Teasing the Korean

Ellington at Newport '58 was studio, right? The LP I mean, not the CD.

Were the "live" Art Tatum albums on GNP real or fake?

Slightly off topic, but very funny: The Yardbirds' last concert was briefly available on an Epic LP. They beefed up the crowd noise with, among other things, cheers from bullfights and cocktail lounge sounds!

My recent thread about the Peggy Lee/George Shearing "Beauty and the Beat" inspired this thread. What are some of the fake "live" albums that have been released? I don't mean rock albums recorded on 24-tracks where they added a horn section later in the studio. I mean studio dates passed off as live dates. 1. Beauty and the Beat - Peggy Lee/George Shearing (Capitol). 2. - and correct me if I'm wrong - Machito at the Crescendo (GNP). Let's hear more...

PLEASE don't tell me her Basin Street album is fake. Is the Machito live at the Crescendo album fake live? It sure sounds it.

I always loved it when she said, in that husky voice, "Let's hear some more of that Shearing sound." They should have put that as a bonus track at the end of the studio version CD.

Keith Moon?

If it's not warped, a Nitty Gritty or VPI will take care of that. Granted, you could buy a new copy for less than that, but these machines pay for themselves, believe me.

They are being predictably boneheaded and/or clueless. For example, Vocalion has been reissuing classical CDs from the Decca/London catalog. I had suggested reissuing the Decca recording of Slavenski's "Sinfonia Orienta," vinyl copies of which fetch high prices. They told me they had no interest in reissuing this. Being that classical recordings don't exactly fly off the shelf these days, you'd think labels would want to exploit rarities in their back catalogs. I guess they just want to keep cranking out more Mozart and Beethoven. I'm happy to keep buying secondhand vinyl while they slowly go out of business.

You are forgiven.

http://www.organissimo.org/forum/index.php?showtopic=46127

Not to take this off topic, but I'd like to share my personal experience with Bud Powell, for what it's worth. When I was in high school, I was OBSESSED with Bud Powell and bought - on my busboy's salary - nearly everything that was in print at the time. These include Amazing Vol. 1 and 2 on Blue Note; Lots of albums on Verve; the double album from the live Toronto gig; and various Savoy sides on which he was a sideman. (The Roost/Roulette session has eluded me until this day; is it available?). At that time, roughly between the ages of 16 and 19, I was really into the earlier, frenetic, pre-1953 stuff (or whatever the cutoff point is where his technique started to fail). Having a relatively limited knowledge of both jazz and the "Great American Songbook" at the time, the later stuff was for the most part lost on me. But I listened to the earlier stuff non-stop. For whatever reason, I stopped listening to Bud entirely for about 10 years. In that time, I became a better piano player and a more informed listener, encompassing jazz genres and many others also. When I was about 30, I revisited my Bud Powell LPs and started putting things onto cassettes. Remember those? Here's what was interesting: While the brilliance of the early stuff that I loved so much was still apparent, it was really hard for me to listen to for an extended stretch. I don't know why. A little would go a long way. I feel the same way about the Raymond Scott Quintet, who I adore, but can only listen to for about 10 or 12 minutes at a stretch. However, I also revisited the later, brooding stuff which was lost on me before. Approaching it with a new perspective, having absorbed a lot more music and being more familiar with many of the standards, I found some of this music absolutely riveting in a way I'd never gotten before. Some of it admittedly came off as ponderous or unfinished, but I found some of this "later" stuff really fascinating on a soul-bearing level, and dropped all notions of listening to it from my limited pre-conceived notions of "jazz." I'm curious if anyone has had a similar experience.

And here I'd been hoping for a Jimi Hendrix Experience reunion for years. Oh well.

In a previous thread, MG and I discussed how much we love the Peggy Lee/George Shearing "Beauty and the Beat" LP on Capitol. I stumbled across the CD reissue today and was surprised to find out the crowd sounds were faked, and that this was a studio session. Actually, I'd always assumed that the introduction by the MC was added later in the studio, but I'd never guessed the whole audience was added later. Guess I'm a sucker! Anyway, the CD has been remixed from the masters MINUS the crowd sounds. They've added a couple of bonus tracks to boot. Has anyone heard this CD? I can't imagine it without the crowd sounds, but I think I'm going to have to pick it up.

Shearing on Stage - Capitol (rainbow mono). group includes Toots, Emil Richards, and Denzel Best.

Lucky plays 3 choruses of uptempo blues in the fourth movement. That's all they do other than section work. Still, this is a GREAT album for the O'Farill arrangements and percussion. The guy on trumpet isn't half bad either.

Hank blows for half a chorus in the first movement. More to come. By that I mean 16 bars of Manteca (Rhythm changes), up to the bridge.

I will have to double check to make sure, but I *believe* the emphasis is on Dizzy soloing, the percussion, and arrangement by The Great Chico O'Farrill. I will let you know for sure if there is other solo content.

I can't help it if you take no notice of my post naming Hank Crawford's "World of Hank Crawford". MG Nor my suggestion of Bernard Herrmann's Taxi Driver. To say nothing of Bill Evans's final recordings.

Today's purchase: Yusef Lateef - Eastern Sounds Kenny Dorham - Afro Cuban Os Cariocas - Pure Bossa Nova

The record section at any Goodwill proves my point. End of discussion.

In pop music, it's unfortunately true. Many jazz artists and classical composers end their careers with a bang. Pop groups tend to fizzle. It is the nature of pop music.

Taxi Driver is better.

Last night: Pete Rugolo - Percussion at Work - Mercury (blue label stereo)

I'd LOVE to see little category cards in a record shop "CONTORTIONIST FUNK EXOTICA A-F" "CONTORTIONIST FUNK EXOTICA G-M" "CONTORTIONIST FUNK EXOTICA N-R" "CONTORTIONIST FUNK EXOTICA S-Z" But only the G-M section would have anything in it MG You're right, and I think Mandingo made only two albums! You should be able to find them over there in the dollar bin someplace. You might dig them!