Teasing the Korean

So much of the music I listen to doesn't get reviewed in any formal publications. I am relying on samples or word of mouth from friends who share similar tastes.

Sometimes, a recommendation from a friend or even knowing the record label is incentive enough for me.

With all respect to Larry Kart and other reviewers, I have questioned the value of record reviews in the digital era, when any of us can listen to samples, YouTube videos, or even entire albums via Spotify. Reviews were more valuable when you had to drop money before checking out the record.

I listen to a lot of electronica. Because of the way the music is packaged and the kinds of names artists typically use, I don't know whether the artists are solo, duo, or group, to say nothing of race, ethnicity, or gender.

As I've said elsewhere, I think the biggest cultural splash made by jazz in the last 40 or so years - generally and more specifically with African American audiences - has occurred via the sampling of classic jazz records in rap/hip hop, R&B, and electronica. Maybe this inspires some listeners to explore the records used for the samples, though I don't know if this helps contemporary jazz artists.

The India albums are great. The comps I compile include tunes with more of a more crossover nature, so stuff like Gabor Szabo doing "8 Miles High" is included. The "Monday Monday" RCA album above is a mixed bag; I liked about half of it. "Karen's World" was IMO the money cut.

Thank you. Yes, that is not what I was saying in my original post. I was saying that this should have been addressed long ago - and perhaps it had been - if indeed this is the case. If African American writers are somehow being blocked from writing about jazz, that is one thing. If African American writers in 2023 are interested in different topics, that is quite another.

Acknowledging a reality is not the same as endorsing a practice. And selective quoting is a form of misrepresentation. You seem to be more interested in playing games than in engaging in an intelligent conversation.

Nowhere did I promote an interest in "maintaining the status quo," nor did I suggest that "a cultural experience like jazz" could be described "without authentic voices that speak from that culture." I was simply talking about real or perceived demographic trends and not editorializing on them. That was your incorrect assumption, which I attempted to politely address with you. So I stand by my assertion that you have twisted my words.

To say nothing of the fact that @sonnymax twisted my words and then didn't acknowledge my response.

Do you know that track? It is fantastic!

Yes, the track "Karen's World" from one of his 1960s RCA albums!

And a loss to a world where jazz, pop, and show biz intersected.

Given the news, I am reminded of Ahmad Jamal's Live at Oil Can Harry's, an early jazz album of mine.

Wow. RIP.

One of the money cuts is "Chala Nata," which I have included on one of my Tantric Textures compilations.

When I was in high school and teaching myself about jazz, circa early 1980s, all the high school kids in the stage band worshipped Maynard. I thought he was the ultimate in squaresville. Fast-forward to the late 1990s. I am living in Boston, and one Friday night, I lit a fire, uncorked a bottle of wine, and lowered the tone arm onto the first MF Horn album, which I was thrilled to pick up at Stereo Jack's for a dollar. This was a prime example of Now Sound music, which I had fully embraced by this time. I said to Ms. TTK, "If you had told me in high school that one day I would be thrilled to spend a Friday evening listening to Maynard Ferguson, I may have died from depression!"

Wayne Newton, oops, I mean Rosemary Clooney - Clap Yo' Hands - RCA Victor (mono) Arrangements by the great Bob Thompson! In addition to being a fine singer, Ms. Clooney is the mother of Albert on Twin Peaks. RIP Miguel Ferrer.

Agreed!

Now playing: The $1,000,000 Collection on Fontana. Each track is inspired by a painting.

My anecdotal observations do not mean that I have any interest in "maintaining the status quo." Respectfully, you seem to be making an assumption about me in this regard. I am in no way suggesting that jazz writers should be white, nor am I presuming that jazz should necessarily be a hot topic for African American writers in the year 2023. I was trying to point out that jazz has moved very, very, very far from its roots, and it seems like the editor of the jazz rag in question - which I do not read, incidentally - has just figured this out. Again, this article seems like it could have been written in 1963 or 1973. If I gave the impression that I think it is good or appropriate that most jazz writers are white, if indeed they are, that was not at all my intention, so my apologies.

Considering the longevity of Kind of Blue and its resonance outside of insular jazz circles, do you think that Bill Evans's presence on the album elevated his own stature beyond what may have occurred were he not on the album?

Jack Jones - Bread Winners (RCA) Jack turns on and tunes in to the moods and vibrations of today with an all-David Gates album!

I think they may have transferred the 78s at 45rpm, with the intention of speed correcting them later, and then someone dropped the ball. On my copies, the drums sound flabby, and the vibes are hitting low notes well beyond instrument's lower range. The MGM-era CD box set and Verve twofer LP that I have both correct the speed on these tracks.

I love "Because" on Today. Does side 1 on your copy of the Shearing album run ridiculously slow? Every copy I've had was like that, and I am curious if it was ever corrected.