Teasing the Korean

David Garland's classical show on WNYC -if he still does it - focussed on non-traditional types of stuff. Unfortunately, marketing firms have been retained by many FM so-called "classical" stations. They tell them that classical music should be "relaxing."

Interesting person. Ever read about him? "Love, the Mystery Of" on one of Blakey's drum albums is by Guy Warren.

Some (not all) of the early jazz approaches to Bacharach come off as though they were done to satisfy some A&R decision, and the artist in question begrudgingly goes along. It sounds like they treat this material as though it were lightweight pop. What's odd about this though, and I say this as both a musician myself and a listener, is that many Bacharach tunes can be challenging in various regards. Unusual chord progressions, phrases with odd numbers of bars and jarring rhythmic shifts, wide melodic jumps, etc. Many of the tried-and-true patterns that work for improvising on pop standards -Rodgers, Kern, etc. - don't work too well with Bacharach. What I can't figure out is why more jazz musicians didn't seem to realize this about his music. It would seem that if a jazz musician wanted something challenging to work with AND wanted to reach a broader audience, Bacharach was the ticket. Thoughts?

Some tunes on there work better than others. It was a missed opportunity.

Agreed, song selection and arrangements are a big part of the draw with vocal jazz albums. Or vocal "jazz" albums.

She has an annoying tendency to simplify complex melodic phrases, but some of her Capitol albums are good.

They don't equal each other. Some baked cassettes sound better than some CD-Rs.

Why don't you pay me thirty dollars for a session you've always wanted. I'll give it to you on a cassette that's been baking on the dashboard of my car all summer.

THANK YOU. And we also don't know the mastering/extraction process or software used to make them.

Depending on the program that is being used to extract a CD. I'm not a psychic, so I'm not paying $20 when I don't know the process that was used.

A CD-R is only as good as the extraction process that was used with the source, and the quality of the CD-R itself. I'm not paying top dollar when those additional factors can affect the final product. And, yes, CD-Rs CAN go bad after years, and work on some players but not others.

What Chuck said. 1's and 0's are 1's and 0's. NO, you are at the mercy of the program used in question. Have you ever extracted a damaged CD with iTunes? It will replicate the damaged parts and not give you an error message. How can you be sure that literally every sample was copied correctly when you don't even know the process involved in making the CD-R? In addition, CD-Rs can go bad, believe me.

"Should" being the key word in that sentence.

What he said.

Ricardo calls George Takei http://www.ijigg.com/songs/V2EA77BPA0

And Wynton Marsalis will be appointed. Gotta love the arts!

I'll bet Wynton never made anything as good as the two "I Want to Live" albums on UA by Gerry Mulligan and Johnny Mandel.

Marcos Valle - Samba '68 - Verve (stereo, blue label). This is available on CD and is an absolute gem.

I'll bet Wynton never made anything as good as the two "I Want to Live" albums on UA by Gerry Mulligan and Johnny Mandel. As for being prejudiced: If Larry Kart, Chris Albertson and Stereo Jack can't detect a fraudulent, manufactured jazz solo - even if skillfully executed - who can? I would hope that we, as jazz listeners, are informed enough to recognize meaningful improvisation when we hear it. I mean, jazz has been around for at least 90 years and there are 6 billion people on the planet. I would hope that by now someone knows a truly great solo when he or she hears one.

So it doesn't have any bad 80s production? God, that was such a bankrupt decade!

Does it sound like an 80s album? That 1984 date on it frightens me.

Recently picked up Secrets of the Sun on CD. When they're working from mono LP sources, I wish record labels would do the transfers in mono.

Just spun this one: Provocative Electronics, under the direction of Emerson Meyers of Catholic University of America (Westminster), 1970. Overall, very interesting, with some tape-manipulation pieces involving voice, organ, and bassoon, along with the usual bloops and bleeps.

Clicked on the link, and AAJ opened up. I immediately closed the window. No more spam please. K thnx bai.

Corny arrangement. Avoid it at all costs.