Teasing the Korean

But that's just it - mono was the standard format of the time; stereo was experimental. It was a new technology. Some engineers got it right away, others didn't. Re-mixing early stereo to provide the punch and presence of the mono versions is closer to honoring the producers' and arists' original intent; it is the opposite of revisionist. IMHO. EDIT: I should add here that I am talking only about "bad stereo," such as that on "Mingus Ah Um." I think that Columbia for the most part did a very good job with stereo on Miles, Monk and Brubeck records.

Not to get off topic, but it is my understanding that the first several years of the Johnny Carson show - up to about 1970 or 71 - were bulk erased at some point, and that Carson went through the roof. Everything from that point on was allegedly saved. I've never been clear, though, on the percentage of Steve Allen- or Jack Parr-era shows that have survived. IIRC, Ernie Kovacs even hosted the show briefly when the slot was vacant at some point. Info on this?

They used to sell stuff that you could buy online for like half the price from Dusty Groove. I always wondered who they were fooling.

I can only read the first paragraph with that link. I appreciate the way the publication misspells WM's name, though. FWIW, many of the musicians I've known over the last twenty years or so who are solid jazz players also have pretty eclectic taste in music. They probably don't want to define themselves so narrowly. Also, considering the scarcity of jazz gigs in many areas, some may feel reluctant to call themselves "jazz musicians" when they're not actively working in the genre. That's just a guess on my part.

I hear that viewpoint often with regard to re-mixing early stereo. I think it's much more important to be faithful to the spirit of the music than it is to be faithful to a 50-year-old bad decision made by an ill-informed engineer. Recreating questionable stereo mixes serves the legacies of neither the artist nor the producer. IMHO.

Christ, I wish someone would remix "Mingus Ah Um" from the three-track AND PUT THE TRACK WITH THE BASS IN THE CENTER. That completely wrecks the listening experience for me on CD. Thank God I have the mono LP.

I just downloaded this in the lossless FLAC format. Anyone know how to play it in iTunes or burn it to a CD?

Ray Charles hooked up with Oscar Moore and the bass player (forgetting his name now) after Cole had moved on. RC's early records were straight King Cole Trio knock-offs. My Dad had one of these on 78, "All to Myself Alone."

There is an upcoming Tim Buckley CD, and you can preview the entire thing on NPR: http://www.npr.org/templates/story/story.p...oryId=111966379 It is an early, lost live recording, just Tim's voice and guitar, recorded in New York circa "Goodbye and Hello." It includes a number of tunes not available in other forms. It is a really solid performance and a clear recording.

Ellington and Morricone are the two artists whose music I will be accumulating from here on out. Other than those two, I'm content with concentrated periods of greatness. Just because I want all of a certain artist's Blue Note sessions from the 60s does not mean that I want his disco album from 1976. Or his smooth jazz album from 1986.

A friend of mine pointed out that "Flamenco Sketches" sounds like Todd circa "A Wizard, A True Star."

That is definitely true, both for Trane and Miles. They had both gone as far as they could with Red. I think that's definitely true, no doubt about that--but the original story seems to be referring to the 1955-57 period--a period in which Coltrane himself was fired twice by Miles, iirc. I've posted the claim to the Coltrane listserv, and so far it's been met with great skepticism from David Wild and a couple of others, but no substantiation for or against. And I think there's a difference between moving on, as Trane did after 1958, and actively disliking somebody's playing so much that you'd try to get them fired--especially while you yourself are struggling so mightily with your own demons that you're unable to hold down your own position in the band. And then turning around and recording so prolifically with said player! Thanks. I assumed as much based on other outrageous claims said teacher made on a regular basis - "Only those few of us who were close to the group members actually knew ... blah blah blah."

http://www.npr.org/templates/story/story.p...oryId=111966379

“If you like ice cream, why stop at one scoop? Have two, have three. Too much is never enough." - Morris Lapidus

If I really like an artist, I want 100% of the good stuff. But the percentage of good stuff to the overall output varies greatly, depending on the artist.

Moog albums pre-dated the classic video game era by more than ten years. This album is going for the former, not the latter.

THURSDAY 3 PM EST IS ALMOST HERE!!!!

I ADORE Moog albums; I have to find this. I will be first in line on Thursday, Aug. 20, 3 PM EST to plunk down my five bucks.

Thanks. But I'm talking instrumental underscores, not musicals. I said "jazz," but I never said "jazz hands."

Is Debbie the Bloop from Lost in Space involved?

I was talking with a friend who shares my love for jazz, adventurous arranging, interesting ensemble configurations, and film scores from the 1950s-1970s. As many of you know, a number of jazz arrangers went on to have careers scoring films and/or TV shows. These would include Pete Rugolo, Lalo Schifrin, Don Ellis, Q, Oliver Nelson, Gil Melle, and many others. Some are more well-known for their jazz work; others became more well-known for film scoring. We were talking about these specialty film score labels that do limited edition CD runs of film/TV scores. He lamented that the releases by the aforementioned crowd tend not to sell that many copies, as compared to limited edition releases by the likes of Jerry Goldsmith, John Williams, etc., that sell out quickly. He mentioned one release - I think an Oliver Nelson - that sold ridiculously few copies. I suggested that maybe these labels didn't do a good enough job of marketing to audiences that are more jazz-oriented. He replied that hard-core jazz fans - whoever they may be in 2009 - feel that these releases sound too much like "film music" and not enough like "pure jazz." I responded that many of the jazz/symphonic/experimental hybrids that were occurring in film music during the period that I referenced were very much aligned with the general direction of jazz orchestration in the post-bop period. There are jazz albums from this period that sound like film scores, and vice-versa. I did admit, though, that because of the high price tags on these limited edition releases, a buyer may be more inclined to buy straight jazz albums by these artists at lower prices. That's just a guess on my part - I have no idea how much you guys spend on LPs or CDs. Honestly, all of the insatiable jazz freaks I've known have pretty adventurous taste in music. They love jazz but they are not purists by any long stretch. So I thought I'd ask this question to members of jazz-centric online community: Do you tend to avoid film or TV scores by jazz artists you like? Is the music not jazzy enough? Are these simply additional releases competing with other stuff you want? Do you not differentiate? Do you specifically seek out film/TV scores done by these artists to see how they handle these kinds of assignments? Thanks for indulging me.

One of our members posted that the Purple Pleasure vinyl reissue sounds great, like it came from the master tapes.

Are you KIDDING??? First half of the 70s, or second half of the 70s???? There's a lot of great music in the first half of the 70s, including gems by Lalo Schifrin, Don Ellis, Morricone. I would say mainstream film music started to suck in the post-Star Wars era.

So what has happened to the master tapes???

I have only the CD. As far as I know it's remastered from vinyl. Weird. How did the LP reissues sound?