Teasing the Korean

Desmond Dekker and the Aces - Israelites - Uni (stereo) Desmond Dekker is the missing link between Johnny Mathis and Robin Gibb!

Various - Jamaican Ska - Atlantic (red and purple mono). Probably the first ska collection released in the US, including Ken and Patsy, the Maytals, and others.

Pete Best.

. Interesting. My dad had dozens of acetates from his days in the biz. They all sat on a shelf beside all the LPs. He never played them. Years later, when we tried to transfer some things to tape, many were unplayable. Others sounded fine.

Sergio Mendes & Brasil 77 - Primal Roots - A&M (mustard label, stereo). One of the more experimental albums by him, not unlike some of Airto's early 70s sessions.

They also deteriorate after decades even if they've never been played.

Now there's a blast from the past. I used to have the score from Lilith on Lp. IIRC Phil and Quill played on it. Was it on Verve? Colpix. But Mr. Buddwing and Yellow Canary were on Verve. The squares in charge of Verve reissues never even heard of Kenyon Hopkins. That's what we get when squares run jazz reissue labels.

Herbie Hancock - Empyrian Isles - Blue Note (70s stereo) John Barry - The Ipcress File - Decca (mono promo) Ferrante and Teicher - Pianos in Paradise - UA (black label mono) Miles Davis - Kind of Blue - Columbia (6 eye mono)

http://uk.youtube.com/watch?v=oLTUbdbU1XM

Any Kenyon Hopkins yet?

Sure, they recorded lots of schlock, but their early prepared piano albums on Westminster, Columbia and ABC are brilliant. "Heavenly Sounds" in particular is like a proto-ambient record. http://www.nytimes.com/2008/08/06/arts/music/06teicher.html

Have a great birthday!

I was watching some of these recently. Great stuff. Jo Stafford was a such a natural.

Funny the writer chose Ornette and Albert Ayler for A5. Both of them can be pretty straightforward and outright tuneful compared to many other players of so-called "free jazz." BTW, my range of listening extends to A0 and A6 jazz.

TV ACTION JAZZ!!!

Jonathan Edwards.

Funny, after I did a search on the interwebs, I saw ONS included with some of the track listings for this album. However, it's not on my copy, nor either of the two I unloaded. Maybe on a CD or an import copy? It must have been from a 45. All the tunes are from Broadway shows on that album, and One Note Samba was not. Strange...

No, my sexy little chewster, that is NOT on this LP. Do I Hear A Waltz? Long Ago Come Back To Me Here's That Rainy Day He Touched Me The Shadow Of Your Smile Gimme Some What Did I Have That I Don't Have? Run For Your Life Tell Me More Cast Your Fate To The Wind

The "macho" attitude supposedly expressed by Frank and the Rat Pack is very much in line with that expressed by jazz musicians of the post-be-bop era. The whole jam session cutting session mentality is a prime example of this. If you're going to dismiss Frank, you may as well dismiss jazz too. I know it's painful to face the ugly underside of that which you love, but it's also healthy.

Most great artists don't. Including many that are admired by the regulars here.

While I have problems with the Real Book - many of the them - it DOES serve a purpose. In an ideal world, no one would need it, but the world I live is (sadly) not ideal.

"...She said he was intoxicated..." YA THINK?

I hear what you're saying, and I think semantics may be dragging us down. In a jazz setting, you can make a distinction between "correct" changes and "accepted" changes. I was approaching this issue more from the practical side rather than an academic side. The accepted changes of many, many standards, as you know, are not the ones the composer wrote. There is also a difference between thoughtful, deliberate reharmonization and downright WRONG changes. The first (bootleg) editions of the Real Book were plagued with errors, and because they were in the Real Book, they ended up being perpetuated. "Round Midnight" is a special case, because in addition to the common existing variations, the first version of the Real Book contained some bizarre changes that I'd never heard on a record either before or since. In live playing situations I've been involved in, I'd say it's about 50/50 in terms of how those last two bars of the bridge are played. I thought in the context of the discussion that that was worth mentioning. And if one of my tunes is reharmonized and accepted that way, so be it.

Anyone watch this show on BBC America? In the spirit of "Monty Python" and Peter Cook and Dudley Moore without being an overt rip-off of either. Very funny...

No, just making fun of you.