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Everything posted by Larry Kart
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Sorry, Mark -- should have checked first. It was "Split Images." The Trib archives pre-1985 are behind a pay wall. My library can get then through some intermediate service but only as PDF files, and AFIK they can be turned into type that can be read in a post here or elsewhere only if one types them in manually. But try "Larry Kart" and "Split Images," though you may just get a scan of my brain.
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I've now got PDF copies of them from my local library but don't have the energy to type them out right now -- in part because they strike me as good, especially for their time, but not as good as I remembered them being. Also, the other one I reviewed wasn't "Stick" but IIRC "Sideswipe."
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Who's that guitar player on her version? "[Ronstadt] wisely continued her relationship with arranger/orchestra leader Nelson Riddle whose experience and talent kept her and the project true to the sound and style of the material. For his part, Riddle recruited such musicians as guitarist Bob Mann (who'd go on to play for Rod Stewart in his forays into the same type of material), drummer John Guerin, bassist Bob Magnusson, and pianist Don Grolnick, all of whom were veterans of the big band and lounge scene, making them perfect for this project."
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Different strokes, but though her voice is sumptuous, albeit in a fairly generic way IMO, I find Ronstadt's version of "When I Fall In Love" to be an annoyingly obtuse reading of the song -- as in, lots of candy-sweet voice, little understanding of what is or should be going on in the song dramatically: http://www.youtube.com/watch?v=ECI0RRV7RCw By contrast, Nat King Cole:
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Pepper Adams/Donald Byrd "Out of This World"
Larry Kart replied to riverrat's topic in Recommendations
Heard that group live at the Birdhouse in Chicago in '61. -
My favorite is Daniel Ericourt. Yuri Egorov is also quite something -- not quite the consistent insight of Ericourt but pretty fabulous pianism. I also have and like Peter Frankl's Vox boxes and Marcel Meyer. http://www.youtube.com/watch?v=HwR-3ekLu7o
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Bemused that you find Simpson on Bruckner to be pedantic. Can think of few if any verbal accounts of how and why particular pieces of music work that are more insightful and (which I suppose goes with saying) not redundant in the face of the actual realized-in-performance music. About Bruckner versus "musics that require a little more - say with '...explosante-fixe..." -- I'd say that were talking about very different musics in terms of style and language. I respond positively to both kinds, and many other kinds as well. Also, I don't think that Bruckner's alleged conservatism has anything to do with his music's ultimate value, though it may have something to with its appeal to some listeners.
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From poet Jonathan Williams' book "Mahler Grooves," section VI from his poem inspired by Mahler's Sym. No. 3: Anton Bruckner counts the 877th leaf on a linden tree in the countryside near Wren and prays: Dear God, Sweet Jesus Save Us, Save Us . . . the Light in the Grass, the Wind on the Hill, are in my head, the world cannot be heard Leaves obliterate my heart, we touch each other far apart . . . Let us count into the Darkness P.S. (me quoting from an article about AB): "He suffered from extreme mood swings, and at his most depressed or anxious would resort to obsessive counting rituals -- there’s an account by a friend of him being found in a field, just before his 1866 mental breakdown, trying to count the leaves on a tree."
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Judy Kahn, the wife of a friend of mine, jazz musician Bill Kirchner, was Harris' dresser for many shows.
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What live music are you going to see tonight?
Larry Kart replied to mikeweil's topic in Live Shows & Festivals
9:30PM at Constellation, 3111 N Western ($12) Michael Moore, Josh Berman, Jason Roebke, Frank Rosaly -
Mine will be in the mail today.
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Or this one: Yes, with Kovacs-style spacey slapstick gags interspersed. It's on YouTube.
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deleted
Larry Kart replied to BeBop's topic in Jazz In Print - Periodicals, Books, Newspapers, etc...
Psychologist and jazz critic Judith Schlesinger has devoted a good deal of scholarly effort to refuting this sort of B.S.: http://www.theinsanityhoax.com/ -
The original singer of the song, Kurt Gerron, may or may not change your mind: (spoken intro comes first) Original words (in a partial, literal translation) aren't stupid: And the shark, he has teeth And he wears them in his face And MacHeath, he has a knife But the knife you don't see On a beautiful blue Sunday Lies a dead man on the Strand* And a man goes around the corner Whom they call Mack the Knife And Schmul Meier is missing And many a rich man And his money has Mack the Knife, On whom they can't pin anything. Jenny Towler was found With a knife in her chest And on the wharf walks Mack the Knife, Who knows nothing about all this. And the minor-aged widow, Whose name everyone knows, Woke up and was violated Mack, what was your price? And some are in the darkness And the others in the light But you only see those in the light Those in the darkness you don't see
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The Flintstones? It's on "Rhythm" changes, I believe, and Herb Ellis, Barney Kessel and friends once made a cooking version of it. Then there this one with Ellis, Plas Johnson, Sweets Edison et al.
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With rare exceptions, "Satin Doll." No exceptions if it's sung -- those lyrics!
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John -- In what way, for what reasons, did Murray consider David Baker to be a racist? Hard to see how a man who headed the U. of Indiana jazz program for many years, guiding students of many races in what would have to be equitable manner or he wouldn't have been allowed to continue in the post, could be called a racist.
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Not to be too self-serving, but here's a Facebook message I just got from an old Chicago Tribune colleague, John Blades: I was talking to Elmore Leonard at a party in the mid-80s, and when I told him I was from the Trib, he said, "Do you know Larry Kart? He's been writing about me for years, and he says he won't stop till he gets it right." I'm a little foggy about the rest of the conversation, but it was mostly a testimony to LK's tenacity and perspicacity. You (and maybe Bruce Cook) were the first to recognize his particular genius. Go Dutch, wherever you are.
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Unfortunately my reviews of two early 1980s Leonard novels, "City Primeval" and "Stick," are behind the Chicago Tribune archives pay wall, but I have good memories of those books (plus much else by Leonard) and what I wrote about them. If anyone can rescue and post those reviews, I'd be grateful.
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About Simpson being opposed to Glock and Glock in general being an avant garde-inclined tyrant, David Wright emphatically says no: http://www.wrightmusic.net/pdfs/william-glock-not-avante-garde.pdf http://www.wrightmusic.net/pdfs/william-glock.pdf OTOH, there's this, though I haven't read the Simpson book referred to here: http://www.overgrownpath.com/2011/07/classical-music-beyond-twitter.html
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Composer Robert Simpson's book about Bruckner: http://www.amazon.com/Essence-Bruckner-Robert-Wilfred-Simpson/dp/0575011890 is among the best such books ever and should explain everything about how his music works, if you're among those who are in a place to get the message. Simpson's book about Carl Nielsen is no less superb. http://www.amazon.com/Carl-Nielsen-Symphonist-Robert-Simpson/dp/0900707968 I would add that unless you're among the lucky ones who get Bruckner right off, there may be no arguably great composer whose music is harder to grasp. For one thing, he requires that one have a very long-term memory for thematic echoes/returns and resemblances, longer than even most sensitive listeners tend to possess. But there are, Brucknerians feel, immense long-term rewards for learning to tune in on the attention span that Bruckner calls for.