Teasing the Korean

Last night: Johnny Hodges - The Smooth One (Verve) 1970s twofer of two previously unreleased sessions circa 1960.

Respectfully, it is not an opinion. It is what I have seen at jazz concerts and jazz festivals over the decades. That's why it is anecdotal. Others who have attended different shows in different cities may have encountered different demographics.

Well, I did type the word "anecdotally" several times, so I was attempting to qualify my responses. I wrote what I did based on my personal experiences, and I have not to date encountered any compelling evidence to make me question them. On a related topic, sales of jazz in 2022 inched past those of classical, according to this source. Classical accounted for 1% of sales, and jazz accounted for 1.1% of sales. https://www.zippia.com/advice/music-industry-statistics/

As I'm sure you are aware, formal academic studies are often undertaken because of anecdotal evidence that has been observed over years or decades. I think the sales of contemporaneous jazz albums relative to other genres may be one valid statistic to get the conversation going. I think we can agree that only a tiny percentage of the population cares about jazz in general, and that an even tinier sliver of that that population is buying new jazz albums by contemporary jazz artists. The number of consensus jazz standards written over the past 40 or so years, and the number of consensus jazz albums released in during that time may also reinforce this, as would the number of successful crossover jazz artists from the past 40 or so years. So we are talking about a tiny audience to begin with. Even if a significant share of that audience is Black, it still represents a tiny share of the overall Black population. If the quote in the original post were presented to me without a date, I may have assumed it was written in 1963 or 1973, not in 2023.

Fair enough. I was sharing my anecdotal experiences. I have anecdotally seen significant African American audiences when smooth jazz artists play festivals, but not so much other forms of jazz. It seems like this stance is maybe 40 or 50 years too late. In other words, it is based on anecdotal experience. I have not conducted a formal academic study. If you know of any, please share links to the abstracts.

No, and that was my point.

Seriously?

Today's jazz audience is almost exclusively aging white males, so what's the point? Great idea, in theory, but about 70 years too late. And the writer should have written "turn of the millennium" and not "turn of the century," to be more precise.

Yeah, the New York 1960s era is for me his most compelling.

Labels frequently used older leftover covers with newer LP pressings, or newer covers with older pressings. If the catalog number changed, they may have slapped a sticker with the new number on there someplace. Labels sometimes used leftover mono covers for stereo records and slapped a stereo sticker on the cover. They used what was available.

Including TTK. RIP.

Larry, I think you have created a new radio genre imprint, like Quiet Storm!

I have more than 60 Sun Ra albums. Some great choices listed so far. No one has mentioned these two, which are IMO important New York-era albums: Fate in a Pleasant Mood When Sun Comes Out

This is the black label where impulse! is written in orange. Do you know the one I mean?

And only 4 hours and 38 minutes from Mexia, Texas, birthplace of Thee Great Les Baxter!!!

Coleman Hawkins - Reevaluation: The impulse! Years. This is an absolutely flawless pressing from the 1980s. The vinyl is dead quiet, the highs are smooth and rounded, and there is no distortion.

I don't really celebrate Easter, but yesterday, I had my first rum cocktail of the season, and I blasted The Rite of Spring. It was the stereo version that Stravinsky conducted for Columbia.

Some albums for me are one-sided albums, in which the artist did not bother to sustain the concept over the entire thing, or the label just randomly paired things together to make an album. Some examples would be the Miles Columbia 12" album with Lift the Scaffold on one side and some random tracks on the other. Also Art Blakey The Drum Suite with some Jazz Messengers tracks on the other side; and Kenny Dorham's Afro-Cuban with some random tracks on the other side. (I realize Afro-Cuban was originally released as a 10" album.)

I'm guessing that some of the first jazz albums we may have bought and loved would fall into this category. For me, that would include Bean Bags by Coleman Hawkins and Milt Jackson, on Atlantic.

At any rate, I'll be interested to see if this is sourced from vinyl.

Well, if we're talking about the turn, we're talking about two of them. We are all welcome to speak and write the way we wish, at our own peril. 😹

It is less precise, as we most recently witnessed the turn of the millennium, and also because the real turn of the century is still relevant in many ways, in terms of the rise of cities and industrialization. I try to be more precise with language. If you say "turn of the century," someone is likely to ask "which."

I assume you mean turn of the millennium. Yeah, a needle drop is acceptable on a CD, but with vinyl sourced from vinyl, you are only magnifying the surface noise. Seems silly to me.

No idea, but it looks like this is vinyl only. Too bad there is not a CD.

Tomorrow, I will post examples from each. I'm guessing Shore used the chord as an homage.