Teasing the Korean

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.

I used to work for an orchestra, and they always had these same discussions about symphonic music's relevance to a community. Many cited the rise of composers in academia as the death blow, because composers were paid to teach and could consequently write whatever the hell they wanted, regardless of who liked it. Some musicians went as far as to claim that John Williams is truly this era's great symphonic composer, because he writes symphonic music that people want to hear. (Don't shoot the messenger). Now that we have 100+ years of recorded history in a variety of media, jazz and all other art forms are competing against their own histories. I may be blown away by a few local jazz artists in my community, but given the choice, I'll probably pick up a classic Blue Note session on a used CD for short dough rather than support these artists. I am a part of the problem in this regard, but that's the way it is and I can't be that unusual. I don't think we will ever solve the issue of determining the ideal ratios between the size of an art form's audience and that of the general population. Because people can experience jazz now through various media, often for free, I don't even know if we can truly determine its audience size.

Oh, what the hell, call it a centennial show anyway. Big fan of Claude. My Dad used to talk about him and sort of suggested that he was something of a forgotten figure. This was in the 70s and 80s when I suppose a lot of jazz artists from that era could have been considered forgotten. Anyway, I've picked up various CT collections through the years. Glad to see others appreciate him.

I like his singing up through maybe the 1960s. He had great breath control. Beyond that time I don't really care for it.

What's left?

Ray Charles in Person - Atlantic (red and purple label, mono)