Teasing the Korean

I can't believe anyone cares so much about this. I've encountered dozens if not hundreds of obscure or stupid names on online message boards - including this one - and never lost sleep over it. Yours truly, Flogging the Albino

Do you mean CD-RWs? Those won't work as audio discs, apparently.

My pleasure. Making comps such as the one you've described can be addictive!

Blame John Barry, not your beloved Teasing the Korean.

So now that we've cleared up this controversial issue, is it safe for me to assume that I have the undying love and support of everyone on the list?

I'm just trying this in itunes. I wasn't offered any kind of option when I uploaded the first track. After it had finished, I right clicked on the title and it offered me the option of converting it to AAC. Is that the right format to burn a CD from, so it plays on anything? MG Go to Edit > Preferences > Advanced > Importing. "Setting" should be High Quality For burning CDs, "Import Using" can basically be any of those options EXCEPT mp3.

Goldfinger (Original Soundtrack) - John Barry. United Artists UAL 4117 (US mono catalog number) 1) Goldfinger 2) Alpine Drive 3) Oddjob's Pressing Engagement 4) Bond Back in Action Again 5) Teasing the Korean 6) Gassing the Gangsters. SIDE 2: 1) Goldfinger (Instrumental) 2) Dawn Raid on Fort Know 3) The Arrival of the Bob and Count Down 4) The Death of Goldfinger. The CD, incidentally, contains four cues from the film that were left off the US release. They may have been on the British release. The instrumental version of the theme that opens Side 2 was only on the US version, as far as I know. It is also on the CD.

Quincy Jones - Mirage Quincy Jones - The Slender Thread Quincy Jones - The Lost Man

I don't think the compressor effects how the burned CD comes out; It only evens out levels during playback through Itunes.

Some versions of Itunes offer a something to the effect of a compressor/limiter that works in conjunction with playback only; But you would need some sort of audio program to even out the volume from one song to the next on the CD itself. I prefer Itunes over Windows Media. Whichever you use, two options to check before you burn it: 1. Be sure you uploaded the tracks for CD quality (AIFF files) and not mp3 quality. 2. You may want to go into "preferences" and adjust the amount of time/space between tracks. It usually defaults to 2 seconds between each selection, which may be too long for a comp of this nature (your choice). I think in both Windows and Itunes you have to set the time globally for the entire disc. The program "Toast" lets you vary the amount of space between tracks within a single disc. Hope that helps. As for Jimmy Smith, how about the title track from "I'm Movin' On?" Or is that not pop enough?

Kenyon Hopkins - The Hustler (Kapp) Kenyon Hopkins - Mr. Buddwing (Verve) Kenyon Hopkins - The Yellow Canary (Verve) Kenyon Hopkins - East Side West Side (Columbia) Kenyon Hopkins - The Reporter (Columbia)

Ken Nordine once said something to the effect of - and I'm paraphrasing - that he is poking fun at the man in the grey flannel suit while at the same time being the man in the grey flannel suit. I know one of the musicians who played on his Dot albums, and he assured me that Nordine was a very bohemian character decades before “bohemian” became a niche market. As for "jazz," I'm more concerned with whether stuff is good than whether it's jazz. I love pizza, but I can't eat it 3 times a day, 7 days a week.

Containing the "soul of real jazz" is not a pre-requisite of worthiness. Who cares?

Did Gill do other albums for Verve around the time of Tome VI, or was it a one-off?

Thanks for the suggestions. What I like about Tome VI is the combination of electronics, modal jazz and free jazz. There's one track that has kind of an eastern feel, and a couple of others that have that introspective minor key/modal vibe characteristic of lots of spacey/soul/groove jazz that would come along a couple of years later. Basically, the album has aspects of a lot of sub-genres I'm into, while simultaneously having its own thang. The Andromeda Strain goes for big $$$ when it shows up. I don't think it's ever been on CD. I recently rented some Night Gallery episodes and I noticed the music. Late 60s/Early 70s TV scores are so amazingly great - nothing like what you hear on TV now. It's hard for me to pay attention to the storylines. When I'm not distracted by the cars, the fashions, or Jack Lord's hair, I'm listening to the music.

Did he play any Komeda stuff?

I really love "Tome VI" on Verve. Does he have other albums along these lines?

I like those funky early 70s albums CT did for Fantasy, but overall I'm not crazy about the vibes/Fender Rhodes combination. The timbres are too similar, and at times they sound muddy together. Did he ditch the rhodes at some point?

That makes sense, especially on the albums with large groups he did with Ogerman, Sebeskey, Schifrin and Fischer. I really love Several Shades of Jade.

Interesting about the sidemen. The differing lineups are much more readily detected on the Verve albums than the Fantasy albums, to my ears. Each of those Verve albums really has its own character. The Fantasy albums - at least the Latin ones - have an overall more uniform quality from LP to LP. I don't mean that negatively, BTW; They're all solid. The latest Cal Tjader albums I have are an album on Skye with the wonderful Gary McFarland and then two he did when he was back on Fantasy, with electric piano. I never picked up any of the Concord stuff. How does his 70s output compare with the earlier stuff?

To-day's Sound - Piero Umiliani

Ditto. "Love Theme from Spartacus" is incredible. One of the most sublime pieces of kitsch you'll ever hear! If Alex North is kitsch, so is all of the music discussed on this message board. Of course, "kitsch" is meaningless in the post modern era...

I've had better luck over the years with belt drives than I have direct drives.

Mono pressings on most labels in the US outnumbered stereo at least through 1966. Mono copies of US albums from 67 and 68 are much harder to find, because they were pressed in fewer numbers. As far as I know, all those RVG recordings were done to 2 track and mixed to mono from there. I think when confronted with choices, getting the right balance for the mono mix was his priority. The bass and piano tend to have more presence on the mono versions than they do on the stereo.