Larry Kart

A minor figure, perhaps, although a quite individual one, but IMO trumpeter Bill Hardman kept getting better and better with age.

Not sure about this, but maybe Earl Hines? A whole lot of late Hines sure is fantastic.

Thanks, Big Wheel.

Agree about Harrell. Certainly mature Kenny Dorham was leaps and bounds better than young Kenny, but then the trumpet is such an unforgiving instrument if you're trying to playing in a style that demands sorts of technical mastery that the young Dorham did not possess. In his maturity, Dorham, among other things, figured out some different ways to play that played to his strengths.

What does "All your blog are belong to us" mean? Is it a dialect or some slang I'm not familiar with, or is there a typo?

One who has gotten better and better with age IMO, up until the point where physical factors come into play at times (but only at times), is Von Freeman.

Would that he did. That he doesn't (IMO) is unfortunate. Again, I would ask any admirer of latter-day Woods to listen to the two very good (though not the best I've ever heard) samples of his early work ("Stockholm Sweetnin" and "Toos Bloos") that I posted on the Woods thread and tell me that they can't hear a difference in quality as well as in style between them and his typical later work. If you can't hear a difference of any sort, then I think we can't talk.

Here ya go: http://www.puritan.com/digestive-health-047/swiss-kriss-herbal-laxative-008109?sa=t&rct=j&q=swiss%20kriss&source=web&cd=6&ved=0CMoBEBYwBQ&url=http%3A%2F%2Fwww.puritan.com%2Fdigestive-health-047%3Fpage%3D1%26sortOrder%3D2%26filter%3DBrand%257C262&ei=2LHaT5X1Dsic2QX8kb27CA&usg=AFQjCNGJGU9G6mOWXxhBt8hW9VFX_M2uQw The place that sells it, Puritan's Pride, has the perfect name for a place that sells it, too.

@ Ted -- Dave Dallwitz! One of the great, by any standards, jazz composers IMO. The Ern Malley Suite for one. I've got a good deal of what Dallwitz recorded on Swaggie LPs, but I'm afraid that much of it is o.o.p. now. My, and Chuck's, good friend Terry Martin is a native of Adelaide (Dallwitz's hometown) and knew him fairly well, initially because Terry and Dallwitz's son were childhood pals. Dallwitz was a heck of a painter, too: http://www.greenhillgalleriesadelaide.com.au/show-artist.php?id=76

Hey, while in a very expansive mood I bought the record and its predecessor, figuring that standards might bring out what remains of the non-whiz bang side of Woods, and on several tracks that's the case. But not this one.

Put it on my IPod and listen while I'm walking in the Great Outdoors. Excellent. Fascinating to hear you playing without (much of) a safety net, so to speak. The "purity" of your sound and overall approach is very moving. More please.

For an example of latter-day Woods at his cheesiest/most un-compositional, check out "Watch What Happens" from this album (which believe it or not I own a copy of): http://www.amazon.com/American-Songbook-Phil-Woods-Quintet/dp/B000QEILFQ A blatant piece of bebop pole dancing, IMO.

The Bell brothers recorded some great stuff. That Australian Trad scene was something else.

The great river Time...

Some vintage compositional Woods (the first track [mistitled] though quite good, is surpassed IMO by his solos on "Walkin'" and "A Sleeping Bee" from this album, but I can't find them on YouTube): http://www.youtube.com/watch?v=j8YrK05Q4rY http://www.youtube.com/watch?v=0V_AH-nz0SE

Yup, especially "compositional."

Once Illegal, Rumors Now Have Mubarak Die Daily

IMO, with few exceptions, after "Sugan" there isn't much Woods that's in the same class with his earlier work, which I generally like a lot. Using a shorthand phrase that I've used before, he was a jazz musician who seemed almost overnight to become a jazzy musician, full of, by his own earlier standards, rather arbitrarily placed gestures of hotness, while at the same time his formerly quite shapely lines -- in particular, his Benny Carter/Don Stovall-like taste for placing/bouncing phrases in one register off of phrases another -- seemed to become much more generically boppish. A story I've told before: At some point in the mid-1980s, Woods brought his group to Rick's Cafe Americain in Chicago. Expecting the usual bells and whistles, I was delighted to encounter some of the most relaxed and lucid playing I'd heard from Woods in years. After the last tune, Woods apologized for the tepid nature of the first set, explaining that because of transportation problems they'd gotten almost no sleep the night before, and he urged everyone to stick around for the next set, where he promised they'd really get things together. I stuck around, and the second set was akin to/worthy of Richie Cole. Obviously just my opinion, but I do wonder how someone can listen to the Woods of, for example, Jon Eardley"s "Pot Pie" or Quincy Jones "This Is How I Feel Ablut Jazz" and not at least hear how different it is from most later Woods. If you prefer later Woods, fine; but the differences, again, are pretty fundamental.

Nope...got me there Get your "Baby" Ruth bars?

Years ago a friend in San Francisco saw and made a drawing of (it's on my wall) a grocer's window in which there were these words: "Bing" Cherries

By my understanding, neither forum rule 7 or 9 excludes song lyrics, as I explained above. And the reason we don't allow whole articles, etc. posted but only links to them is simple. That which is linked to has been put up on the Internet by those who have put it there in the hope that it will be linked to. If they didn't want it to happen, there would be no link to link to. The objection here to posting the entire article or whatever is that doing so denies the party who placed the article or whatever on the Internet in the hope that others will link to it that which the party wants in return -- an increased number of page views. All of Jim's forum rules are based in common sense, I believe. Just read them and follow them. If there are arcane or special cases, just ask -- Jim or one or more of the moderators will consult their Quiji boards. We forget Ronnie Scott's greatest witticism: "Who shot the couch?"

Given the fact that Williams was four years older than Buddy Stewart (b. 1918 vs. 1922) and was working as a pro in his teens, it's very unlikely that he was influenced by Stewart, as I suggested above. But their approach to standards was somewhat similar and hip (no finger-popping shtick, just flowing horn-like phrasing) -- similar IMO even though Williams was a baritone and Stewart a tenor.

Another thread exists on this topic. This one is now closed.

Did Baraka have anything to say about Nica other than that snippet? I'm curious because I get the feeling that he didn't know her/get to observe her much if at all but simply slotted her into one of his pre-existing categories of execration. If so, not a particularly nice/smart thing to do, albeit an economical manuever -- you've got to leave open as many brain cells as possible for really important stuff. Further, from what I know about Nica (no direct contact on my part, though) she was as close to a one-off as could be, not a standard or even non-standard jazz groupie or dilletante of the sort that the young Baraka would have been familiar with or even have slept with (as one of his transitional poems of enraged self-disgust (quoted by me on an earlier thread) goes into much detail.

I agree. That's among the reasons why he reminded me of that hip band singer Buddy Stewart, who might in fact have been an influence on the young Williams, given their ages and the era in which Stewart was popular before he died and was pretty much forgotten.