Teasing the Korean

Now there's a ringing endorsement!

Not for like the past ten years.

I could give a rat's ass for the opinions of critics, but I defend their right to criticize. Maybe Zorn feels he's getting overlooked these days and was using reverse psychology to drum up some press.

There were a bunch of 1950s-era storefronts in Central Square in Cambridge, MA, that lasted well into the 1990s. Central Square ended up being renovated in the late 1990s. In the early 90s, I used to go to a lunch counter there that was a virtual time capsule: Checkered tile, formica countertop, spinning bar stools, ceiling fans. I would order a grilled cheese sandwich with potato chips, pickle, and a coke. The whole thing cost $1.99. It was like stepping back in time. I believe this place was a casualty of the renovations but perhaps StereoJack or someone from that area can confirm.

IIRC, there is a Stan Freeberg skit in which jazz guys are brought in to do a recording session for a pop ballad. The recording starts, and after the first line of the song, a horn player answers with an over the top bebop line that is completey out of place. Pretty funny.

Serge's instrumental soundtrack stuff is really good. Right now I'm listening to a great disc of his soundtrack stuff done in collaboration with Michel Colombier, including music from Manon 70 and Anna.

Bossa Nova + Soul - Marian McPartland - Time (mono) A hipster essential...

David Axelrod - Earth Rot - Capitol lime green label with purple logo (I've rarely been disappointed with anything on this label).

Interesting. And I have always thought that all kinds of alternative histories emerge when writers examine progressions and relationships of the artists that tend to receive less coverage. So many music histories focus on the "the greats" or "the hits." There is a certain logic to this, as these categories produce the biggest splashes. But when you get into artists who work outside of the usual conventions, fall between genres, and/or have made less of an overt impact, all sorts of interesting threads emerge.

Balancando com Milton Banana Trio - Odeon estereofonico

Thanks much.

Brazil 70 - New Directions in Brazilian Music after 1970 - Soul Jazz, double LP.

I'm curious: Do you guys adjust the tracking weight of your tone arms for LPs from particular decades? For example, I've been told that mono LPs from the 50s sound best when tracking at 3 grams, while 1.5 grams is ideal for pressings from the early 70s on. I don't know if these tracking weights are best for certain types of styli/cartridges/tone arms either. I have a decent/affordable Grado cartridge that does a good job for my price range. Is it best to leave it at the suggested weight (1.5 g), or can I adjust it for certain LPs?

I received an advance copy. I was expecting the worst, but I have to say, I was really moved by the description of Bird first hearing Wynton Marsalis blowing over the changes to "Cherokee" next to the walk-in freezer.

and some Baxter.

Agree completely with the elder.

Thanks, I'll add that to my list. Third title now playing: Basic Principles of Sound Vol. 3 60s and 70s bossa sounds by Brazilians, Italians, and worhty gringos.

http://filmmusicsociety.org/news_events/fe...008/030408.html

His entire catalog is available at every thrift store. I can buy them all for 50 cents a piece and put them in my own box.

First they had to redesign the covers of all the "Switched On Bach" albums when Walter changed his name. And now this...

Brasil 66's version of "Fool on the Hill" blows away the Beatles' version. Lani Hall was a great singer.

Never heard of him/her. What era?

Next: Metti una Bassa a Cena - Schema label comp of 60s/70s Italian bossa stuff. Italian bossa is like if Vogue did a spread on Brazil.

Devo, Talking Heads, the Specials and Tom Waits all made an impression on me. This was pre-MTV, and before you heard much of this stuff on the radio in the US, so it was like a window into another world.

First album from the shopping spree: Brazilian Octopus (1970). Lives up to its reputation. The first track sounds like Les Baxter in Rio during his funky "Que Mango" period. I can only hope that the whole album is this good...