Teasing the Korean

Werner Josten - "Jungle" Bernard Herrmann - White Witch Doctor suite Revueltas - Night of the Mayas

It sounds to me like it goes from 7 to 9, but I also think there may be a few extra beats in places. I'll have to do a closer listen.

Message board haiku.

Sorry, you're right. Carter Burwell. I didn't think there was anything noirish about the score. Different strokes.

I guess this gets into the question of whether we listen to music for nostalgia rather than for its intrinsic value. I listen to hardly any of the rock/pop music of my youth, because I am not interested in reliving that experience. The Beach Boys are the one exception, but I appreciate this music intrinsically. Other musical things from my formative years that I still listen to include a few of my parents' albums, which stylistically I would like anyway, so the nostalgia factor is limited.

As a little kid watching Sesame Street, I was always obsessed by these cartoon segues, each focused on a different number between 2 and 10. I just found a compilation video of all of them, and I just learned that the vocalist is GRACE SLICK! In retrospect, the fact that I loved this music so much as a little kid is telling! https://www.youtube.com/watch?v=-WSHvbGM6oE

I did not have a specific opinion on this. My only complaint with the film was that I did not at all like Thomas Newman's score. It called attention to itself and did not seem to support the narrative.

I never developed an interest in the blues, largely because of so many bad white blues bands who played paint-by-numbers 12-bar blues patterns over and over and over again. So it is a road I never went down. The blues influence in jazz is so pervasive that I wonder how many players and listeners are conscious of it. If a jazz player has naturally assimilated a blues influence in their playing, that is one thing. If they are self-consciously adding a blues feeling or playing blues licks, that is quite another, and I can usually spot this a mile away. I am mostly interested in soloists whose phrasing is rhythmically varied. Whether the soloist gets this from the blues or elsewhere is not important to me. There are obviously many sources that a soloist can draw from.

Can't tell you about the 7-CD set, but I have "Four Women" and am very happy with it. This is my favorite Nina Simone period, overall. One very minor quibble. As there are 7 albums but 4 CDs, I wish they would have put the live album on its own CD and split the 6 studio albums over 3 CDs. I think the 2016 set uses the same 7 albums, but places each one on its own CD.

Sharing, for what it's worth: I have several friends/family members who are avid jazz listeners, others who are jazz musicians, professional or semi-professional. Only one musician friend of mine ever talks about wanting to play free jazz. I don't think he has gotten gigs playing it. The other musicians are into their own respective things. Among listeners, the only time it comes up is in conversations about 60s/70s LPs by Cecil Taylor, Ornette, etc. and that is not very often. I don't sense an aversion to it, but I don't pick up on an interest, either.

I didn't go either. We ordered Mexican takeout and then watched Sidney Lumet's Before the Devil Knows You're Dead, which I highly recommend.

Cookie Monster on vocals?

And you still checked it out?

Well, there's the Doris Day album. And The Subterraneans.

Of course.

Steve Allen - How to Think (Golden Records, mono)

Sinatra - Watertown (Reprise) Gawd, I love this album!

Dope version of "Windmills of your Mind" played on the Moog.

What did you end up doing instead?

Lalo's Eyewitness News device he previously used in Cool Hand Luke. And the score for Who's Minding the Mint is still unreleased!

It was an interesting time when jazz, pop, classical, and showbiz were all intertwined. Peter Nero was part of that phenomenon, as were, to varying degrees, Liberace, Oscar Levant, Errol Garner, Dave Brubeck, and Oscar Peterson. It was probably a holdover from the Vaudeville ethos. The socio-cultural factors that enabled this no longer exist. Setting aside my own thoughts on Nero's playing, I acknowledge him as being a part of this vanished world. Shifting gears, which John Williams tune did you arrange? I like a lot of Williams's 1960s stuff, but I check out at Star Wars.

During what I call the Great Vinyl Purge of the 1990s, I picked up at Princeton Record Exchange my one and only Peter Nero album, the soundtrack to Sunday in New York. Two of the tracks have that irresistible bustling metropolis sound.

https://www.nytimes.com/2023/07/08/arts/music/peter-nero-dead.html?smid=url-share&fbclid=IwAR3Gp2q6oMjSv_GchAtGBR9giTX3qaJE_GjBhO2xvOIWJ3x0gwczWKu18zA

I love the version of "Indian Summer" from this album.

Maybe Diz was jealous of the two Indo-Jazz albums.