Larry Kart

More than once in DB record reviews of the time Nat Hentoff referred to the long stick with which Freddie Green would poke Sonny Payne when Payne rushed.

Jacke McLean, "New Soil" Hank Mobley, "Soul Station" Horace Silver, "Blowin' the Blues Away" Grachan Moncur, "Some Other Stuff" John Coltrane, "Blue Train" Must add: Tina Brooks, "True Blue" P.S. These are persomal favorites, not chosen to lure anyone in

Wow indeed. Here he is on Tatro's "Minor Incident" (after Bob Envelodson's v. tb. solo, written out by Tatro). It's brief but DeRosa's horn call has always stuck in my mind.

A gem.

LA -based studio horn player who played on many West Coast jazz dates (strikingly on Duane Tatro's "Jazz for Moderns") has passed away at age 101.

Just got my hands on it today. Don't pass this up! Much of it will be new to many of us, but much of what will be new to many of us is superb. Just on disc one, a Cliff Jackson date with lovely fluent, fluid Pee Wee Russell, outside of his then typical Condon framework (not that there's anything wrong with that, but this is different), and another Jackson date with Bechet excelling in a sideman role alongside Sidney DeParis. And Jackson was no slouch as a solo pianist. Fine liner notes by Dan Morgenstern, as one might expect. with others pinch-hitting at times.

Plaut also did a lot classical recording for Columbia. His wife was a classical soprano who was closely associated with Poulenc.

Entering this discussion late, but my view is that the responsibility of reviewers/would-be critics is 1) to accurately reflect , as they see it, what is going on in the music in general, as well as to 2) be reliable consumer guides. If the recording under review seems to exemplify a less than positive trend/development, one must say so.

Your points about Melle are well taken, but there's still something about him that gets to me. For better or worse, he sounds like no one but himself.

I like all of Melle's Blue Note and Prestige recordings. And don't forget Louis Mecca. Melle's pieces had an atttractive "crunch" to them. One of them, "Threadneedle St." has a coy ambling melody that I can't get it out of my head. His solo work was quite distinctive, like Stan Getz translated to bassoon.

jazz Monthly had a quite a roster of critics: Max Harrison, Albert McCarthy, Terry Martin, Jack Cooke, Alun Morgan, Ronald Atkins, etc.

I've long been fond of "Two Horns, Two Rhythm" with Henry and Kenny Dorham -- they made a fine team. Drummer Was G.T. Hogan, bassist I don't recall but he was a good one. P.S. Alternating bassists were Eddie Mathias and Wilbur Ware. Whole album is on YouTube.

If, as the evidence suggests, Monk liked Henry, that's all I need to know. Not sure what you mean by Jackie's facade, though. He came at us more or less naked on many occasions viz: on "Help" from "Jackie McLean and Co."

And what did Martin think of Jackie McLean? He and Henry are points on much the same line. Martin was, as I once wrote, a sober puritan at times.

Just back home from robotic lung surgery to remove carcinoid tumor (non cancerous -- whew) and two weeks of rehab -- thought they'd never let me go.

And the album itself is at least as magical.

How many times in my youth did I think what it would be like to disrobe the woman in that cover photo.

I meant that track, not the whole album, which is OK but not top notch. But "What's My Name" sure is IMO.

Virgina Black -- Goldberg Variations

with Henry Grimes and Roy Haynes. It has several of Rollins' sonata-like climaxes.

Mel was a piece of work for sure. IIRC I once wrote a review that said that when he sang a love song the effect was like he was holding a mirror in front of his face.

Maybe my favorite Dietz lyric: "By Myself" The party's over, the game is ended The dreams I dreamed went up in smoke They didn't pan out as I had intended I should know how to take a joke I'll go my way by myself, this is the end of romance I'll go my way by myself, love is only a dance I'll try to apply myself and teach my heart to sing I'll go my way by myself like a bird on the wing I'll face the unknown, I'll build a world of my own No one knows better than I, myself, I'm by myself alone I'll go my way by myself, here's how the comedy ends I'll have to deny myself love and laughter and friends Grey clouds in sky above have put a blot on my fun I'll try to fly high above for a place in the sun I'll face the unknown, I'll build a world of my own No one knows better than I, myself, I'm by myself alone What is that?

Records that were made at parties when Dietz was doing schtick to amuse the assembled guests and that was amusing/clever enough to be played later on -- not "party records" of the Rusty Warren sort. Dietz in high gear was like the entire writing/performing staff of the latter-day Sid Caesar show all wrapped up in one. Also IIRC when he was the head of publicity for MGM back in the 1920s, Dietz made up the mock-Latin slogan that appears on the logo of all MGM films, "Ars Gratia Artis" (Art for the Sake of Art). I think he also had something to do with the other familiar aspect of the MGM logo -- both the choice of the roaring lion and the choice of which roaring lion to use.