Larry Kart

Yeah -- that, too.

http://www.youtube.com/watch?v=EEanhqHKkuk Don't know why there's an image of Hall and Joe Pass on the above clip.

Chuck Wayne/Joe Puma "Interactions" Very good IMO. http://www.amazon.com/Interactions-Chuck-Wayne/dp/B006I01KFA Another guitar duo, Jim Hall/Pat Metheny http://www.amazon.com/Jim-Hall-Pat-Metheny/dp/B00000IFTK And another -- Eddie Lang/Carl Kress:

I don't particularly like (or perhaps that should be trust) the frequency and amount of what might be called "skrontch" (sp?) in his playing here, but there's certainly a good deal of agile thinking involved.

Try obvious flashy head-banger...not too much "bluesiness" to it all...but he insists that Miles insisted that he play that way, and like I said, I have no problem believing that so. "obvious flashy head-banger" -- right.

Something got lost in translation! There must be NO bass, NO drums, and probably NO piano.... Oops -- sorry. I'd just gotten up.

Mike Stern -- now there's a nightmare example of (dubious IMO) overt blusiness. About the tunes on this album, I liked some of them a good deal. Quirky and in some cases Ornette-ish, I thought.

Lucky Thompson trio recordings with Oscar Pettiford and guitarist Skeeter Best. Glorious.

Just curious, do you hear Scofield's note bending as being a manipulation of pitch, timbre, or both? Almost certainly both -- but then I'm thinking of stuff I heard Scofield play in person a long time ago, not much, if anything, that I have on record of his AFAIK.

The only Scofield albums I own are "Meant To Be" and "Quiet," both of which I like but which may give me a distorted picture of a guy who has recorded lots and lots of things. Very early on, in the mid or late '80s, I reviewed him in a club, and that's where I heard and was put off by what seemed to me to be the overt bluesiness. I just don't in general care for what strikes me as obligatory note-bending and the like -- obligatory in that what I think of as (or what ought to be) tokens of strong emotion are being slathered all over the place in a semi-arbitrary manner.

Just listened for the first time to this 1993 disc (with Steve Swallow and Bill Stewart) and was pretty much blown away by the intensity and focus of everyone's work here. Not being that well-versed in either of the co-leaders' musics (I enjoyed early Metheny -- interviewed him once, a great guy -- but didn't much care for much from his working bands; have tended to distrust what seemed to me to be the overt bluesiness of the little Scofield I know), I wonder what those who are well-versed in Metheney and Scofield think of this one.

  I know the rule difference. My point was you can't even see if that foot was inbounds. But was there any doubt in the announcer's call, any controversy about the play?

Thinking again about my visit yesterday to RCA Carroll, her feel for '30s-'40s standards (e.g. "My Funny Valentine, "Autumn in New York") was exceptional. She improvised on them from the "inside" so to speak, never jazzing them up (this might account in part for Richard Rodgers beingone of her fans) but again really improvising. That approach was especially intriguing on ballads, where her tempos often were quite slow but forward momentum at those tempos was always sustained, melodically and rhythmically, with sotto voce lines often ascending to the upper register and being sustained there for longer than one would think possible; all this having (pardon the imagery) a sort of frost on the windowpanes effect.

"P.S. On that interception....there is no evidence at all that it actually would be considered one from any angle anyone can find for it. Was it amazingly athletic, yes....was it really an interception?" College rules are that for an interception/reception one needs to have only one foot in bounds, not two as in the pros. You can't see that that's the case here?

The leading candidates that year (hey, why not Ryan Leaf?): http://www.sports-reference.com/cfb/awards/heisman-1997.html A Peyton Manning versus Woodson debate (click on those Woodson highlights, especially the interception): http://www.lostlettermen.com/did-peyton-manning-deserve-97-heisman/

Actually, I was comparing early '50s McPartland and early '50s Carroll. I agree with you about later McPartland and later Carroll.

Saw him play at the U. of M. He was something else.

I use Safari. And the problem I mentioned just cropped up yesterday or the day before. But maybe the answer is to just ignore the way the words break in the reply box because I see from this post that they don't come out with wrong word breaks in the actual post.

Has there been a change? When I type now, words break in the midst of words if they're at the end of lines, and when I hit the return key to prevent those wrong word breaks, the resulting post is full of short lines.

Listened to some of the RCA material, Jim, and while I much prefer it to the later Carroll, I doubt it would be for you -- my sense that she's precise and delicate might be your precious and finicky, and while I too normally would be in your camp along those lines, I can't quite say so far why Carroll often tickles/interests me. In part, it's that her touch is so nicely graded that one can't (I can't)tell where,for her, in the mix of touch/dynamics, harmonic vocabulary (somehow, at once adventurous and chaste), time feel, keyboard layout (this is big for her), etc. one element leaves off and the other begins.

IIRC she sings on a few things from the RCA period, but only a few.

Clifford Brown's solo on "Pent-Up House" from "Sonny Rollins Plus 4." There's one of Clifford's patented burbling grace-note passages there that I used to play over and over it was so damn joyful, even ecstatic. Here it is, beginning at 1:38 (actually the whole solo is like honey from the comb): Added: BTW, IIRC I suggested to Martin Williams (I think he asked for some advice on a few things when he was assembling the original Smithsonian set) that he use this track.

No, not in the Bud Powell sense. But more agile, or more to my taste, than say (to pick a name out of my moth-eaten Be-Bop beret) Billy Taylor? I mean, they're both arguably too clever for their own good at times, but Carroll seems less formulaic to me. I'll listen again when I get a chance and try to amplify if I can. Also -- and I don't bring up this name for the obvious reason but just because I picked up an album of Hickory House-era Marian McPartland a while back-- comparisons to contemporary or a bit later Carroll are much to Carroll's favor IMO. McPartland's boppish gestures are more or less gestures at that point, laid on top of other stuff; Carrol thinks and feels from within the bop sensibility and in a personal manner. Yes, it's a "light" manner by and large but genuine, intelligent, and again it bears the imprint of her own soul.

Don't forget Herbie's Chicago mentor Chris Anderson, who probably was the filter for Herbie's interest in Farnon and Riddle (Herbie may even have said that in an interview; Anderson was drenched in the world of film and vocal scoring). In any case, Anderson's trio recordings for Jazzland and VeeJay need to be heard with that in mind as well as for their own lovely virtues.

per a link by Marc Myers: http://www.youtube.com/watch?v=HgWwvaBeXf0