Teasing the Korean

Lalo Schifrin's "Ilya," as interpreted by Thee Great Hugo Montenegro!

Bill pawned Mr. Bemis's alto. Bill could be a junkie, or he could just be underpaid and making a statement. Literature allows for multiple interpretations.

Further up in the thread, I shared the classic 1970s CIE ad that appeared in Marvel and DC Comics. This is the comic where Bill tells off Mr. Bemis and informs him that he is getting a real job. Here is a version with my own dialog bubbles, featuring jazz content! https://ibb.co/711WGxz

I have them too, and for me, those are the two money cuts.

Do any of these albums have any tracks as good as these?

Yes, many would suggest the electric guitar as a candidate.

Oh, not at all typical, but definitive, as I posted above: Two of the most significant strains of 20th century artistic expression were modernism and primitivism. The vibes convey both. They are a percussive mallet instrument, but also electric and made of metal. They conveyed primitivism in exotica settings, and they conveyed futurism when used by Herrmann, Stallings, or Esquivel. No other instrument comes close to what the vibes communicated in the 20th century.

Don't know this one! It is certainly something I would pick up for the right price, especially if there is an electric harpsichord involved!

I found the lists on both Spotify and Apple, but it dos not seem to be readily easy to copy and paste the list.

Think about it: Two of the most significant strains of 20th century artistic expression were modernism and primitivism. The vibes convey both. They are a percussive mallet instrument, but also electric and made of metal. They conveyed primitivism in exotica settings, and they conveyed futurism when used by Herrmann, Stallings, or Esquivel. No other instrument comes close to what the vibes communicated in the 20th century.

Vibes are my all-time favorite instrument and, in my opinion, the definitive 20th century instrument. I love the way Carl Stalling and Bernard Herrmann used vibes on the fast setting.

David Axelrod-produced recording artist and Man from U.N.C.L.E. star David McCallum has shuffled off this mortal coil. https://www.cnn.com/2023/09/25/entertainment/david-mccallum-dead/index.html

Yeah, that's what I'm generally doing.

One of my fun projects is taking the classic "The Day Bill Told Off His Boss" CIE ad that ran in DC and Marvel comics in the early 1970s and creating my own dialog bubbles. Some of the ones I've done have jazz content. I would post some here if it wasn't so difficult to post images. Here is the original: http://www.adtothebone.com/the-day-bill-told-off-his-boss/

Various - Jazz at Massey Hall - 70s Prestige twofer release with overdubbed bass.

JATP - Bird & Prez, 1949 - (Verve, mono, early 80s release) Great exotica album by Lalo Schifrin, with Cal Tjader as soloist. The mono version is even better, as the bass is centered!

@JSngry @Big Beat Steve @sgcim @Rabshakeh I am bumping my Sauter-Finegan thread from a few years back, as I would like to "complete" it by discussing the final two albums, both recorded for United Artists. Before I get into that, I would like to discuss a point I made in a thread someplace, perhaps in Great Post-War big band swing records (No Basie / Ellington) by @Rabshakeh . I said there, or someplace, that Sauter-Finegan comps in the digital age are pretty lousy, and that I would love for Sony/BMG to hire me to compile a worthy collection. (I'm not holding my breath.) Sauter-Finegan, I think, tried to be too many things to too many listeners, and their discography reflects this. I had one Sauter-Finegan CD comp from RCA Bluebird. It had maybe 20 tracks, and I unloaded it, but I did hang on to a handful of the tracks, three of which I posted earlier in the thread: "Azure-te," "Dream Play," and "Wild Wings in the Woods." If I had been introduced to SF with this CD, I would not have known what to make of them. Stay tuned for the two United Artists albums, coming soon.

Thanks. Then I should give a remake a chance sometime. I think that because I love the original so much, I was indeed worried about the remake ruining it for me. Thanks for confirming. There are two very different accounts of how this album was written. One story has Powell and Vinicius traveling to Bahia in an attempt to get to the African roots of samba. The other story is that Powell and Vinicius write it on a two-week drinking binge. Maybe there is some truth to both versions.

When I hear that album, I imagine a bunch of revelers traveling on the Amazon and finding an abandoned 16th century Portuguese monastery. They all go inside and have a drunken orgy. The album seems to simultaneously convey religious spirituality and worldly decadence.

Thanks! We're doing Cal Tjader's "Leyte" from the Soul Sauce album, and doing the same arrangement, albeit slightly slower, so I'm doing a montuno on that on the A sections. I'm playing one in an uptempo tune also.

In a few places. Maybe I just like the space provided by minimal piano. This will be my first gig in nearly 5 years, incidentally.

I have a gig coming up with Latin percussion, vibes, and acoustic bass. Given the percussive qualities of instruments, I find that minimal piano comping works best under vibes solos. I generally play minimalist chords in a trombone section register. In fact, sometimes I play a maraca with my right hand comp only with my left. I ask myself if I am just being lazy, but it seems to serve the music well. I like to provide a harmonic structure without getting in the way of everything else.

Thanks. I've never listened to the re-recording. I'm not one to compile top ten lists, but were I ever to compile a list of top 10 all-time favorite albums, the original may very well make the list. It is simply incredible on so many levels.

Is that the original with different cover art, or the re-recording?