Teasing the Korean

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!

I think they were way ahead of people like the Stones and their blues based peers. They recorded the proto-techno "Tomorrow Never Knows" April of 1966 and look what was in pop music afterwards. You really want to appreciate how far ahead of their time the Beatles were in Pop Music? Play some of the other stuff that was being released in, say, late 1966. When you've heard Frank Sinatra's "Strangers in the Night" (Billboard #2 June 25, 1966), The Happenings' "See You In September" (#4 Sept. 10 1966), Johnny Rivers' "Poor Side of Town" (#3 Nov. 5, 1966), The New Vaudeville Band's "Winchester Cathedral" (#1 Dec. 3 1966), and countless others a few times, and then you listen to, say, "Strawberry Fields Forever" (recorded in late '66, released February 13, 1967), you realize you're dealing with a group in another talent-dimension altogether. If you would leave Frank Sinatra out from your example, you would present a more convincing case.

Still not as good as the Hollyridge Strings' version! Not to mention the BUD SHANK album on World Pacific!

I don't listen to the Beatles; only jazz and easy listening covers of them.

Maxwell's Silver Hammer has an elaborate rhyme scheme worthy of Cole Porter or Noel Coward. Far from their worst ever. What have you done lately?

These guys have all bought into the rhetoric of a bunch of lonely male masturbators living in their parents' basements.