Teasing the Korean

On some later issues, they did make it the last song; but on the original and on the CD, it is not, and I agree with you.

Agreed. The CD reissue of "Julie is Her Name" V. 1 & 2 includes some between-tune banter that shows her clearly in control of the proceedings.

I wish that more upper-tier orchestras in the US had jazz directors. There is so much good crossover music that doesn't get played because it fits neither the masterworks nor pops series formats (as they are now defined, at least).

"She wore a lovely meatball on her finger" - from "Isle of Capri" on Come Fly With Me.

Did he do anything from the greatest album ever made? I'm referring to, of course, "Jazz Heat, Bongo Beat" by the Latin Jazz All-Stars, also on Crown.

I loved his voice the first time I heard it and still do. I'm talking about when he was younger. I don't really like his singing from later in life as pure singing, but I do find it cool in a David Lynch kind of way.

These speculations sour in the sun. I have no daughter; I desire none.

This thread is staying put, baby. I'm on a Sinatra kick and I'm posting all of 'em.

He did it his way.

Nine pages of posts and we still haven't managed to kill jazz?

Jim Helms later went on to score the Kung Fu TV series. If you can find tha LP on WB, it's all Jim Helms music (with a lot of dialog overdubbed).

It was issued twice on Crown. The first version is the one you cited, Crown 302. It was later issued as Crown 460, and titled "The Girl from Ipanema." This version has two additional tunes: The title track by Jobim and "Background for Buddy." The tune titles on this version are in English rather than Portuguese. Either version is worth picking up. It's rare to find a bossa LP from that period that doesn't contain the same 10 or 12 Jobim tunes.

"...And stars fractured 'bama last night..." from "Stars Fell on Alabama" on "A Swingin' Affair."

We had some friends over yesterday and indulged in two of my favorite activities: drinking red wine and listening to vinyl. I put on my only two Freddie McCoy albums, Spiderman and Lonely Avenue. Why haven't any of these records made it to CD???

Surprised no one has responded to this. I realize that "recreating jazz" is a very thorny issue, and I can see the drawbacks. Still, I think there is a place for these kinds of presentations in the larger scheme of things. I wouldn't pay to see smarmy versions of these works if WM and the Lincoln Center were presenting them, but given the right participants and the right venue, I would. I don't agree that Gil Evans's arrangements are "dated," assuming the author was using that word with the negative connotation it usually carries. I think there is a timeless quality about those charts, but that they simultaneously capture an aesthetic that is associated with their era - If that's not a contradiction. The fact that they were conceived to go with Miles's playing doesn't mean that another soloist could not do a great job with those backdrops, either. IMHO.

Which tune and which album, please.

"TO PROVE.... ...the wise men can be wrong." - from "I Concentrate on You" from "Sinatra's Swingin' Session."

Whatever. I was emphasizing the phrasing. I want more examples. Get up off your asses and spin some Sinatra rekkids!

Marcus Roberts went through the "classical" program at Tallahassee. When I was at UM, which was a "jazz" school, I remember telling fellow students that there was a blind guy at Tallahassee who will knock your socks off. They all rolled their eyes, and said, "If he were a REAL jazz musician, he'd be at UM." I guess he got the last laugh.

"Baubles...bangles...And them coo coo beads" - from "Baubles, Bangles and Beads" on "Come Dance With Me."

"A mess of shoes, a gang of rice" - from "Makin' Whoopee" on the "Songs for Swingin' Lovers" LP.

Most do this to get into academia. They know that they have to earn a living teaching, and maybe playing sessions. Depending on where they settle and how good they are, they may end up playing jazz or pseudo-jazz on a semi-regular basis, but may not be any better or may not earn more than other solid, serious musicians who may have majored in something other than music. It is interesting that most of the people who have made a name for themselves in jazz over the last several decades did not go through these jazz programs. There must be exceptions but I don't know of them. Feel free to correct me on this. The main artistic advantage to going the academic route for jazz is for composers and arrangers. There are undoubtedly more opportunities in universities to do challenging arrangements for oddball configurations of instruments than you'll find in a real world setting these days.

Highly subjective, but yeah, I think she swung. It made me wish she'd recorded more in that vein. BTW, the Leith Stevens "Wild One" album was not the film soundtrack. It was a studio session with an octet playing jazz versions of music from his score to the film. The actual film soundtrack had a much larger orchestra and has never been released on CD or LP AFAIK.

Don't forget that Patti Page made at least three solid albums, all with THEE AMAZING PETE RUGOLO. (The East Side, The West Side, In the Land of Hi-Fi).

Hello Donald and welcome. I've been skimming over your book online and it's a very interesting read - I think I generally agree with your main thesis if I understand correctly based on what I've read.