Larry Kart

I wouldn't kick her out of bed, though here she looks like she might kick me, or just about anyone, out of there.

I'm reminded indirectly of composer Max Reger's famous note to Rudolph Louis, critic for the Muchner Neuste Nachrichten: "I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me." ("ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe ihre Kritik vor mir. Im nachsten Augenblick wird sie hinter mir sein")

Nine hundred years, says my friend Sportin' Life.

Many thanks. A good day. Age 72 -- I like even numbers.

And mine

Sorry, but I've removed the links to the illegal site in posts 922 and 923. Forum rules.

His most fascinating/beautiful work IMO was on the Bix portion of Thomas Talbert's album "Bix, Duke & Fats." This one, too, from the same album:

Bowen's "The Little Girls" is superb.

Given that this was (I believe) only the second recording of the song, I don't believe that there was a sheet music "script" for the lyrics at this point (especially for the call-and-response passages).

Whoa! Clark Burroughs, down boy! BTW, there probably were some good Chicago-based jazz guys in Marterie's band. Also, I just found out that tall Bob Strasen was the best man at Clare Fischer's wedding.

Wow. Thanks.

IIRC, Martin Williams wrote a piece praising Zimbalist Jr.'s acting on the FBI show. Also, FWIW, I can recall several brilliant episodes of "Hawaii Five-O," in particular one where Andy Griffith plays the head of a down-home (a la the Mayberry area) family that uses Griffith's nubile daughter to entrap and then murder vacationing in Hawaii businessmen. When the family is caught, and Jack Lord asks Griffith way he's acting so blasé after committing all these murders, Griffith replies, "They wasn't kin, were they?"

Not that this is news, but listening to this recording last night, in which Carmichael talk-sings as the "father" and Armstrong sings the responses of the "son," I was kind of stunned by the cosmic humor and (if you will) wisdom, plus the modernity, of Armstrong's responses -- this is 1929, but when he sings, it doesn't feel like 1929 but "now." And of course there's the great trumpet playing: BTW, Armstrong's enigmatic and/or elliptical response to Carmichael's "I can't get from this cabin" has been tentatively deciphered by Michael Steinman as "What cabin? [You must be] joking?"

Listened this this one again http://www.allmusic.com/album/big-band-bossa-nova-mw0000196996 a few weeks ago after many years and was very impressed not only by the subtlety of McFarland's writing (in particular by the way, a la Gil Evans but in an individual manner, his timbral gestures almost always were rhythmic ones as well) but also by the moments of real heat (these too often achieved through timbral-rhythmic means).

Book looks fascinating.

You'd have had better luck with Shafi Hadi.

http://wtju.net/record/ablume http://www.legacy.com/Obituaries.asp?Page=LifeStory&PersonId=123957597 Probably Chuck could add more, but Blume was with RCA and looking for things that interested him and possibly could pay off. Blume's celebrated 1958 interview with Coltrane is evidence that he was no square: https://slought.org/resources/interview_john_coltrane

End game with this trio? Very good question. Never got to know Daley other than to say hello, though (for a time) Thorne and I were good friends, but my best guess was that Daley was at once genuinely curious about the so-called "new thing" from his bebop with personal extensions position (not that far from, as you say, Bill Barron's, but not as conceptual) and also had some thoughts (goofy as this may seem) that it might pay off commercially -- thoughts perhaps encouraged by his RCA producer Augie Blume. About the payoff part, remember the "climb on board or get left at the station" titles of Ornette's first two Atlantic albums -- "The Shape of Jazz To Come" and "Change of the Century." There was kind of an incipient "youth culture" vibe in the air, which was funny in a way because Daley IIRC was about as far from that in terms of his own personality as could be imagined. As you say, "hardass perfectionism" was his game. BTW, in the incipient "youth culture" vein, John Klemmer was one of Daley's students early on in Klemmer's career, and Klemmer eventually was a successful figure for a while in the "youth culture" arena. BTW, when Daley and Thorne went their separate ways, Thorne's replacement in the trio was Donald Raphael Garrett, who at the time (at least with this group) was into fairly straightahead, powerfully earthy time-keeping. I recall at a gig Daley expressing her preference for what Garrett was doing over the way Thorne played.

Well, yes, but the disharmony in the Daley Trio was based on significant musical differences as well as personal ones. In particular, and rightly or wrongly, Thorne and Hal Russell regarded Daley the way Ornette might have regarded pianist Walter Norris on "Something Else!" OTOH, it was Daley's group, and I don't mean at all that the final results weren't fascinating. Also, it should be said that Thorne and Hal Russell were fairly high-pressure personalities, while Daley was no shrinking violet.

http://www.donationtown.org

I heard that band a good deal "live" back then and can say that as impressive as Thorne is on the album, he was a good deal more so in person. The man was developing "outwards" at a high rate of speed. As for the trio itself, intriguing though its music was/is, I don't think that Daley was that comfortable with the work or Thorne and Hall Russell, nor were they that comfortable with him. As Rich Corpolongo's sound clips and the clips on YouTube may suggest, Daley was more of a bebop with arguably striking personal extensions player. But he sure could PLAY.

More info on Daley, plus sound clips. from one of his gifted former students, Rich Corpolongo: http://richardcorpolongo.com/rcdaley.html You Tube as well: An interview with Daley: http://www.jazzinchicago.org/educates/journal/interviews/conversation-joe-daley Some Russell Thorne info: http://madisonjazz.org/russell-thorne-to-make-rare-appearance/ Hal Russell is fairly well known.

On his blog, Terry said that he and his wife will use the award to buy a new toaster.

Hoist by my own petard, God wot!

Lucky he didn't get squat from the Koch brothers. Then Harry Reid would go on the floor of the Senate and call him "un-American". The question is, or might be, how does the Bradley Foundation, in practice, define "limited, competent government; a dynamic marketplace for economic, intellectual, and cultural activity; and a vigorous defense, at home and abroad, of American ideas and institutions." One might think that they have chosen goals that sound rather broad-based (although some of their words do sound rather flannel-mouthed to me) and unobjectionable but that in practice they favor policies that are neither that broad-based nor that unobjectionable, a la those of the Koch Brothers. For example, who could be opposed to a mass-transit system that virtually everyone in the city of Memphis and the general area is in favor of? The Koch Brothers, that's who: http://thinkprogress.org/climate/2014/04/01/3421088/koch-brothers-tennessee/ Mass transit, you see, is creeping socialism. Ideology trumps all.