Larry Kart

He's trying to control it with reasonable success, but to some degree I hear the effort of him trying. Better that than not trying, but it ain't Johnny Hartman, if that's a fair comparison (and I admit that the overall aura of. those two men is different -- with Hartman being more the at-one-remove interpreter and Mr. B. being right "there." OTOH, you can only go with what you got.

Don't recall that Prysock's wobble was as extreme as that of the latter-day Mr. B. The former IIRC had a basically richer, deeper voice, which covered up some of the problem, if problem there was, while Eckstine's lower register tended to be of the head, not of the chest, and and thus a bit "white," if you will, which accentuated the wobble. Eckstine is trying to control it nicely on your second example and does a good job off it. The first doesn't count that much because the problem tends to crop up on long tones only. What is the vintage of example #2?

Hate this new rule. And who said extra-inning games should be "fun to watch." They're tests of skill, of the depth and makeup of one's roster. and managerial acumen. Thus they have consequences for further games, as it should be. If you use up your bullpen in an extra-inning game, you don't have relief pitchers left for tomorrow. We're talking about a season after all, not just one game, and it's up to the managers to weigh those risks.

Sure, it's a function of aging, but at worst it's an outright wobble, like a warped LP. Makes me feel seasick.

A 23-piece first-class West Coast rather Kentonesque orchestra, two French horns, multiple woodwinds, two basses used as a section in a striking manner etc. Richmond's textural sense is often exquisite and novel, and his ability to build to bold climaxes is notable too. Not for everyone perhaps, but I find it fascinating. Wish that Richmond had allotted more solo space for himself; he's a fine ballsy altoist; I remember him from John Garvey's U. of Illinois band of the late '60s. There's a successor to this one, an overt Kenton tribute that I've ordered, and several excellent small group Richmond albums with trumpeter Clay Jenkins.

When Eckstine's vibrato got REAL wide in later years I couldn't take it.

Never knew of that album. How is it?

I ran into Dodo right after he made that album with Ammons; there was a trio album too. Our college dorm at the U. of ChIcago put on a concert circa 1962 with Ira Sullivan and company, don't recall right now who the other players were, but it was a fine Chicago rhythm section, I think Jodie Christian, Donald Garrett, and Wilbur Campbell, don't think there was another horn player. The recently built skyscraper-like dorm, since torn down, was divided into two-floor units, with the top floor of each unit circling the one below -- it was a well-and-balcony-like setup with. the dorm rooms running along the outside of the building, and the band played in the well between maybe floors seven and eight. The audience was as large as could be fit in, people were hanging over the railings of the balconies, and was appropriately enthused. Dodo was there, IIRC Joe Segal brought him along; the whole affair had been coordinated with Joe, with the musicians being well paid, though I don't recall there being an admission fee. So at one point between sets I found myself in someone's dorm room with Dodo and two or three other people. Seated on a bed he seemed rather withdrawn but not unhappy; how could he be with the music that was being played? I don't recall any conversation with him taking place, though I certainly knew who he was.

Buddy DeFranco, who was close to Dodo, they were both from Pittsburgh, tells the story of. the time they were both with Barnet circa 1942/43 and ran into some sailors in uniform in the NYC subway. These sailors, seeing these two sharply dressed civilians, thus malingers-draft dodgers, took umbrage and tried to beat the crap out of them. Buddy was pretty much able to defend himself but Dodo got beaten up quite badly, many blows to the head etc., and Buddy dates Dodo mental problems to that incident. This story might have been in Gitler's "Swing to Bop."

Ralph Lalama's "Momentum" What a fine "in the moment" player he is.

But a genius. He and Stan would have made quite a pair. I'll go with Bank's description: Dodo was nuts ... but not at all I think a mean person. Stan was or could be an a**hole, jerk, a mean, manipulative S.O.B. you name it ... and a genius.

From an old Cadence interview with Danny Bank: "He was with you in the Barnet band." "Marvelous player. He was nuts, absolutely crazy. No discipline, no respect. He would follow women into the ladies room. He considered himself Art Tatum, and Tatum liked him too. A genius, very, very good, I liked Dodo."

Pres for sure rhythmically, but much of the rest (tone, phrasing, sheer drama) is almost all Ammons, with maybe a dab of Jacquet, though Illinois had Pres roots too.

IIRC, Golson is in fine early form on this one, as is Lee Morgan (dig his solo on "You['re Not the Kind)."

That was the first Skalkottas I heard. The fascination has never worn off. IIRC, it was the Octet and the String Quartet that knocked me out.

I found that site, but what I wanted to know was whether anyone here had heard him and dug him. Interesting that Bryant came from the Chicago area because he reminds me just a bit of the late Nicky Hill.

Anyone familiar with this tenor saxophonist? Was Listening to a Mike Longo CD "2 My Surprise" and Bryant made me perk up my ears, He was, as we used to say, "blowing snakes." Looks like he might be in his 40s. Good album all in all --Jimmy Owens on trumpet, Lewis Nash, Bob Cranshaw, and Longo can certainly play.

We've all seen some of this series, probably in used bins, and may have picked up one or two, depending on how one feels about BG and the sideman on that particular date. Well, I'm here to tell you Vols. 9 & 10 (which I'd never seen before) are exceptional. They seem to be coupled together; 9 is a jam-packed live date from 1953 with BG, Mel Powell, Charlie Shavers, Steve Jordan, Israel Crosby, and Morey Feld; 10 is unissued tracks from the 1983 "Together Again" album that reunited the original quartet (BG, Teddy, Hamp, and Krupa). BG is in top shape on both discs, no rote BG there, Mel Powell is in fabulous form (people forget or never knew what a terrific, individual player he was), Israel Crosby is a big plus as is Feld, the two of them unite like a deep-toned heartbeat, and Shavers is in fiery form. Very good liner notes by Loren Schoenberg. I should add that Feld intrigues me here; his bass drum is fairly active in an at once somewhat old-time (say Zutty Singleton?) but ultimately very hip way, and Crosby and BG feed on this literally kicking/throbbing pulse big time.

Brookmeyer's prickliness was on a personal, not suffering fools gladly level; I've also heard that he got pretty prickly in his drinking days with his first wife, singer-songwriter Margo Guryan. He also could be harsh in his judgement of other musicians -- I recall him saying of French Horn player Tom Varner "this guy can't even play even eighth notes." Have never heard that Green was anything but a nice guy. If I could play the trombone like that, I'd be mellow too.

That's why the folks at Avid would have you believe. Rec. 1944? In 1944 Von Ohlen (b. 1941) wouldn't even have been in kindergarten. Very good record though.

Wilbur Campbell spoke of Day with awe. IIRC, Day used a very minimal kit.

FWIW, Earl Wild was a big Cherkassky fan. Also FWIW, Wild couldn't stand Kristian Zimmerman and Alfred Brendel. I agree on both counts. BTW, does anyone know Sokolov's 2013 Salzburg recording of the Hammerklavier? It's quite moderately paced (circa 53 minutes), IMO all the better for that, and yet not unforceful. I found it to be a revelation.

All of the albums in that Avid compilation are straight jazz dates, no "easy listening" or "jazz-funk fusion" stuff at all. "The Fox" is said to fall in the latter bin.

This dream isn't from last night but from many years ago: Jack Teagarden was languidly/gorgeously playing "Stars Fell on Alabama" while Paul Desmond embroidered what Big T was doing.

Just picked up an Avid compilation of five of Green's albums. What a lovely player he was -- like a cross between Jack Jenny and Bobby Hackett. The first album in that compilation is a fine 1956 big band date with Johnny Carisi arrangements, including "Springsville." The band is made up of the usual NYC studio guys of that time -- e.g. Al Cohn, Hal McKusick, Joe Wilder -- and they sure do play Carisi's charts beautifully.