Teasing the Korean

Is the Bossa LP one of them? I forgot about that one, and I love it.

Stravinsky, Le Sacre du Printemps, Pierre Monteux & Paris Conservatoire, RCA Red Seal, mono.

Just to clarify: Leith Stevens composed the music for "The Wild One," and Shorty was in the band that played on the score. The Leith Stevens album is a re-record of music used in the film, and I believe it's arranged differently. The Shorty Rogers EP consists of Shorty's arrangements and recordings of Leith Stevens' music. There is a CD out - I think on Bear Family - that includes both the Leith Stevens album AND the Shorty Rogers EP. I don't think the actual music heard in the film ever made it to LP or CD.

Mono playback of mono records reduces surface noise and groove distortion, especially toward the inner groove. I have a mono switch on my amplifier. Before that, I used the Y converter and it was a pain, but worth it. If you have an independent EQ unit, there should be a way to wire it so you get mono when you throw one of the switches.

You have to get his "Afro Cuban Influence" album on RCA. Then, there is a Bluebird CD compilation called "Short Stops" collecting tracks from 2 early RCA 10 inchers - "Cool and Crazy" and something or other, along with his EP of music from Leith Stevens' "Wild One" soundtrack. This is also essential. And if you can find a vinyl copy of his MGM album "Shorty Meets Tarzan," you're one lucky mofo.

Thanks for the replies, all. I should clarify exactly what I'm talking about here. I don't mean clones of clones of clones of CDs through traditional high-speed burning - although I'm interested in how that plays out, too. What I'm specifically referring to is this: Play a CD as audio. Burn a real time, digital copy of the resulting audio. Play the burned copy as audio. Burn a real time, digital copy of the resulting audio from the previous burn... and so on... and so on... and so on... In theory, there should be no degradation, but we all know it will occur. Now, with analog audio, it would result in more hiss, less treble, and an overall muddier sound. I want to know what happens when you make several generations of AUDIO copies using digital sources and recording to digital media. What will it sound like after 20, 30, 40, or 50 generations. You dig? (digital) dig?

We all know how analog copies start to sound after multiple generations of copies. Is anyone aware of any attempts at doing multi-generation digital to digital audio copies to see what happens? I'm just curious.

I forgot to mention the Oliver Nelson Verve album featuring The Sound of Feeling. Something from that would be great for the "Verve Downsized" series, although we may want to reserve that one for Volume 2. I'll have to think about it.

Love this rekkid! Mine's a US Fontana mono. Only copy I've ever come across... Fantastic LP. Not mega-rare in the UK but good copies (especially stereo) are hard to come by. Nice gate-fold astrological sleeve notes too ! Love how he correlates each of the 12 zodiac signs to one of the 12 keys. Interesting too how the soloist on each track was born under the zodiac sign depicted. I feel sorry for the guys who had to blow in B natural and F sharp, though the pros can do that, of course...

Love this rekkid! Mine's a US Fontana mono. Only copy I've ever come across...

Maybe a silly question, but is the stereo I'm hearing on the Pablo LPs rechanneled? Being that it's a single instrument it's not easy to distinguish between effect and actual room ambience.

According to a CNN report last night, Donald Trump gave him $10K and the film school gave him $5K and are offering free tuition for his kids.

"Portuguese Soul" features an extended work, with big band/orchestra, on one side of the album. "Bluesmith" has our hero moving into a funky early 70s bag, at least on a couple of the cuts. I have lots and lots of Jimmy Smith from both his Blue Note and Verve eras and like this one quite a bit.

TTK, my database showed that I hadn't listened to either since 2003, so it was extra enjoyable to hear them both. Both are relaxing, and I was in the right mood for both. I got Rain Forest for Christmas, 1966. It seemed like jazz to me at the time, but it's really not. Bucky Pizzarelli contributes some jazz riffs, but Wanderley's style is lounge. Still, for what it is, it's good, with a good selection of songs. Miles Ahead has never been one I've worn out the grooves of. It's particularly good as background music. When I first got into jazz forty years ago all the writers for Downbeat couldn't say enough good things about the Miles records with Gil Evans. In retrospect, I can see that they were different from the run of the mill, with good production values (money spent on the sessions). I'm glad I have it, and it occurred to me that this would be a good present to someone who is not already into jazz in a big way. But I won't be spending money on a new remaster of it. Maybe one day I'll appreciate Svengali's arrangements more. Miles' playing is good, but not eye-opening. I was just curious. I really love "Miles Ahead." It may be my favorite of the Miles/Gil Evans collaborations. I always find something new in it. Agree with your assessment of "Rain Forest." Not a great hangover record is it? A bit too hyper at one sitting, but most of the cuts would work well on a comp or in a dj set. WW has other records I like more. Still, a hip record to have received for Christmas 1966! You are truly The Man Who Reads Playboy...

Check out Vinnie Bell's definitive version of this Bacharach classic, originally released on one of his US Decca LPs.

Jacques Brel, Encore! (second US LP on Reprise, mono). Features "Funeral Tango" and "The Girls and the Dogs," later recorded in English by Scott Walker.

When I saw the thread title, I thought it was about the Bacharach tune of the same name...

Lincoln Mayorga and his Distinguished Colleagues (Sheffield Laboratory Series S9, Direct to Disc) Great funky version of the Beatles' "I'll Be Back!"

Oh, great. First they're downsizing Verve, and now Fantasy?

I partially solved this problem years ago by creating a "Weird" genre in my record room. Trouble is, my definition of "weird" constantly evolves!

Her "Pet Project" album is brilliant. Her beloved cat Arnold, who she sings about on earlier albums, has died, and the "Pet Project" is like a therepeutic song cycle which chronicles all of the potential new pets she's considering. Favorite title: "Why Not a Bear?"

I was using the term "psych" in a broad sense, but I think many of the tunes on the first 2 albums would fit many people's definition of (British) psych, including "Every Christian Lion Hearted Man," "Horizontal," Lemons Never Forget" and "The Earnest of Being George." Barry and Robin describe many of the tunes as "psychedelic" in the liner notes. I agree with you that "progressive" is an accurate description too, despite the baggage associated with that term. And when will "Robin's Reign" be reissued?

GIL FULLER & THE MONTEREY JAZZ FESTIVAL ORCHESTRA w/Dizzy Gillespie (Pacific Jazz, blue label mono). Wow, I'd have thought this was Lalo Schifrin if I didn't know otherwise.