Larry Kart

Top notch Getz

Then and now, it still kind of amazes me that Savoy/Salim got that group of people together in the studio. The wild card, now that I think of it, might have been Buster Cooper. Maybe Chino Pozo too. And Max Roach as a sideman. Did the first two ever record with any of the other guys? Whatever, it worked like gangbusters. (Yes, Dorham was a Roach sideman.) Another one that gives me a somewhat (but only somewhat) similar feeling is Bennie Green and Gene Ammons' fabulous "The Swingin'est" (Veejay), with Frank Foster, Frank Wess, Nat Adderly, Tommy Flanagan, Eddie Jones, and Albert Heath. Chicago DJ Sid McCoy was the A&R man. Perhaps the Basie band was in town (Foster, Wess, Jones).

The Singers Unlimited -- "Sentimental Journey"

Reply from Dan Morgenstern: It’s been ages since I’ve had contact with NEA and even then there was no pro forma nomination way. The one remaining jazz person on NEA staff is Katja von Schuttenbach a good lady But it was never a “democratic” Process IMO….

Not intrinsically bad but different.

Performative behavior is an action taken specifically with an audience in mind, to elicit a response or reaction.

You're right, probably not, because both Scott's sotto voce whispering manner and his moments of shrill excitement seem to me have their roots in the same button-holing the audience impulses that Bill Crow spoke of. When Giuffre (or Peewee Russell for that matter) are in a sotto voce mood, they seem to me to be listening to/communing with themselves, while Scott's default mode is typically performative.

More like a "Hey, listen to me I'm whispering" stage whisper it seems to me. For genuine intimacy on the instrument at a low volume level try Jimmy Giuffre.

I sent an email to Dan Morgenstern asking how such a nomination could/should be made. Dan should know.

good one

Jim Self's arrangement for tuba of Debussy's famous solo flute piece Syrinx.

In addition to Self's "Inner Play" this is also a very good jazz album. Self's inspiration as an improviser is Art Farmer, and it shows.

Don Butterfield recorded with Clark Terry and Gil Melle. The Riverside album with Terry was "Top and Bottom Brass."

Wait! I've also got CDs 3&4 from the "Magic Voices" set, which means that I've got "Sentimental Journey" (it's on CD3), though IIRC the one that really knocked me out from that CD was "The More I See You" --a song that was virtually made for TSU and Puerling to interpret.

Thanks to a library sale several years ago, I have three well-filled CDs worth (5,6,7) of the pricey 7-CD "Magic Voices" set. Wish I had more, Farnon's writing on the "Eventide" album is out of sight.

Kenny Dorham and the Jazz Prophets (ABC-Paramount)

For a short while in the '50s JR's abrupt, hocket-like way of phrasing was known as "the Peck." Shafi Hadi/Curtis Porter was another player who was so inclined. The Peck was more commonly used by horns in ensemble passages, e.g. by Donald Byrd and Jackie McLean with George Wallington. IIRC JR's use of The Peck was rather short-lived.

Great record, great cover. The JR Monterose Blue Note.

I agree on both counts.

Vivian Garry (she was married to the notable guitarist Arv Garrison) Husband and wife track (below); she was the bandleader

What a wonderful album. Among everything else I’m particularly struck by J.J.’s writing for high brass. He’s got a unique touch for dissonance there and a fine group of trumpeters to realize his ideas: Jon Faddis, Lew Soloff, Earl Gardner, Byron Stripling, Joe Wilder, and Danny Cahn.

I bave a now apparently o.o.p. 3-CD collection on the Solar label of what must be all of the group's recordings, plus some other Watkins-related material.. I like most of it, except for "The Most Happy Fella" album. And I prefer "pre-Monkified Rouse" to "Monkified Rouse." He was a good deal lighter on his feet, rhythmically, melodically, and harmonically -- not unlike Paul Quinichette, though without the outright Prez references. He and Paul made a two-tenor album that I've never heard. And the Les Jazz Modes' pianist Gilde Mahones was a good player. Yes, TTK, there was one album that added wordless female vocals, harp, and Latin percussion to the lineup.

I didn't say that was a crime; it's just that even though her husband took some of those shots, Moffitt's rather grim latter-day visage didn't fit well in a thread about fresh-faced California young ladies who graced West Coast Jazz album covers.

But she didn't age well. (See previous photo.)

Lovely album too. Also nice and healthy. Never heard the album though.