Larry Kart

Must have gotten my tracks confused, maybe it's the next one, but there's no way the exchanges I heard are with Gary Thomas, unless he's playing through some device that makes his tenor sound pretty much like a guitar. OTOH, if he is playing through such a device, kudos to him and to the device! It's most likely the keyboard player. There's a tune on the live album with that type of soloing. I think it's called The Divide. Yes, that's the one. And it's the live album I have. Many thanks. In any case, some very adept playing IMO and pretty "hot" too, in the good sense.

Must have gotten my tracks confused, maybe it's the next one, but there's no way the exchanges I heard are with Gary Thomas, unless he's playing through some device that makes his tenor sound pretty much like a guitar. OTOH, if he is playing through such a device, kudos to him and to the device!

Dubious move on the part of Proper. If you're putting together a box of Hayes from that period, surely you know that his fans want that album and they want ALL of it.I for one was going to order the box but now will not.

Never saw that cover before. Different from the old LP I used to have or the CD I have now. Evidently changed to cash in on his Columbia popularity. Just picked this up in mint condition at a thrift for $1.50. From what I read it's a 70's reissue. Nice sounding vinyl. I'm already familiar with the material. Great stuff. Originally on New Jazz, IIRC. Quite individual vibes work from Al Francis, who in the mid-1980s made a fine trio record "Jazz Bohemia Revisited "on an obscure label Lost Cosmic Unity with bassist John Neves and drummer Joe Hunt. And here it is, mirable dictu: http://www.myspace.com/jazzbohemia

Track list here: http://www.propermusic.com/product-details/Tubby-Hayes-Little-Giant-Steps-4CD-148786 Looks like Soho Soul, The Simple Waltz, and You're My Everything are missing.

So nobody here knows the answer to my question? I would have thought there'd be some McLaughlin-ites on the board.

I found some YouTube hits, though nothing extensive enough to tell me much about him. In several of them he's playing outdoors at a cafe with bassist Dewayne Oakley and drummer Donald (Duck) Bailey; there's also a longish video interview with Bailey where Clarke crops up briefly toward the end. He looks to me to be in his early 30s, and I assume he's based in the SF area, because that's where Bailey is. Upon further review, this video has more of him, and it's not too promising IMO, though it is outdoors and on a windy day:

'Mr. Hindemith’s composition ends strongly on a theme based on a Pittsburgh folk song [not an actual folk song; it was co-composed by Woody Guthrie and Pete Seeger] “Pittsburgh is a Grand Old Town.” … There is a beautiful passage for muted strings played against a tympani beat in the second movement, and this is followed by a stirring march. Mr. Hindemith employs a Pennsylvania Dutch ditty, “Hab Lumbedruwwel mit me lumbeschatz,” which can be translated very roughly into the vernacular as “My girl friend is giving me a rough time.”'

...as with the Metheny/Scofield album too? Are you beginning to explore the, for lack of a better term, "post-fusion" musics being made? Not specifically, though it looks that way. It's just that recently and semi-randomly I've picked up a fair amount of stuff of all sorts (jazz, classical, what have you) from Half-Price Books that's outside "my normal areas of interest and experience," in part because one can return stuff there (or if it's from a library de-acessioning sale, because it cost maybe $1 or $2), and just now am I sitting down and listening to it in a more than cursory, "OK, think I'll keep this" manner. What I'm hoping to find is some basic sense of physical/musical/emotional intensity, plus some sense that things are being done differently than I'm used to, and on this album and the Scofield/Metheny that's what I've found. Feels good. P.S. Something else I found and listened to yesterday was Werner Albert's CPO recording of Hindemith's "Pittsburgh" Symphony, his final orchestral work, which is much better than what I'd thought it would be for the most part but that ends with an absolutely lunatic setting of some popular in that city pro-Pittsburgh song, like a football fight song or the equivalent in tone of "Chicago, That Toddlin' Town."

I'm in agreement with Monk. I've never heard a piano successfully bowed.

Going beyond my normal areas of interest and experience, I was listening yesterday to this 1998 disc (with Gary Thomas, bass guitarist Matthew Garrison, keyboardist Otmaro Ruiz, percussionist Victor Williams, and Dennis Chambers) and enjoying it a good deal when I got to one track "Fallen Angels" that included a series of rapid-fire exchanges between two soloists -- one of them obviously the leader, and the other...? It sounds, in fact, almost like McLaughlin is playing exchanges with himself -- so similar is the thinking and the sound of the two (if there are indeed two) instruments -- but it seemed like it would be both unlikely to imitate the feel of two players exchanging ideas if that wasn't the case and also rather pointless. So if it is two players, does anyone know who the second one might be? All I could think of was Ruiz, with his keyboard adjusted so that it sounded very close to the sound of JM's guitar, but if so kudos to Ruiz for coming up with some quite virtuosic quick-witted stuff.

To be serious, I can't begin to calculate all the pleasure, stimulation, enlightenment, friendships, etc. that Jim and this place have given me over the years.

Hard to believe.

Look for it under the name on YouTube.

Another county heard from -- the original SM recording, with Richard Williams and Jaws(!) and a nice exposed passage by Jimmy Cleveland in the ensemble:

Didn't say that he hadn't made his mark before then, but yes to your citation of Iverson's phrase.

FWIW -- I found this 1995 Burrell album to be quite a snooze-inducer: http://www2.concordmusicgroup.com/albums/Lotus-Blossom/

http://www.wolpe.org/page10/page10.html#John Carisi Click "Back to the top" and you'll find lots of other interesting interviews about Wolpe, including ones with George Russell and Bill Finegan.

Here's where the problem is: No one knows who the fuck you are. So saying "yes I can" just makes you an internet tough guy with nothing to back it up. You'd be better off making your criticism and leaving it at that. Or telling us who you are and pointing us to <i>your</i> record with the superior version of "Stolen Moments". When you tell us who you are, I'm sure we'll be able to see that you're the modern-day KB, having racked up dozens and dozens of sideman gigs, where your particular bag is always technically perfect. sgcim --What do you think of Eddie Higgins' version of SM? http://www.youtube.com/watch?v=tDt11RY9CfM

Beautiful recording job, lovely music. I particularly like the knitted-together feel of the band and each piece, the sense that it all "speaks." Jim is just a genius with voicing the Hammond (if "voicing" is the right term for that), Randy is at once slick, soulful, and utterly relaxed, and Ralph is right in there. Food for the soul.

"..cool progressive, you dig?" I think Jones said. Oh, boy.

I'm grateful to those Bill Stewart dates for introducing me to the wonderful pianist Bill Carrothers.

Also, see p. 21-22 here (put Skrontch in the search box) about the origins and nature of the piece (an Ellington number): http://www.amazon.com/Duke-Ellingtons-Music-Theatre-Franceschina/dp/0786408561/ref=sr_1_1?s=books&ie=UTF8&qid=1362257683&sr=1-1&keywords=Duke+Ellington's+music+for+the+theatre

FWIW, Fats Waller's recording of "Skrontch":