Larry Kart

Was on a two week tour of Germany, Belgium, and the Netherlands with him a few years ago, with Mike Reed's expanded People, Places, and Things (Julian, Art Hoyle, and Ari Brown added to the regular lineup of Greg Ward, Tim Haldeman, Jason Roebke, and Mike). Warm, subtle man, and, it goes without saying, one heck of a player. I think we all had a good time, musically and otherwise.

Dianne Dorr-Dorynek Dianna Dors Googie Withers Richard Widmark Frank O'Hara Morton Feldman

You're too hip for the room?

One of the things about Byrd that intrigued me back in the day was the rather considerable IMO stylistic shift between the light-toned, at times almost bouncing-ball-like fluidity of his mid-'50s work and the arguably somewhat studied but also at times moving brassy solemnity/sobriety of his late '50s/early '60s work. In the latter bag, I'm thinking in particular of his playing on "Fuego" on pocket trumpet, though there are a fair number of other instances. I have the feeling that Byrd did some studying with a trumpet guru of some sort, and that this bought about that change. Was Byrd -- knowledgable trumpet players please weigh in -- using the so-called "no pressure" system early on? I think I recall reading words to that effect, but that would have been many years ago.

Don't understand about difficulty in identifying Moody if you've heard him much. His tone and his phrasing (especially when he doubles things up) are quite distinctive.

Terrific music, played with great gusto. Probably my favorite Nelson recording.

First thoughts, through piece #4: Wayne remains a lovely player of the soprano (one of the few); Perez's responses/own ideas are fairly obvious I thought -- wonder what Wayne would sound like with a stylistically compatible but more subtle and adventurous pianist (IMO) like Marc Copland. The group interaction strikes me as rather studied/careful (very much with a net-like), especially when things get "hot." I'll keep listening.

Perfect title, too.

Vivid memories of how he played back then. Remember in particular a session in the living room of the house in Hyde Park I then shared with drummer Doug Mitchell that paired Kalaparusha and the late tenorman Fred Schwartz, and a time that he and Roscoe Mitchell sat in at a gig that drummer Gerald Donovan (Ajaramu) and keyboardist Amina Claudine Myers had at a bar on Stony Island Ave. Answering an audience request for "Happy Birthday," Kalaparusha and Roscoe improvised on the piece with much seriousness and intensity for maybe 20 minutes. A very Roscoe-like thing to do, but Kalaparusha was into it all the way.

Great track, but it's 13:19. How about "Marchin' Along" (17:40) from Tiny Grimes and Hawkins' "Blues Groove"? Never let it be said that Bean couldn't play the blues -- at least eventually. In case Grimes is not to your taste, Hawkins' epic solo begins at the 8:26 mark and lasts roughly 5:40.

Not the same track with Zoot and Jaws that Branford heard but from the same album: How could Mr. In the Tradition mistake either man, especially Jaws?

Hmm -- he thinks James Moody might be Lew Tabackin and says this of a track where the two tenor soloists are Zoot Sims and Lockjaw Davis: "This is going to be hard, man, because it’s old guys. This is hard to identify. For instance, Don Byas when he was younger, was influenced by Coleman Hawkins, but by the time they got older and were playing together, it was hard to tell one guy from the other."

http://tedpanken.wordpress.com/2011/08/27/blindfold-test-uncut-from-2002-with-branford-marsalis-who-turned-51-yesterday/

MG -- I know about the no live recordings restriction but prefer to modify it. If they are live and for that reason very loose weave, OK, but the three Freeman live performances above are not at all loose weave IMO and almost certainly would have run that long if they had been recorded in a studio and the producer had been in a hands-off mood.

Von Freeman -- "Summertime" from "Vonski Speaks" (Nessa) "I'll Close My Eyes" and "Young And Foolish" from “Young and Foolish” (Challenge) Somewhat contradicting my last post, these long tracks (some 20, 25, and 17 minutes respectively) are not so much groove things as they are three-act plays.

Booker Ervin/Dexter Gordon -- "Setting the Pace" and "Dexter's Deck" (with Jaki Byard, Reggie Workman, and Alan Dawson) Album ("Setting the Pace") has interesting liner notes, too, from David A. Himmelstein. BTW, I haven't picked any so-called avant-garde works, as much as I love and admire, say, "Congliptious" and "Old/Quartet" because I think of the "long track" framework more or less in terms of a building groove, and the longish avant-garde recordings I like the most tend to be not in that bag -- e.g. the first two I just mentioned.

Noj -- I couldn't agree more about the play call there and on the other passes they ran in those four final plays, but as Matt Bowen points out: http://www.nationalf...-the-49ers.html The Ravens' set-ups/play calls more or less forced the 49ers' play calls there, although the quarterback run that was aborted by a 49ers' time out as the play clock ran down looked to me like it might have scored. Further, about the Ravens' defensive setups in the red zone -- recall the 49ers two-point conversion attempt after their final TD. Ed Reed was right in CK's face immediately, and CK rather oddly just threw the ball away (I say rather oddly because there was no downside to throwing in the area of a possible receiver). In any case,, the Ravens forced the play, when I'll bet that the 49ers' plan there was for CK to throw or run as he saw fit. In any case, I still would have taken my chances on any of those four last plays with CK hovering at pistol formation depth in the middle of the field and making a choice that looked good to him. Rolling out limited his choice of receivers and virtually eliminated the run option. More on those last plays: http://fifthdown.blogs.nytimes.com/2013/02/04/goal-to-go/?ref=sports&gwh=94C26102AABEE445C11F572CDB3BF66A

So....the logic is if he complained the play was holding? How does this explain the no-call by the ref? Watch the replay. It is painfully and obviously a hold. Periera explained that that the call couldn't have been defensive holding on the final play, only pass interference, because the contact that might have been PI occurred only after the ball was in the air; defensive holding, when it occurs, takes place before the ball is thrown. As for the difference between the first play of the game and the last one, the penalty called on the first play was not a judgment call (or was not one unless you insist that the difference between wrong and right there was too small to call in such an important game, which I think is the opposite of what you've said elsewhere on this thread), while the non-call on the last play of the 49ers final drive was a judgment call. Finally, as others have said, if the game was fixed, how in the flaming hell is it allowed to end up with the 49ers running four plays from the seven yard line, when a TD by them would win the thing? Especially when the CK running play they tried to run but that was aborted by a Jim Harbaugh time out might well have scored. Some fix! Oh, wait -- maybe Jim was in on it?

It was a good non-call. The refs had been letting that go all game. It would have looked bad if they decided to call it there. Plus, it looked liker the receiver pushed off with a hand to the defender's face/hemet. I think you are referring to a different play. I am referring to the safety, when the punter ran around in the end zone and took 8 seconds off the clock. The Baltimore offensive lineman was beaten by the San Francisco lineman, and the Balt guy wrapped both arms around the SF guy's waist from behind, preventing him from tackling the punter. I don't know NFL rules, so I don't know if that penalty would have made any difference. But that was the most outrageous hold I've ever seen in my life. Oddly enough, the penalty for holding in the end zone is a safety, which is what Baltimore was going for anyway. http://en.wikipedia.org/wiki/Holding_(American_football) Less or no time off the clock would I guess be the issue if the penalty had been called.

Acute comments IMO (the final one especially) from former NFL safety Matt Bowen: The “no-call” in the red zone: I will always come to the defense of the secondary when we talk about physical play and some contact on the release (or through the route stem). However, I can see why Jim Harbaugh had a serious issue on the fade route to Michael Crabtree vs. Jimmy Smith. As a DB, you can get away with a hold if you keep your hands inside of the shoulder pads from a press-alignment. But when you grab outside of those pads (as we saw with Smith on the release), that’s a call the refs probably should make. Rough night all around for the officiating crew down in New Orleans. Ravens’ Cover 0 pressure: In two key situations (2 point play and the 4th down fade route), Baltimore played “zero-pressure.” Think of man-pressure with no safety help in the middle of the field. That’s smart football. Play with inside leverage and force the QB to throw the slant or the fade. This allows you to dictate the game situation from a defensive perspective. 49ers’ red zone play calling: San Francisco had something going when they burned a timeout on 3rd down (QB Counter Lead) in that final series, but I have to question the play coming off the timeout (quick flat route out of a bunch alignment) and the 2nd down call to run the Flat-7 (Sprint action). That’s a situation where you can throw inside breaking routes (Hi-Lo for example) or line up and go with the base downhill run schemes before throwing the fade on 4th down. Bowen's second point suggests why the 49ers' called those flat routes; Baltimore's defense more or less dictated them. Too bad about that time out on the QB counter lead play. To me, odds looked good there that CK would have scored.

In addition to several tracks already mentioned, Gil Evans' "La Nevada." Also, though it's only 11 minutes, the Cannonball-Miles "Autumn Leaves."

Harry James, IIRC.

Yes -- alternate takes.

As for the Bird image, has anyone mentioned that it's flopped -- wrong hand (right) uppermost on the horn?