Teasing the Korean

Weather Report always struck me as an act that was a rock fan's idea of what jazz is. I knew rock guys in the late 1970s/early 1980s who had "jazz" albums by Weather Report, Jeff Beck, Jean Luc Ponty, etc. That's not Weather Report's fault - and maybe that was the idea, to draw audiences outside of the typical jazz audience - but that was a stumbling block for me, as well as not liking their overall aesthetic. I would rather spin Cannonball with Zawinul; or Wayne Shorter with Miles or solo.

I never cared for Weather Report. I had the Heavy Weather album, which may have been a compilation. When I did my first jazz purge, it went. I don't like the overall sound or aesthetic. My first Wayne Shorter album, as I mentioned on the other page, was The All Seeing Eye. That one holds a special place for me, maybe because it was the first, and I was so excited to find the Blue Note albums for so cheap in the cutout bin.

I've always wanted to hear Brubeck Plays Bernstein Plays Brubeck, more for the Howard Brubeck composition. I suppose I could waddle over to YouTube to give it a spin.

I remember buying "All Seeing Eye" from the cutout bin when I was in high school. RIP.

Yes, it is used to describe early 70s acts like Bread.

"Now sound" is one of those retroactively created genre names, like "yacht rock" or "denim pop." Now sound is essentially any jazz or easy listening music from the post-Beatles era, in which the artist is turning on and tuning in to the moods and vibrations of today. Any jazz or easy listening version of "Light My Fire" or "Spinning Wheel" gives you a good idea of what it's like. I'm pretty sure the real-life version of Larry Kart would unload this stuff, just as your dream incarnation was doing last night. 😹

Five Hours That Will Make You Love Existentialism, with Hazel Barnes.

Perhaps inspired by a recent real-life visit by an Organissimo board member, last night's jazz dream involved @Larry Kart coming over to check out my LP collection. He brought with him some Now Sound LPs that he didn't like that he thought were up my alley. One of was a Liverpool Beat jazz album, with a Union Jack on the cover, consisting of jazz standards played in a 1964 British beat group style. I told him that it was a very desirable album. I can't remember what happened after that.

Serge Gainsbourg's house in Paris is opening as a museum. https://www.maisongainsbourg.fr/en/experience

Hit the new arrivals bin at Dusty before you look through the filed stock. If you are in Logan Square, I highly recommend the Chicago Diner - a vegan diner with a veggie meatloaf you will die for - and afterward, getting a cocktail at Slippery Slope/Heavy Feather, both at the same street address. If you like high-end tiki cocktails, I strongly suggest going to Three Dots and a Dash.

Based on some estate sales I've attended in recent years, I'm not so sure!

David Shire - The Taking of Pelham 123.

There was a reissue prior to 2004. I bought it at Stereo Jack's in Cambridge sometime before 2003.

I plan to leave one hell of a mess for whoever or whatever steps in. I sometimes fantasize about having my estate sale while I'm still alive, and then showing up in disguise as a shopper, just to see who is fighting over what.

Allen, what did you think of this? Or does the fact that you're selling it tell me all I need to know?

Franz Waxman Crime in the Streets is quintessential Twilight Zone Jazz. Get it while you can!

Speaking of Jimmy Webb, here is what he had to say when Burt passed: “'Baby It’s You' by The Shirelles is one of the first songs I remember that Burt Bacharach composed. His music deeply affected me. I could hear his classical training in the cadences, polyrhythms, and arrangements. I was 15 and I was hooked on Burt. He was my school. Bacharach and David were the pinnacle I aspired to. "I studied him and them. I learned about chords from listening to Burt’s songs on the radio. I tried to write like him (listen to my song “The Girl’s Song” by The Fifth Dimension). He was integral to my informal songwriting education. "When I was 22 years old and had several hits under my belt, I sent Burt a letter and told him that my songwriting success was born from listening to him. I told in that letter how much I respected him and owed him. "Years later, an acquaintance of mine visited Burt in his NYC apartment; he shared that my letter was hanging by the fireplace in the living room! My hero, my teacher had my letter framed! "Not too long ago, in LA at a George Martin tribute, I was backstage along with Burt as we waited to go on. I asked, “Is it true you have my letter over your fireplace?” He answered, “I sure do”. I put my arm around him, and we sat quietly in our world of song. We were kindred souls that traveled the same road. It was a moment of peaceful silent sharing. "As life model, a fellow traveler in this creative world, he was something stable and important that I could hold onto. I am bereft at the thought that he isn’t with us anymore. But in the same breath, what a mark he--and Hal and Dionne--made on the world!"

Yes, as I mentioned, Emma made a big comeback. Erma or Irma, not so much.

Mundell Lowe - Guitar Moods

I have the TCB reissue of this album, and I'm really digging it. I was going to ask if Teddy Charles was playing vibes, and I see further up in the thread that he is. The stereo has very nice natural room ambience, though I wish the bass were centered. Luckily, I have a subwoofer in the middle of the room.

Names go in and out of fashion. Turn-of-the-century names like Emma have made a comeback in recent decades. Erma or Irma, not so much, maybe. Interesting about "flivver."

This morning, I was singing to myself "The Man on the Flying Trapeze," and when I got to the line "My love he has purloined away," it made me wonder if anyone uses the word "purloin" anymore, and if it is bordering on archaic. Sammy Cahn used the word "flivver" as late as 1958, in "It's Nice to Go Trav'ling," but I think it was already an outdated word by then.

How do you turn a jazz album into a space-age bachelor pad album? One way is by hiring Roy Harte and Milt Holland to overdub percussion instruments onto existing recordings. And that is precisely what Richard Bock of Pacific Jazz fame did with some Mastersounds recordings for this 1961 LP, Perfect Percussion.

This stuff is like the jazz equivalent of The Beach Boys Love You. Which is high praise coming from Your Beloved TTK.

Or Clarksville.