Teasing the Korean

We have thousands of CDs, and around 12 or 13 years ago, I began backing up all of them using the XLD program. XLD rips accurately and indicates if any errors occurred in the ripping process. There have been at least two occasions over the years in which a particular track would not play, and I had to back up the track again to replace the corrupt file. As XLD provides a readout indicating if any tracks were not properly extracted, I can only assume that these two files became corrupt over the years, after they were accurately ripped. I realize that two tracks out of thousands of albums is not a big deal in the grand scheme of things, but I wonder if anyone else has experienced this or has any insights. Over the years, I have copied files from one external drive to another. While these should in theory be exact clones, I wonder if the damage occurs during this copying process. Just one more reminder that no single format is perfect.

You couldn't escape it!

I completely agree with this. When Oscar does his Tatum thing, it sounds very superficial to my ears. I'm not an Oscar-hater by any means, but he is not in the same league as Tatum, not even close.

Jobim - The Adventurers (Paramount, stereo)

Piero Piccioni - The Tenth Victim (Mainstream, re-channeled for stereo)

Hugo Montenegro - The Man from UNCLE (RCA, stereo) Harry Betts - The Jazz Soul of Dr. Kildare (Choreo, stereo). Surprised to learn that this album was released on a Mobile Fidelity gold CD. On the other hand, the musician lineup is pretty amazing.

Did either of them happen to know where I misfiled Soul Espagnole?

Thinking about it. I still have an ancient Pioneer PL-516 that I paid $15 for.

In other news, I apparently misfiled my copy of Soul Espagnole on the Limelight label...

How do you like that Rega turntable?

Baden Powell - Fresh Winds - UA International (stereo) with Paul Mauriat.

Oscar Peterson. And I probably never paid more than a dollar for any of them, except for maybe the Bossa album on Limelight and the groovy album on MPS.

I do not disagree with what you and Big Beat Steve have said about these kinds of collections - I also have seen these jazz artists represented in these collections. But I do question the qualifying or stratifying of "jazz fans" or "jazz fandom," something that I have admittedly done myself. I would certainly consider someone with a 60/40 split of classical to jazz to be a classical fan and a jazz fan. These listeners represented a substantial part of the jazz audience at that time. I would venture to guess that in 2024, there are more listeners like them and fewer jazz purists, if the latter even exist anymore.

RIP. He was very funny in Curb. I don't think I'm familiar with his work outside of that show.

No, that's already happened. That's already happened, too.

It is all available as a lossless download from Qobuz.

An effective but seldom-used device that made a big impression on me was the use of major thirds moving chromatically up and down beneath a melody. This results in some unsettling harmonic ambiguities, particular with regard to the augmented chords that are formed along the way. I am going to post three representative examples. Kenyon Hopkins uses this device more than anyone else I've encountered, across many of his albums and soundtracks. You can hear it in his version of “Spellbound” at the 10 second mark: Elmer Bernstein uses it in this track from the Staccato soundtrack album: And finally, Nino Rota uses it at the 0:33 mark in this track from La Dolce Vita: This sound brings to mind the eerie blueish glow of a B&W TV set late at night, with all the other lights off.

Cooking with Keith Richards would make a hilarious series.

Does anyone have any detail on the two different edits of "Witch Fire?" There is a version that clocks in at 4:34, and another at 5:16.

I'm getting this. Nina's Colpix albums are in my experience hard to find, and when you find them, they are often trashed.

Duke's full-on exotica album! I wish that it had different cover art, though.