainsbourg Les Double Six Blue Stars of Paris Michel Legrand Sings (the 60s album on Philips; it is very jazzy, unlike his later vocal sessions). some Blossom Dearie I realize you said "station" but you can find these for cheap.

I've made it through most of the set. I did not play the Cherbourg or Rochefort discs, because I've had them on LP for ages and am familiar with them. I also skipped the English "Rochefort," because I'm not sure I ever want to hear that. I also skipped the "Interpretations" disc, because I have most of those already on their respective original releases. It is nice to have a generous sampling of "Lola." Much of it is in hi-fi and sounds better than what you hear in the film. The other films I am not familiar with. Chronologically, they span the early 1960s to late 1980s. Stylistically, they are all over the place, from pseudo-jazz, pseudo-classical, sweeping melodic pop, and even some Euro-sleaze as you progress into the 70s. None of these other films are musicals/operas, but they do have an occasional vocal number. And, the aforementioned orchestral suite of "Umbrellas" and instrumental jazz album of "Rochefort" are among the highlights. As to whether it's worth picking up for the cheap price, that would depend in part on 1) how much you like/love Legrand and 2) if you already have "Umbrellas" and "Rochefort." The book (French and English) and packaging are nice considering the low price.

I'm not sure about "I Got You," but "Papa's Got a Brand New Bag" was sped up significantly, I believe a whole tone rather than half tone. I just played "Blueberry Hill" on youtube and it is in B natural. I would bet the farm that the band played it in Bb at the session.

What key are the tunes in when you spin them? If they are in sharp keys, they are probably sped up a half tone. (Pianists tend to favor flat keys.) If they are in flat keys, they are probably correct.

I would argue that Jerry Van Rooyen's score to "Succubus" does not fall within this category.

Disc 11 is indeed pretty cool, with several of the hits as interpreted by different artists. As to how often you'll listen to it, I could ask that about almost everything - so many choices and so little time. Some of the gems on here include the 30-minute "Umbrellas" symphonic suite and the instrumental jazz album of tunes from "Young Girls of Rochefort."

I dunno, the late 60s/early 70s stuff like "She Kills in Ecstasy," "Succubus" and "Vampiros Lesbos" are pretty great if you're into Euro-sleaze. "Succubus" has a soundtrack by Jerry Van Rooyen.

http://variety.com/2013/film/news/jess-franco-1200332021/

Only when there are giant ceramic dinosaurs or tikis on the golf course.

It's still at the insanely low price. There's a full track list up now on Amazon France.

Received my copy today. Very nice packaging. Look forward to spinning. Initial reports indicate good remastering.

I think he meant to say "Ornette Coleman Hawkins," but when he started to type the "C-o-l," it auto-populated it with "Coltrane." But he also left out Wynton Marsalis, who played a very pivotal role in bebop's development in New Orleans way back in the early 1980s.

I'm waiting for the Complete Kenyon Hopkins on Verve.

Yes, Verve is how I know about him, also oddball stuff like the Manny Albam album on Solid State.

I'd never even heard of Xenakis. Yes, "Silver Apples" is a classic. I have 3 Subotnick LPs, 4 if you count the Ormandy 2001 knockoff with Subotnick's between-track electronic interludes,

Honestly, if there can be a box set of Miles Davis from his jheri curl period, anything is possible.

Now listening to Iannis Xenakis. Side 1, "Bohor 1," sounds like the soundtrack to an early David Lynch film!!!

Just scored a few gems on LP, $2.99 a throw, all in pristine condition (as you'd expect), and all on the Nonesuch label: The aforementioned "Earth's Magnetic Field" by Chares Dodge "Music for Instruments & Electronic Sound" by Donald Erb "Electro-Acoustic Music" by Iannis Xenakis Listened to Dodge and half of Erb. Great stuff! Dodge got off to a slow start with a lengthy monophonic melodic passage, but then it kicked in. And anyone whose last name is Erb would have to compose electronic music!

That's a great one too.

What's fascinating to me is that the rediscovery of producer/arranger David Axelrod in the 1990s did not result in more of these albums being issued. People would buy them for Axelrod's name alone, regardless of the identity of the alto player. There is a nice 2-CD comp of Axelrod's Cannonball stuff on the UK Stateside label that shows up for short dough. P.S. "Soul Zodiac" is the greatest LP ever made.