Teasing the Korean

Yes, I should have mentioned the $5,000 threshold - I'm sure if you're donating 5,000 albums, they will be worth way more than that.

Well, yes, Cal is worth mentioning, but I brought him up largely because he was more 1950s and SF. In terms of this thread, I'm really interested interested in the late-40s LA, Central Ave, bop scene, or any Latin jazz big band action in that region during that period.

Over the years, I've picked up a number of albums from the postwar Central Avenue bop scene, Dexter, Wardell Gray, etc., and various comps like "Black California" on Savoy. While I realize Latin music was popular at the time on the West Coast, I'm wondering if there were any West Coast equivalents of, say, Dizzy with Chano Pozo, Machito, Chico O'Farrill, etc. I realize that Stan Kenton was incorporating Latin elements in the late 1940s. Beyond that, most of the WC Latin jazz artists I know are from the 50s - Jack Costanzo, Eddie Cano, Cal Tjader, etc. Several of the Central Ave. records I have may feature a congas on a couple of tracks, but they're played by guys with Anglo names. Were there any early important hybrids, either small combo or big band, that were doing stuff in LA at the time along the lines of the New Yorkers?

If you're donating them to a non-profit, their official gift receipt/acknowledgment will provide detail only on the goods donated, not the value. So, you would have to get your own independent evaluation, but I'm not sure how you go about evaluating that many records at once - there are so many factors, e.g. pressing, rarity, condition, etc. It's then between you and the IRS. I believe that for insurance purposes, if you don't have itemized values, you can say X records at $5 a piece, etc. I'm not an expert on this but I dealt with gifts in-kind to non-profits over the years.

Well, I sent this to you, but I'm not in Switzerland. You should be expecting a second copy soon.

Why do you keep torturing yourself with all this stuff? I can certainly understand not liking it, but you've played the Beatles, Stones, and Kinks within the last week. (We all know the Beatles and Stones suck, but the Kinks at least were great from 1966-1969).

That was very David Lynch, as was the scene last season in which Joan played the accordion.

Well, Connery is the only Bond of seen, so I have no comparison. I'm curious about this new Roger Moore guy, though.

I grew up with my Dad's record collection. Duke was near the top. Agree 100%, and I my early experience with Ellington opened doors to lots of music on the cusp of jazz.

Tonight's episode (Aug. 15, 2010) was IMHO the best so far this season. It felt like two hours compressed into one. Can't wait to watch it again tomorrow!

John Barry - Man with the Golden Gun - UA (beige and brown label) Curious to check out this new Bond, Roger Moore. Wonder how he'll stack up to Sean Connery.

Luiz Henrique and Walter Wanderley - Popcorn - Verve (stereo)

I am perplexed as to why this has not generated more discussion! Doing nice things for animals is important, too. Jazz isn't everything, although jazz helps me to love other humans and animals and plants.

http://news.yahoo.com/s/ap/20100814/ap_on_fe_st/us_odd_bear_cub_jarhead

Richard Groove Holmes - Jazz Milestones Series - Pacific Jazz (stereo) The Kinks - 20 Golden Greats - Ronco/Pye (Mono/Stereo*)

MJQ - More from the Last Concert - Atlantic

http://www.youtube.com/watch?v=yiVlHPWjGoM&feature=related

I loved Memento and wanted to like this film. I kind of enjoyed it while watching, but the more I reflected on it, I realize I didn't. Possible spoilers: I know it's an old convention, but there was something very artificial about the characters constantly explaining what was going on to the other characters, strictly for the audience's benefit. The whole thing about not seeing the kids' faces, until the very end of the movie, seemed like a pasted-in, manipulative device that didn't serve the narrative, attempting to elicit an emotional response that wasn't earned. The sets were interesting on some level, but they kind of came off like, "Wow, we have gazillions to spend and some great software. What can we do?" Hans Zimmer's pompous score was just awful. It sounded like a parody. It pushed me outside of the film rather than drawing me in. Still, there were some good elements. The premise was interesting, even if they didn't quite pull it off. I thought Leonardo DiCaprio did a good job considering what he had to work with. It probably provides a more intense experience in the theatre than on DVD, but I'm not sure I could recommend people paying top dollar to see it.

Mono rules.

JJ/Kai/Benny Green - Trombone by Three - Prestige (OJC reissue, mono)

Monk - Monk - Columbia (2-eye stereo) Just realized I have 25 Monk albums. Boy, things add up fast!

Doesn't your copy come with the 4th album of unreleased stuff? It's on mine.

Monk - It's Monk's Time - Columbia (2 eye, mono)

Now listening to Morton Subotnick's "The Wild Bull" on Nonesuch. This is pretty wild - lots of interesting shifts from minimal quiet passages to very loud and crowded mayhem. Parts of it remind me of Jerry Goldsmith's soundtrack to "Logan's Run," the expanded version of which contains a greater sampling of electronic music from the Dome.

Stan Getz - Quartets - Prestige Jackie McLean - Introducing Roy Draper - Prestige Both OJC reissues, mono.