Larry Kart

Per below, the answer seems to be that the music comes from the same MOMA concert, but "Sounds of the Inner City" lacks the "Take Three Parts Jazz" suite and "Embraceable You," and the performances on "Sounds of the City" are edited in some manner. OTOH, the compilation I bought does not include "Stardust" from the MOMA concert, darn it. May have "Sounds of the City" with "Stardust (albeit edited) on LP though. The Teddy Charles New Directions Quartet Plus Booker Little (trumpet) Booker Ervin (tenor saxophone) Teddy Charles (vibraphone) Mal Waldron (piano) Addison Farmer (bass) Ed Shaughnessy (drums) "The Museum Of Modern Art", NYC, August 25, 1960 Scoochie Warwick W 2033 Cycles - Embraceable You - Blues De Tambour - Stardust - Take 3 Parts Jazz Suite: Route 4 / Byriste / Father George - The Confined Few - same session Scoochie (edited version) (Souchie) TCB LP 1003 Cycles (edited version) - Stardust (edited version) - The Confined Few (edited version) - Blues De Tambour (edited version) (Blues De'Tambour) - * Warwick W 2033, W 2033 ST The Teddy Charles New Directions Quartet - Metronome Presents Jazz In The Garden At The Museum Of Modern Art * TCB LP 1003 Booker Little And Booker Ervin - Sounds Of Inner City

As for boots or not, I don't want to stir up anything here, it was just my observation that many times links to such euro PD releases were removed, so I felt like making a smartass remark. No problem -- you were right to point that out IMO.

Oops, sorry -- link removed. I was focused on the one thing and forgot about the other.

Per previous post: Octet (passage beginning at 5:40 to the end) Stoptime Rag (passage beginning at 1:26)

No entirely sure, but my guess is that I.S.'s "dotted tradition" would be, for us, a subcategory within swing. Think of Rogers, all things being equal (which of course is not exactly the case), as the trumpet/flugelhorn equivalent of Pete Brown, and I think you've got it -- additive/motivic bounciness. My guess is that swing that deployed/cut across larger rhythmic units in a significantly more plastic manner, a la Armstrong or Lester Young, would not have plucked Stravinsky's magic twanger. As with his affinity for ragtime in the late teens, I think he tended to respond to music whose irregularities were at once compact in their dimensions and tightly knit. BTW, toward the end of Stravinsky's Octet, there is a passage that reminds me very much of Joplin's "Stoptime Rag."

Stravinsky's use of the flugelhorn in "Threni" (1957-8) was inspired, he told Robert Craft, by his experience of hearing Shorty Rogers play the instrument. “I can listen to Shorty Rogers’s good style, with its dotted tradition, for stretches of fifteen minutes and more and not feel the time at all, whereas the weight of every ‘serious’ virtuoso I know depresses me beyond the counteraction of Equanil in about five.” -- "Conversations With Stravinsky"

Picked up today at Half-Price Books a Euro-zone 4-CD compilation of 6 Booker Ervin LPs, some of which I already have, enough of which I don’t. First one I listened to is the 1960 Bethlehem album “The Book,” with Tommy Turrentine, Zoot Sims, Tommy Flanagan, George Tucker, and Dannie Richmond. The leader, as well as Turrentine, Tucker and Richmond, have much to do with shaping the rather dark, blunt, urgent tone of the date, but what surprised me (I must have heard the album back in the day but not since then) is how beneficial that hard bop with Mingus trimmings atmosphere is to Zoot, who plays with much intensity and attention to detail. A pleasant surprise.

Lots of used LPs that I bought from the Jazz Record Mart over the years are signed by their former owner. Can't quite decipher his flowing script, but it's something like "RJ Guyon." Perhaps Chuck knows who he is. Also, from the same source, a good many from a fellow who used the name "King Rip" -- a DJ, I assume, because he commented in Magic Marker on the nature of each track (e.g. "up-tempo swinger") and gave its timing.

FWIW, and IIRC according to bassist Barry Guy, who was in the orchestra, virtually all of Hogwood's Oiseau Lyre recordings were exercises in sight reading, e.g. the Mozart symphonies. Haven't heard all of them, of course, but those I did hear sounded that way to me. I agree with Moms that latter-day German, French (I would add Italian, especially in Vivaldi) "alte musik" ensembles are at their frequent best in another world altogether. Also, for me, in the Mozart symphonies it's such figures as Bohm, Klemperer, and Szell (in their various ways) who bring home the bacon. In particular, what I get from them is a simultaneous grasp of the music's horizontal and vertical factors.

MARK TURNER QUARTET Mark Turner - tenor sax Avishai Cohen - trumpet Joe Martin - bass Justin Brown - drums Constellation Chicago 9/23 I liked Turner some early on, but this music seemed to me to be very dried up melodically and oddly traction-less harmonically and rhythmically. I say "oddly traction-less" because with a fairly active drummer and pieces that do have some harmonic patterning, albeit of a rather bland abstract sort, one has to work at it to make so little apparent contact with the pulse or the "changes," such as they are. Not that the playing was at all "free" either, more like a series of etudes that had been purged of zest or detectable (by me) purpose, though they were not easy to execute.

Satch Plays Fats

Yes, Dennis' phrasing and tone did get looser/more personal in later years. The idea of playing in a Tristano-ish manner on the trombone sounds very daunting to me. Heck, playing in that manner on the trumpet was pretty daunting to Don Ferrara, though he certainly had his moments. So did the Swedish trumpeter Jan Allan, who I'm pretty sure was captivated by Tristano-style music, as many Swedish jazzmen were in the '50s, including Allan's frontline partner here, the late great altoist Rolf Billberg:

IIRC, Dennis is in good latter-day form on this Gary McFarland album, "Point of Departure," from 1963 (two years before Dennis' sadly early death in a car crash in Central Park): http://en.wikipedia.org/wiki/Point_of_Departure_(Gary_McFarland_album) Again IIRC he has a few nice spots on some Mulligan Concert Jazz Band recordings.

By the time of the Ball date (see below) Dennis was much more his own man and very good (he would get even better, though there isn't much recorded evidence). At the time of the Uptown performances, he was very Tristano-influenced, perhaps a la Don Ferrera -- i.e. trying to play nearly continuous saxophone-like lines on a brass instrument, and the trombone no less -- but most of time he really wasn't making it IMO. Nothing disastrous IIRC, just not making it. Other long-line, saxophone-like trombone players in a similar bag -- all I think touched by Pres but probably not by Tristano -- were Earl Swope (though Swope did record with Tristano in 1945), Eddie Bert, and Jimmy Knepper:

Important music, decent enough sound. As fine as Warne and Lee are here at their best, my recollection is that the most striking solo work is Tristano's. It adds a good deal to what we have of him, especially in a more or less "blowing" context. Dennis is not where he would be by the time of that Ronnie Ball date, but it hardly matters.

Smith is not my favorite trumpeter, nor is Rouse my favorite tenorman, but I find myself playing this track (and others from the album) fairly often. A great day in the studio, and RVG at his best. The way he captures Paul Chambers! In my basement his bass sounds life-sized, as does everyone else in the band. And the way he gets the interaction between Clark's comping and the horn soloists balanced just right.

Sonny Clark on the title track of Louis Smith's "Smithville" (his comping before his solo also is something else):

Fats Waller, "Handful of Keys” Luckey Roberts, “ Nothin’” Herbie Nichols, “House Party Starting” Sonny Clark, “Cool Struttin’” Bud Powell, “Crossin' the Channel" Thelonious Monk, “Little Rootie Tootie” Dodo Marmarosa, “Bopmatism” Lennie Tristano, “C Minor Complex” Bill Evans, “Tenderly” Earl Hines, “A Monday Date” Earl Hines, “I Ain’t Got Nobody” Red Garland, “Mr. Wonderful” Don Friedman, “Circle Waltz” ... and many more.

Ah, that's too bad! "Blowing snakes" means playing notey, harmonically convoluted lines, typically at a swift tempo and with considerable heat/emotional intensity. It was a phrase used in some quarters in the 1950s. Coltrane in his so-called "sheets of sound" phase (1957-9 -- the "sheets of sound" phrase was coined by Ira Gitler) was definitely "blowing snakes." The "snakes" metaphor perhaps comes from the image of snakes in a pile or basket -- coiled and wriggly. Also, a good many such improvisations were ominous in emotional tone, and snakes tend to be regarded likewise. Also, the phrase IIRC usually was applied to saxophonists.

A noble deed.

Fredriksson on "Katrin" is really "blowing snakes" (as we used to say). All I have that has to do with him (sad to say) is that Milder CD, which is quite good.

Jackie's superb final recorded performances are on this 2004 album by Bill Kirchner: http://www.allmusic.com/album/everything-i-love-mw0000264363 Hard to imagine any other singer who could handle Kirchner's highly chromatic "Try To Understand," let alone nail it in terms of feeling. Had a chance to review and then spend some time with Jackie and Roy several times in the 1980s. She was the Jeanne Moreau of jazz.

Yes, to to the Cheerios jingle: http://jamesgavin.com/page66/page34/page34.html

Much better recording of the Ives Violin Sonatas IMO is Gregory Fulkerson and Robert Shannon’s on Bridge: http://www.amazon.com/Complete-Sonatas-Violin-Piano-Charles/dp/B000003GII/ref=sr_1_1?s=music&ie=UTF8&qid=1410900921&sr=1-1&keywords=fulkerson+ives

E-mail from Bill Kirchner: Dear Friends: Jackie died at home in New Jersey on Monday afternoon, September 15, with her daughter Dana Kral at her side. She was 86 (born 5/22/1928). She had been very ill for some time, and Dana had been taking care of her. She was a great singer and a lovely person and will be much missed. This is all I know at present.