Larry Kart

My 14-year-old stepdaughter explained that I needed to right click on the post, then click on the "open link in new window" option, and voila. All well and good, but I wonder why before I just had to click on the post and it would open.

Problem solved. If anyone cares how, I'll say; if not, not.

I belong to several Yahoo groups. Recently when I've gone to any of them and tried to access a post, I get "loading..." but the post never opens. Any thoughts anyone?

Moms -- If you and I don't much care for the way Perahia plays the standard rep (the other day I picked up his Kreisleriana for 50 cents and found it worth about that, though so far I like his Schumann First Sonata on the same disc) why would we want him to be more intrepid in his choice of repertoire? He's going to give us some kick-ass Dussek or C.P.E. Bach or Soler or Leon Kirchner or Robert Helps or whomever? It's not impossible, but don't think so. His whole training and orientation are otherwise. Lack of adventurousness is not his problem; blandness is IMO.

Periodically I’m reminded of how much I like Erroll Garner. Listening the other day to Gary Graffman’s strong early ‘60s recording with Leonard Bernstein and the NYP of the Rachmaninov Piano Concerto No. 2, I mentioned to my wife (herself a good classical pianist) that the juicy romantic theme in the concerto’s third movement was later turned into a pop ballad, “Full Moon and Empty Arms,” recorded by Sinatra among others. This she didn’t know, so I looked around on YouTube and came up with this choice Garner version, one swinging witty melody after another. And that intro! Is that close to a takeoff on the prologue to “West Side Story”? If so, I’m puzzled because Garner recorded this in 1956, and “West Side Story” debuted in 1957. ​For purposes of comparison, go here at the 24.24 mark:

Yeah, Live At The Meat House. Very limited pressing, probably gone for good in its original form. Got that one! And "Welcome to the Party" too.

Moms -- FWIW Murray P. has recorded some Bartok. http://www.amazon.com/Perahia-Performs-Improvisations-Hungarian-percussion/dp/B000F6YW3A/ref=sr_1_sc_1?ie=UTF8&qid=1415124280&sr=8-1-spell&keywords=periaha+bartok http://www.amazon.com/Bartók-Sonata-Pianos-Percussion-Variations/dp/B001BG2P5K/ref=sr_1_sc_2?ie=UTF8&qid=1415124280&sr=8-2-spell&keywords=periaha+bartok

Ike Quebec, of course. Didn't go downstairs to look. And Quartet Out, too. No Quartette Tres Bien, though.

One needs both of these: http://www.amazon.com/Quill-Tiger-Portrait-Great-Player/dp/B006DY9OMC/ref=sr_1_1?s=music&ie=UTF8&qid=1414985715&sr=1-1&keywords=gene+quill http://www.amazon.com/Gene-Quill-Three-Bones/dp/B0042KZK2M/ref=sr_1_2?s=music&ie=UTF8&qid=1414985715&sr=1-2&keywords=gene+quill as well as Quinichette's "For Lady" and "The Kid from Denver." The several Phil and Quill albums less so IMO, though I have a few.

I was trying to make fun of the band re: "Blue" and of the idea or suggestion that because (per a previous post) the label was altruistic in some respect that ought to make us think again/count for something. If anyone else feels that what I posted was over the line, I'll delete it.

This one? https://www.charities.org/charities/national-association-deaf-nad

Roy Hendrickson: http://www.mixonline.com/mixline/avatar-hendrickson-yamaha-111807/

It was recorded by Roy Hendrickson (new name to me) at MSR Studios in NYC in a rather detailed, close-up manner (maybe RVG-like?), not a whole lot of air around the sound, but it seems to me that a lot of care was taken to let the ensemble be an ensemble. Balances are very much just so -- I think that was mostly because of the players -- and the writing often calls for smallish "ensembles" to interact with the larger ensemble with a great deal of subtlety and fluidity. There's one passage on "What's Going On" where a gorgeous, semi-detached from the rest, slow-motion melody played by maybe trumpet and two reeds winds its way through the band like the ghost of a garter snake.

http://www.cdbaby.com/cd/tonykadleckbigband Excellent big band album, remarkably subtle "between the cracks" writing by Kadleck, ballsy at times but none of those obligatory shout choruses, handsomely recorded, fine drum work by the late Dave Ratajczak, soloists include the leader, Randy Brecker, altoist Andy Snitzer, trombonist Michael Davis (very impressive), tenorman Jason Rigby, and others. Anyone who likes, say, the Vanguard Jazz Orchestra should enjoy this. A particular highlight -- and I kind of gulp when saying this, given the song's icky Marilyn and Alan Bergman lyric and its associations -- is Kadleck's feature on "How Do You Keep the Music Playing?" His chart on Marvin Gaye's "What's Going On?" is another gem.

Excellent choices to commemorate him. RIP. Was intrigued back in the day by his playing on both albums, especially the upper-register work on at least one track of "Boston Blow Up." Could have been merely cute; instead it was mysterious, semi-ominous. Actually, now that I think of it, it was rather Twardzik-like. Both he and Santisi were part of the same Boston scene. The Pomeroy band rhythm section (Sanrisi, Neves, Zitano) was excellent, had its own flavor.

Don Butterfield can be heard in fine form on this Gil Melle album, which includes one of the catchiest lines I know, Melle's "Threadneedle Street:" http://www.bluenote.com/artists/gil-melle/vol-4---five-impressions-of-color Album also features one the the two fine guitarists that Melle brought to notice, Lou Mecca. The other was Joe Cinderella.

Jim Self (a Hollywood studio mainstay for many years) was the voice of the mothership in “Close Encounters of the Third Kind”: and made at least one very tasty album: http://www.amazon.com/InnerPlay-Jim-Self/dp/B000A5F5EQ/ref=sr_1_1?s=music&ie=UTF8&qid=1414725213&sr=1-1&keywords=jim+self The man can play and improvise. http://www.bassethoundmusic.com/bio.htm

While looking for some examples of tubaist Jim Self's work, I stumbled across this (Self was on the band) message from another world and time:

Speaking, as Jim did, of alto saxophonists on baritone, what in the heck would Gene Quill have sounded like on baritone?

Not bad, Jim. Maybe James Gavin and Krin Gabbard could collaborate.

https://www.youtube.com/watch?v=xvdpVq86uYk

Do you feel the same about the Divertimenti? About some of them, yes. For example K. 287, the theme-and-variations second movement especially( that second variation!) -- there's a whole world and life wrapped up in there. I wouldn't mind if that movement (in this recording) were played at my funeral:

Previous thread in which I express some (perhaps significant, perhaps not) reservations about the Chambers Twardzik bio: BTW, just be clear, in the initial post on that thread, when Chambers quotes Bob Zieff as saying "I wasn't considered a bone-fried bopster," what Zieff actually said was "I wasn't considered a bona fide bopster." But then we've probably all known some bona fide bone-fried bopsters. In any case, I wearied of the book's (to me) frequent air of factual unreliability (especially worrisome in the case of Twardzik, a short-lived romantic figure whose life lends itself to fantasizing, embroidery, and pump-up-the-volume speculation but a man about whom reliable information, let alone information period, is far from abundant). Thus I never finished the book, though it still is there on a shelf.

Gil Melle. He sure sounded like no other bari player. And he also is the man who brought Rudy Van Gelder and Alfred Lion together: