Teasing the Korean

and Pharoah Sanders with the Latin Jazz Quintet (Upfront)

Beats me; I never touch the stuff.

Please don't insult these animals by comparing them to BS.

Geez, which is worse? Parting with your favorites while you're still alive, or imagining their fate after you check out?

Good points. It is also worth mentioning that many of the old "rules" when it came to collectibility went out the window with the internet era.

Others may disagree, but one method I use to determine a record's rarity is the number of hits I get when I google it. Of course, if a record is very rare but legendary, it will no doubt get discussed on the internet.

The perfect time to move in, when they're vulnerable... not funny I've got to test out my new material someplace. And you're coming with me to the Poconos.

The perfect time to move in, when they're vulnerable...

I'm getting over some sort of flu/virus that I've had for the past few weeks. After drinking lots of water and tea, I'm slowly reintroducing myself to the pleasures of red wine with a nice glass of merlot!

Thanks that (partially) answers my questions! Have those Monk recordings ever surfaced since the time of that thread (2003)?

Wikepedia tells us that "the film's score is entirely composed of music written and performed by Thelonius Monk." The liner notes of the LP I have reference titles being changed for the film and that Jordan's music was "misused and credit denied him." The plot thickens...

I'm curious, how are the arrangments? Of the Paul Weston I've heard, I've found he is best with singers. is tender restrained mood(elevator) music of standards, with huge hollywood string heavy orchestras, often with masterful jazz soloists. i am addicted to the stuff.(i have probably 10 or 15 such albums. weston was the music director of columbia records for years and married to one of the best vocalists ever, jo stafford. crescent city, an homage to new orleans from the mid 50's, similarly orchestrated, heavily hued with jazz, bowing deeply to the musical traditions of new orleans, is an absolutely gorgeous work, for those of us who love that sort of thing. Thanks. He was also one of the founders of Capitol Records. His Capitol album "Music for Fireside" is considered to be one of the first ever mood/EZ albums recorded. (Hard to believe someone had to invent this genre, it seems so ubiquitous!). Yes, Jo Stafford is a great singer, and somewhat overlooked these days. I love Weston's arrangements on her Columbia album "Broadway's Best." Some would say they're dated by today's standards, but they are quite beautiful.

I have the LP of this on Charlie Parker records, credited to Duke Jordan with Art Taylor on drums. There is a CD of this with the same track lineup. There is another CD of this credited to Art Blakey. This CD has more tracks, only one of which shares a title ("No Problem"). IMDB does not list Art Blakey in connection with the music for this film, though Duke Jordan is listed (along with Thelonius Monk and another name I didn't recognize). Anyone know the story here?

And that's not neccesarily a good thing...

I'm curious, how are the arrangments? Of the Paul Weston I've heard, I've found he is best with singers.

Maybe my favorite June Christy album! I have a mono copy and I'll spin it today too. Now playing: Milton Nascimento, Journey to Dawn (A&M)

Just popped the seal on this one! An original on the Curtom label!

Stanley Wilson - Pagan Love - Capitol rainbow label, mono Bob Dorough - Inner City album with AMAZING version of "'Tis Autumn."

http://www.wfmu.org/ssaudionet.shtml

Will you guys be playing in more of a laid back, west coast bag when you make it out there? I'm just concerned about the critical response...

Zigzag, Oiver Nelson (MGM yellow label promo)

"I have all the tools that other mastering engineers have, but my little trick is knowing when not to use them, because I will gladly not use them to keep the faithful sound of the original tape." I don't understand the concept of keeping "faithful to the sound of the original tape" with regards to the more important concept of being faithful to the spirit of the performance captured on the tape. I for one do not trust 100% of the engineers and producers who have ever lived 100% of the time. If a producer/engineer revisits an old recording and can bring something out that was lacking in the original, why not?