Larry Kart

Check will be sent shortly.

Better than I expected. Definite traces of Earl Bostic.

Then there's Weisberg's recording of Wolpe's most jazz-involved piece, the Quartet for Trumpet, Tenor Saxophone, Piano, and Percussion:

I'll listen when I have time, but the late Weisberg was a terrific conductor. His recording of Wolpe's Chamber Piece No. l for Nonesuch is one of the best of any piece of "modern music" ever -- locked in and on fire: He also did a heck of a job on Wolpe's Symphony -- not flawless (it's a live recording)but appropriately passionate: A girl I knew from high school, Carol Buck, was in the cello section on that one.

I should compare the Brandeis recording of Babbitt's "All Set" with the 1974 one that Arthur Weisberg did for Nonesuch. Also, FWIW, the flute player on the Brandeis concert, Robert DiDomenica, was an excellent composer in a very individual post-Alban Berg manner. http://www.bostonglobe.com/metro/2013/05/25/robert-didomenica-needham-composer-and-flutist-was-dean-teacher-new-england-conservatory/5ataKd4HauLh2K97Ez6xtL/story.html http://www.amazon.com/Robert-DiDomenica-Three-Orchestral-Works/dp/B00000DCRJ/ref=sr_1_2?s=music&ie=UTF8&qid=1370182844&sr=1-2&keywords=robert+didomenica http://www.amazon.com/First-Performances-Piano-Robert-Domenica/dp/B000005VXJ/ref=sr_1_3?s=music&ie=UTF8&qid=1370182800&sr=1-3&keywords=robert+didomenica There's also a piece by him on Spotify.

sgcim -- Yes, to Teddy Charles presence at Brandeis. Complete personnel here: http://www.discogs.com/Bill-Evans-Gunther-Schuller-George-Russell-Brandeis-Jazz-Festival/release/2148930 Whenever I hear that prancing, medium-up, walking-bass bassoon part, I come close to losing my cookies.

Quit in about 1980, smoke a pipe about five or ten times a year, mostly because I still have some nice pipes from 40 or so years ago.

The British have a term for things like "On Green Mountain" -- "twee" ("affectedly or excessively dainty, delicate, cute, or quaint)." And the awkwardnesses/contortions that Jimmy Knepper and Hal McKusick (on tenor) are subjected to! P.S. I like "Suspensions." Simple to the point of being a bit simple-minded but forceful --- an extended, doggedly-solemn shout chorus.

Me, too.

Ran across this video today, after looking it up a year or so ago. This guy's method works, but the video as a whole is a piece of stone American semi-insanity.

IIRC, I was there. I believe Chuck was, too, and that he may have played a significant role in getting/keeping things on the rails. I vaguely recall some behind the scenes turmoil, perhaps involving Al Haig.

One of his finest outings was Oliver Nelson's "Afro-American Sketches." http://en.wikipedia.org/wiki/Afro/American_Sketches

I really like these two, from 1979 and 1982 respectively. Fine work from original Savoy Sultans tenorman George Kelly, who says Francis, "played piano for Mamie Smith when he was 12 years old." Kelly also did an album around this time under his own name for Stash. It's a gem. http://www.amazon.com/Panama-Francis-Savoy-Sultans/dp/B003YWW7S4/ref=sr_1_17?s=music&ie=UTF8&qid=1369433648&sr=1-17&keywords=panama+francis+savoy+sultans http://www.amazon.com/Panama-Francis-Savoy-Sultans-Grooving/dp/B004C3MOZ0/ref=sr_1_2?s=music&ie=UTF8&qid=1369433527&sr=1-2&keywords=panama+francis+grooving Kelly album ("Plays Don Redman"): http://www.musicstack.com/item/1097522 http://www.ebay.com/itm/33RPM-Vinyl-JAZZ-record-George-Kelly-Plays-Don-Redman-Stash-ST240-Mint-Minus-/330819322585?pt=Music_on_Vinyl&hash=item4d065e42d9 Kelly ((31 July 1915–24 May 1998) gets a chapter to himself here: http://www.amazon.com/Mainstream-Chip-Deffaa/dp/0810825589/ref=sr_1_1?s=books&ie=UTF8&qid=1369434463&sr=1-1&keywords=0810825589

Picked this 1997 album up on a whim, even though I'm far from a knowledgeable Hargrove fan, and at this point I'm very pleasantly surprised. Hargrove does kind of blow his top and lose track of his lines from time to time (IMO), but he is definitely engaged, and his band (Gary Bartz, David Sanchez, Frank Lacy, Russell Malone) has its strengths; the charts are tangy (for want of a better term) in a Don Sickler-esque manner (he arranges one of them, the other charts are the work of their composers), and best of all the added Cuban contingent (Chucho Valdes, drummer Horacio "El Negro" Hernandez, timbalist Jose Luis Quintana, congero Miguel "Anga" Diaz, and bassist John Benitez) is VERY strong and (thanks be) vividly recorded. Valdes I've certainly heard before, but his aggressive comping here is really something. BTW, 1997 is a LONG time ago, I suppose, and not only by the calendar.

Thanks, Chris. Correction made.

Chet Atkins? Not in a million years. I don't think he could read music on that level. Schoenberg's 12-tone system was the model for Adrien Leverkuhn's "demonic creativity" given to him by the devil in Thomas Mann's "Doctor Faustus". I read the novel when I was studying composition in college, and was all excited to hear this new way of composing music. Then I listened to some 12-tone pieces, and that ended the fascination right there. AS was a great composer, but his 12-tone system leaves me completely cold. I was kidding.

Piano Concerto -- Steuermann/Hermann Scherchen (Arkadia) I heard that story about the recording of the Serenade, but in my version the original guitarist was replaced by Chet Atkins.

In addition to other sterling qualities, Chuck is a living-breathing hero -- a man who has put his life and well-being on the line to further truth and beauty. That he tells the truth, too, is a big part of it.

Five Pieces for Orchestra -- Craft (Naxos)

Pierrot Lunaire-- Robert Craft/Bethany Beardslee (Columbia); Pierre Boulez/Helga Pilarczyk (Ades) Book of the Hanging Gardens -- Beardslee/Robert Helps (Son Nova) Suite Op. 29 -- Craft (Columbia) ...Dig Pearl Kaufmann on piano; among other things, she did the piano playing for Jack Nicholson's character in "Five Easy Pieces" and improvised a chunk of the piano part on Stravinsky's recording of "The Flood" at IS's urgent request when it was discovered at the recording session that he'd left some of the part blank. Piano music -- Edward Steuermann (Columbia); Claude Helffer (Harmonia Mundi); Pi-Hsien Chen (Hat Art) Violin Concerto -- Hillary Hahn/Salonen (DGG) String Quartets -- Kolisch Quartet (Music & Arts) Chamber Concerto No. 1 -- Holliger (Teldec); Orpheus Chamber Ensemble (DGG) Moses und Aaron -- Kegel (Berlin Classics) Ewartung -- Craft/Pilarczyk (Columbia)

To you on your birthday

It may just be me, but "early trombonist" strikes me as weird when applied to Dickie Wells . I mean, Kid Ory, Honore Dutery -- those are early trombonists, both in terms of era and style. Dickie Wells could (and did) stand tall alongside Lester Young as a soloist -- hear "Taxi War Dance," for one.

That was my point or part of it-- that a good many of the less-recognized but arguably worthy black beboppers were by that time no longer living or not in shape to play that well or growling in people's faces, etc.

No doubt the place was home to a fair degree of racialist thinking, but OTOH I don't recall the JALC gigs for C Sharpe, Tommy Turrentine, Dave Burns, Walter Bishop Jr., et al. Also, though I may be mistaken here, a good many of the relatively unrecognized non-white beboppers by the time JALC came into being were no longer among the living or not in great shape or not living in the NYC area. In any case, if there were a non-white counterpart to, say, Triglia or Schildkraut, he probably wouldn't have gotten a gig there either.

Not so sure I'd make that leap. Nor would I, much though I find Sach's playing attractive. The reasons aging guys who can play aren't recognized are legion. I suppose we should next consider the racialist snubs visited upon Dick Meldonian.