Teasing the Korean

Apparently so.

Now I listened to Varese's "Poem Electronique," composed for the Brussels World Fair and realized at the Natlab Studios, where Raaijmakers and Dissevelt would later produce "Song of the Second Moon" and "Fantasy in Orbit."

They particularly compare Zappa's stuff to Dissevelt's "Fantasy in Orbit" album, which may have been classified as a "pop" album for marketing purposes, but which is much more along the lines of "serious" electronic works.

The best is "Mah-Na-Mah-Na" by the Dave Pell Singers, including the incredibly groovy sessy version of "Oh Calcutta" which was featured on one of the Sound Gallery compilations. Also has a nice version of the title tune and "Crystal Blue Persuasion." This has been reissued on CD from Cherry Red.

Easy Tempo has reissued vols. 1-10 of their compilations which first came out in the 1990s. They are now in digipacks rather than jewel cases. Allegedly remastered, but I haven't A-Bed any of them. These are collections of groovy, mostly Italian film and library music from the late 60s and early 70s. Not sure if they're doing vinyl reissues, or if they're issuing any full soundtrack albums (as they did in the 90s with Lesiman, Umiliani, Piccioni, etc. One day I hope to make it over to Italy and drink wine with Porcy, while listening to this stuff, if he can stand it! I'll be the guy in the turtleneck, flared pants, boots and foster grants, carrying the attache case.

Tea with honey and a touch of lemon is great. Drink orange juice. Get sleep. Gargle with warm salt water, if you can stand it. BTW, if you have to cancel an appearance, can those of us who bought a ticket get a raincheck?

Gary McFarland and Stan Getz. Really like that one! I had a stereo copy with severe separation. Since then I found a mono and I like it much better.

Haven't posted much on this thread lately, spinning mid-century egghead electronic stuff on vinyl (see Classical Discussion forum) Ramsey Lewis, Kenny Burrell Christmas albums up until Xmas Q's take on Jobim's "The Adventurers"

7/4, there is a very interesting essay in one of the booklets in the "Popular Electronics" set on Basta comparing Tom Dissevelt to Frank Zappa. It talks about similarities between electronic stuff on Uncle Meat and WOIIFTM that apparently sound strikingly like Dissevelt. I don't have these albums, so I can't comment (I only have a mono copy of Freak Out that rules).

ANOTHER Badass album, one of my faves from Curtis.

This is simply one killer badass album, every bit as groovy as the cover would suggest. Got this in budget bin at 3rd Street Jazz in Philly back in the early 80s when so many BNs were cutouts. "Son of Ice Bag" rocks, blows away Hugh Masakela's original.

"Bryter Later" in my box set is pressed off center. One reason that CDs are not all that bad.

Have you heard Piper in mono? Incredible.

Looking at the cover, it's hard to believe this is the same turtelneck-wearing hipster you see on CTI albums. At a certain point, all white jazz arrangers started looking like guys you would see on the golf course!

YES!!!

Gary McFarland and Stan Getz.

Is that piece available? I understand that everything in the Folkways catalog has to (theoretically at least) remain in print.

I'd like to start a thread on "serious" electronic works the 50s, 60s, maybe early 70s. Subotnick, Varese, Carlos, Raaijmakers, Reich, Badings, Cage, the Princeton/Columbia/Yale crowd - anyone who was using synthesizers or their oscillating, filtering predecessors to make "serious" music. Over the years, I've accumulated several of these LPs, many of which have not been reissued on CD. Columbia and Nonesuch issued quite a few, but there were of course other labels. Lately, I've been spinning them, and they've been producing radically different reactions. Some of them come off as tedious and ponderous, while others really grab me. Here is what I've been playing. Some of my descriptions are vague simply because I haven't spent enough time with some of these albums. Badings and Raaijmakers pieces on the "Popular Electronics" CD box set (Basta)- This stuff has movement, direction, variety, color, texture, and humor. I can give it my undivided and also have it on in the background without getting annoyed. Utilizes purely electronic sounds as well as manipulated sounds of conventional instruments. "Tragoedia" by Andrew Rudin (Nonesuch) - came off as academic and dull, but I'll have to listen again. "Time's Encomium" by Charles Wuorinen (Nonesuch) - Couldn't get into it at first, then I started feeling it. Also on the academic side. "Electronic Music" collection (Turnabout), with Cage, Mimaroglu and Berio - The Berio piece on side 2, for magnetic tape with the voice of Cathy Berberian, almost sounds like a precursor to Ursula Dudziak (who I LOVE) so this was right up may alley. The other two were very jarring and harsh - maybe that was the point - and I was probably listening at the wrong time (trying to put away Christmas decorations, which is challenging enough without music). My favorite full album thus far is "New Sounds in Electronic Music" (Columbia/Odyssey), with Reich, Maxfield and Oliveros. The latter, which takes up a whole side, almost sounded like a blueprint for some of Brian Eno's longer ambient works. The Reich piece, "Come Out," is tape manipulation work involving the voice of a New York kid describing a police beating, and it is riveting. I have several others which I haven't gotten to yet. I would be interested to hear anyone's thoughts on these albums or others. Also, we can talk about how this music related to what was happening in concurrently in other genres, such as electronic pop music, orchestral music, etc.

Or to someone like me who has never bothered to listen to him.

Not to be contrary, but does anyone honestly care about current "Blue Note" artists? It strikes me as being just another corporate logo.

No, he probably meant that there will be multiple used copies of every title available everywhere, as there are now at the places I haunt.

Porn sites charge a lot less than $35 for 45 minutes. So I'm told.

I've always been interested in the reharmonization of standards, and the acceptance of certain sets of changes over other sets. I hear what you're saying and respect your viewpoint, but I don't share your aversion to that opening diminished chord at the beginning of Stella. To me, it is simply a different sound. That said, I always play the half-diminished chord when I play the tune.

Haven't read through the whole thread. Allan, when will we be able to see/hear/read your interview with W?

I did, and arrangements can make or break a tune.