Teasing the Korean

This album left me cold for some reason. I love parts of "Orgy in Rhythm" and "The Africa Beat" but have never heard "Holiday for Skins." These albums work better for me in small doses than in single sittings. I will have to revisit this one.

Yes, MG, thank you. That is by Elmer Bernstein, whose soundtrack album came out on Capitol in the states. Not sure if anyone else had a hit single of the theme; I know Mancini's "Peter Gunn" was covered by Ray Anthony on Capitol. Yes, there are some parts of that album, as well as parts of EB's "Man with the Golden Arm" soundtrack that have this sound; although IIRC much of the Stacatto album is more in a general west coast vibe, but still great throughout.

Whenever I come across stuff like this, I always wonder how I managed to get by all these years without it...

Chef Ramsey Lewis - More Sounds of Christmas - Cadet (mono) NOT from the collection of Goosby Jones. (I think my bro-in-law got that copy.)

Chef Ramsey Lewis - The Sound of Christmas - Cadet (mono) Goosby Jones's personal copy.

Thanks for sharing. I'll check that out. I should add that some of Pete Rugolo's and Eddie Sauter's stuff fits this category.

Yes, I should have mentioned Kenyon Hopkins. He did a number of things along the way that have this sound.

I have touched on this sub-genre, which I will call "Twilight Zone Jazz" for a lack of a better name, in threads about the "Jazz in Paris" series and the "Panic In Year Zero" score by Les Baxter. I am always interested in finding music that fits this category. I suppose that a certain percentage of Third Stream music would fit under this umbrella, but not all of it, at least among the Third Stream stuff I've encountered (I'm not an expert). Parts of "City of Glass" would qualify, but that is not truly part of the Third Stream, to my knowledge. As I've written elsewhere, Twilight Zone jazz has a nervous, caffeine-jag, Freudian-nightmare-of-the-postwar-working-stiff quality. It often incorporates elements of post-bop, west coast jazz, and 20th century "serious" music. You may hear driving, hard bop drum and walking bass patterns, intense bongos, and twelve tone lines with extremes in pitch, going from piccolo flute to bass clarinet in a single bar. Then, everything may stop abruptly and the vibes, for example, will ring a sustained minor second interval for a few bars. Some of the best examples of this music show up in late-1950s/early 1960s film and TV scores, often by "classical"-based composers with limited jazz experience. My favorite examples are Jerry Goldsmith's jazz themes that he composed for the Twilight Zone score library. Many, but not all, of these show up on the four-disc "Twilight Zone" soundtrack set. In terms of "real" jazz, I have encountered this sound from time to time on mid-60s Blue Note sessions in which there is definite sense of structure while teetering on the brink of being "out," at least sonically if not structurally. A few obvious examples would be Eric Dolphy's "Out to Lunch," Joe Chambers compositions on a few different Bobby Hutcherson albums, and, IIRC, at least one track on Freddie Hubbard's "Hub Tones." Some other examples would include the following: * Andre Hodeir - parts of Jazz et Jazz * Tom Dissevelt - 12-Tone Composition - This appears in its original form on the "Popular Electronics" box set; it was later hacked up for one of Dissevelt's musique concrete compositions on the "Song of the Second Moon" album. * Fred Katz - Little Shop of Horrors OST - available on a Rhino LP at one time, not on CD AFAIK. * Ernest Gold - Pressure Point OST - one of the best examples outside of Goldsmith's TZ cues. * Leith Stevens - "Toss Me a Scalpal" from "The Interns" * Marius Constant - Various stuff - I'm still looking for his collaboration with Martial Solal, "Stress." The more common Twilight Zone theme was edited from two longer pieces which are, AFAIK, unavailable. * Leonard Rosenman - parts of The Chapman Report OST. What are some good examples of this sound that I may be missing?

The Bee Gees' first two Atco/Polydor albums, Bee Gees First and Horizontal, are Pop/Psych mini-masterpieces. You need to hear these in mono too. If you buy the box set with the first three albums, you can hear them in mono and stereo.

Duke Pearson - Merry Ole Soul - Blue Note (blue and white label, stereo) First time I've heard a stereo Blue Note album with the bass in one speaker since some of the early Horace Silver stereo sessions. The bass is almost always in the center.

A Jack Jones Christmas - RCA (orange 70s label, stereo, but pre-Dynaflex) "Some Children See Him" is such a cool tune.

Andy Williams - Merry Christmas - Columbia (stereo) This is the green album. Just the pop side, not the religious side. I should glue the two albums together, pop sides out, and get a 180g vinyl version.

Andy Williams Christmas Album - Columbia (stereo) This the red album. Just the pop side, I'm skipping the religious stuff on side 2.

God, I LOVE watching the train go around the tree while Jack Jones is singing! It's like I'm 5 years old and there's great music on AM radio, instead of a bunch of right-wing blowhards!

The Jack Jones Christmas Album - Kapp (black label mono)

That's it, I'm ditching my piano for the alto sax and changing my name to Peter King.

Yes, it's all very confusing. I never saw Ronnie's colleague, Pete King, but heard his fruity cockney voice on the radio. I've seen the other one, who calls himself the full PETER King, several times in his career from the 1960s to the present and he has now developed into one hell of an altoist - Britain's secret, you might say, now we no longer have a Tubby Hayes or Victor Feldman to offer. Here's a curiosity: Peter King playing Bird's alto! My link Thanks for clarifying. Except that Peter did occasionally go by "Pete," at least in the states. Unless there is a third guy out there.

Although I prefer CDs these days, I must bring home at least 250 used LPs a year, most acquisitions from shows. Some are gifts and some are upgrades. I almost never buy new reissue vinyl.

Two saxophonists named Pete King who were both associated with Ronnie Scott...

Pete King was a British jazz tenor saxophonist and the manager of London's famous jazz club, Ronnie Scott's Well then it is apparently the same guy I'm talking about if we can believe this: http://peterkingjazz.com/bio.html

Another vote for "Reflections in the Sea of Nurnen."

Is this the same Peter King who was very active as an arranger for vocalists?

Membership in the Republican party? The order is usually the other way around.

The Swingle Singers - Christmastime - Philips (stereo) I love this album. It makes me want to drink hot buttered rum.