Larry Kart

Maybe I put it poorly/confusingly, but here are forum rules 7&9: 7) We do not allow sharing, trading, or linking copyrighted material that is being offered illegally, including bootlegs. 9) When posting articles from other websites, do not quote the entire article. Please post a small snippet, then include a hyperlink to the full article. See this post as an example. Sharing lyrics of copyrighted songs would, I think, not fall into the "being offered illegally" class because there is no medium for the sale of lyrics alone, though posting pdf files of sheet music plus lyrics of copyrighted songs would violate rule 7 because there is a legal medium for the sale of sheet music, plus of course an illegal one. Jim will correct me if I'm wrong about what I've just said, but if he doesn't, please don't argue with me about this on some "gotcha, you hypocrite" basis -- I have no time for that; besides it's Jim site and his rules. I just enforce them as best I can.

Always respected and kind of enjoyed the Williams-Basie material, while feeling, based on some latter-day club experiences, that his heart really was in singing standards in a cool-warm hip manner. Recently picked up "Together/Have A good Time," which combines two fine albums he did with Harry Edison for Roulette in 1961, and that feeling was very much confirmed. BTW, I said cool-warm because even though his voice is a warm baritone, his laid-back more or less cool phrasing reminds me very much of the late lamented Buddy Stewart (b. 1922 -- he was a tenor), who sang with the Krupa and Barnet bands and died in a car crash at age 27. Stewart's hipness, as I think is the case with Williams, is all in the near-horn like phrasing, relaxed and quite saxophone-ish. I think that '60s Williams -- Roulette, RCA -- may be the place for me. Any suggestions?

Freelancer -- Read the forum rules. No. 9 says that you can't post complete entries of actually or possibly copyrighted material, only links to that material. If you don't know why that rule is in force, we'll explain it to you, but don't do it again.

Freelancer -- Forum rules prohibit the quoting in full of copyrighted material. Here is a link to the Stanley Crouch review of Kastin's book that you quoted in your post on this thread, which I deleted because of that forum rule: http://bnreview.barnesandnoble.com/t5/Reviews-Essays/Nica-s-Dream/ba-p/5197

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Playwrights’ Collective Prepares to Disband

Howard Deitz's "By Myself": (Verse) 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. (Chorus) 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.

Also, I think that Cohn has his guitar set up in an overly treble-ly manner. After a tune or two, his tone literally gives me a headache.

Cohn's recent "Fuego" (Cross Cross) sounds pretty lively to me, but in general I find him to be a snooze-inducer. The guitarist of that general age group and style who has caught my ear is Jonathan Kreisberg.

Speaking of "Story of My Life," Jay McInerey's 1987 novel of that title -- about a cocaine-addled, promiscuous young woman named Allison Poole whom McInerney himself was involved with off and on back then-- is based on the author's relationship with Rielle Hunter, now famous as John Edwards' mistress and the mother of his child. The title phrase is one that Ms. Hunter would use after relating to Jay her latest and typically harrowing-debasing misadventure. Little, it would seem, has changed. A (perhaps) surprisingly accomplished and amusing book, in any case. http://www.amazon.com/Story-My-Life-Jay-McInerney/product-reviews/B004KAB4OW/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1 http://en.wikipedia.org/wiki/Rielle_Hunter

Story of my life.

Yes -- you've got to know what you don't know is something I've had carved into my forehead ... backwards of course, so I can read it in the mirror. And even then it's not that simple, at least for me, because I'm often drawn to poke around in more or less technical areas where I don't know what the "proper" names for things and the current formulas and understandings of those things are. OTOH, my relative innocence/lack of that sort of knowledge has served me well at times I think -- in part because it leads me to ponder in somewhat novel and ultimately valid (IMO) ways about what everyone already knows (but sometimes they don't), and also because the naming and conceptualizing processes in jazz are far more fluid IMO that a whole lot of people like to believe -- especially those who think that the technical-conceptual languages that arose from and pretty much fit most classical music can be applied just as neatly to jazz. For some reason I think of a Pepper Adams story. He and his fellow bandmates in the Jones-Lewis Orchestra are looking over a new chart from Thad and scratching their heads. Pepper says not to worry, "It's the same changes as 'Death and Transfiguration.'"

Now, that's funny. you got that? It took me a while to work it out, and I'm from Essex! Not immediately, but when I sounded it out, yes. Cracked me up. I could see that woman as well as hear her. A bit frightening.

Racism? Is Polish a race? I didn't know about POlish jokes in the USA either. Yes, we have Irish, Scottish and Welsh jokes here. Even about Essex Woman - What's Essex Woman's favourite wine? 'I want to go to Spine!' MG Now, that's funny.

Great post, Ben. I particularly like "'I think "harmonically strong" players like Parker and sometimes Coltrane had such strong ears that their lines dictated the harmony, not the other way around" and all of the previous paragraph. Geez, if you keep working at it and thinking this hard, you might even become a "critic."

Two Giddins stories, both from the same source, a prominent NY-based jazz musician whose name I won't mention for obvious reasons: Stopping by Giddins' apartment one day to drop off a copy of his current CD, he was greeted at the door by the man himself, who, pointing to all the for-potential-review CDs strewn about the floor and on chairs, tables, etc., referred to them as "cockroaches." A mood boost, right there, albeit credit Gary perhaps for telling the truth about how he really felt. Second, he and Giddins are standing backstage at a NYC jazz concert. During one number, Giddins turns to the musician and says:, "The blues and 'I Got Rhythm' are essentially the same thing, right?"

Peace.

Gives a new meaning to the title "Miles Ahead." Having been on the receiving end of one piece of Miles' dickhead behavior, I know what you mean. The new boy at Down Beat in the fall of 1968, I was at the Plugged Nickel trying to set up an interview with a reluctant Wayne Shorter (he said he didn't want to do one because he didn't have anything to say) when Miles from across the room hissed out "Don't tell him any-thing, Wayne." (Miles knew more or less what I was up to because I was there with my boss Dan Morgenstern, and Miles knew Dan.) In any case, Wayne, seeing me wince at Miles' words, which came from behind my back, and (so I later came to think) probably engaged himself in a tit-for-tat power struggle with Miles, immediately said that he'd do the interview the next day. It's the one that was rightly printed under Wayne's own name as "Creativity and Change" -- rightly, because it was spoken by him in a virtually unbroken 90-minute monologue.

I understood it that way, and that's why I changed my mind about closing the thread. It was Big Wheel's nyah-nyah post above that irked me.

Just send checks (and chicks) directly to me.

All I'm doing is trying to clean up the garbage that other people have dropped in the streets of Organissimo, and obviously I'm wasting my time trying to do it. If make a mistake, maybe you should go get yourself a new garbage collector or just stroll through the garbage-littered landscape while keeping your nose pinned and your mouth shut.

I believe it was the "Breezin'" album in that compilation that seemed to me to have topnotch Harris.

Allen can explain (and no doubt he will), but IIRC what Giddins did in the course of his review of one of Allen's books or its related series of CDs was was make an utterly false and dismissive factual statement (and doing so in a quite authoritative tone) about the relationship between the text of Allen's book and the set's extensive liner notes. This statement Allen felt was not only false but also directly damaging to the marketibility of his set and book. It might be, keeping it within the legal framework, as though someone were writing in a newspaper about the quality of local law firms in a particular field and stated that Gould, Lowe, Kart, and Associates had gone bankrupr a few years ago or been cited for gross violations of ethics, when neither thing was the case. Further, I believe that when Allen got in touch with Giddins and asked him to correct his mistake (I'm sure Allen did this quite calmly ), Giddins told him to go f--- himself.

Yes, Allen -- many thanks. I've been enjoying it. Got it at about the same time as a recent 2-CD Sonny Red compilation of Jazzland, etc. material. Interesting to compare: http://www.freshsoundrecords.com/quartet,_quintet_&_sextet_4_lps_on_2_cds-cd-5679.html Both Quill and Red somewhat acrid in tone but attractively so to me, Quill more mobile but Sonny Red no slouch, Red at times edging into modality but this development in the music occurred after the Quill recordings were made. BTW, one of the Sonny Red albums on that compilation has what strikes me as the best Barry Harris I've ever heard. Also interesting are the variations among the rhythm sections Sonny Red plays with. One took in such differences at the time, I suppose, but with the passage of 50 or so years (!), how the musical personalities involved interact and the various overall flavors that result seem more striking.

I'd bet the drummer is Stan Levey; somehow he sounds left-handed.