Larry Kart

Forgot to mention that among Bob Wright's other passions was sheets of sound Coltrane. This is a passion he shared with steeped-in-Pee Wee Russell-but-still-his-own-brilliant-man clarinetist Frank Chace (d. 2007). Back in the day (probably the mid-1980s) I made a cassette tape of Bob and Frank rehearsing in Bob's living room; they played several Coltrane and Dameron tunes. Sadly, the tape seems to have vanished about fiv e years ago after I lent it to a friend to have it digitalized, but his apartment is full of stuff, so I haven't given up hope.

Clarence St. John's "Cole Smoak" (correct spelling):

Two more, Joplin's Haunting "Magnetic Rag" and Cow Cow Davenport's "Atlanta Rag": IMO, Ms. Tichenor has really got that thing.

Poking around on the 'Net with thoughts in mind of my recently deceased friend Bob Wright -- the great Ragtime and Stride pianist who also loved the music of Lennie Tristano (Bob claimed to be able to play Tristano's multi-tracked "Turkish Mambo" all by himself; I heard him do it once but couldn't swear he got all the notes in), Ravel, Burt Bacharach, Bud Powell, and others -- I thought of checking out the work of his Ragtime and Stride colleague ( both as a player and a scholar) Trebor Tichenor, only to discover that Tichenor's daughter is one terrific player herself. Check out these two performances (the first of a fine piece by Trebor, the other of a gem by Mae Aufderheide). There are more from Virginia on YouTube. What a swinger she is!

Richard Twardzik's "Yellow Tango" and "A Crutch for the Crab": Or if we were we talking about something else, how about Chopin's Sonata No. 2?

Taylor's liner notes for the Smithsonian John Kirby set are particularly fine. There were others I'm sure that were, like the Kirby notes, known to more than "other writers," but I'm too tired from today's 12-inning Sox loss to think of them. Apparently, Taylor's journalistic writing on jazz was confined to the Washington Post by and large and thus wouldn't have been known to many people outside that area. Had the same problem myself writing a whole lot about jazz for the Chicago Tribune for more than decade; virtually no one knew unless they lived in the Chicago area, not until I put some of it in a book in 2004. Then jazz people worldwide could know, and they were correspondingly enraged and disgusted.

by way of Bill Kirchner and Mike Fitzgerald's estimable website: http://www.jazzdiscography.com/Essays/jrtaylor.htm Sadly, J.R. doesn't write about jazz anymore.

OK -- you convinced me. I'll unlock that thread.

The rationale is simplicity/one-stop-shopping, you name it.

Noting cumz from viynl.

I want to know everything about everyone, but I'd prefer that no one know much of anything about me.

Duplicate thread on this topic here: http://www.organissi...me/page__st__30 I've asked before and am asking again -- look before you post! So this thread is CLOSED.

Smegma Killed My Mother. At least it's better than Flush Life.

Sitting next to Perk on a commercial record date in the 1970s and the leader asks him for "one of those 'woofy' (?) solos like they used to play in the 50s," and Bill leans over and says "I think he's talking about me." Years later he told me, "people get angry when I don't play the same way I used to." As may have been mentioned on this thread or elsewhere, Fischer was big on punching people out or saying that he wanted to, this apparently after he became an imposing physical specimen after a lot of work in the gym. Unfortunately, later on he got into a road rage incident with a bigger tougher guy one day and was almost killed in the course of the ensuing beat down.

I can't speak for Mr. Jones/Baraka, but I can guess that he felt that Wayne Shorter went only so far and decided to refine his playing style as it was, rather than searching for new avenues of music, as Trane and others did. Maybe if he had heard Wayne's playing at The Plugged Nickel he might have felt differently. Perhaps - but I don't think that Wayne stretched himself to other emotional levels on those recordings. I think that Jones/Baraka was writing about emotional and musical changes. I think I know what you mean and also think I know what Jones/Baraka might have had in mind, but I'd say that the way Wayne plays on the Plugged Nickel recordings is about as dauntingly out there as Wayne could have played and still be Wayne, given the nature of who he was/had become as a person and musician by that time. I do miss the more brutally ironic, masked marauder Wayne of his VeeJay recordings, etc. (if "brutally ironic" is the right way to put it), but I can see where that stance was one he couldn't or didn't want to maintain. Odd though that Jones/Baraka, who did know Wayne personally back in Newark apparently didn't know him well enough to know this.

Some nice work by Jim A., Janiva, and everyone on this YouTube performance: http://www.youtube.com/watch?v=oDjoisRPZuY

As the Michigan Fight Song says (I think): "The leader and the best." Happy Birthday, Jim. :party:

you start a new one. There is no more tedious task we have to do as moderators than dealing with the frequent problem of duplicate threads.

A gem.

New Age grammarians? Fowler's "A Dictionary of Modern English Usage" was published in 1926! And his list of "great authors who have allowed themselves to end a sentence or a clause with a preposItion" includes Chaucer, Spenser, Shakespeasre, the translator of the King James Bible, Ben Jonson, Milton, Swift, etc. And Jetman -- when it comes to prepositions at the end of sentences, you were not taught well enough. This is the sound advice of Fowler (a stickler for proper usage if there ever was one): "Follow no arbitrary rule [about placing prepositions at the end of the sentence] but remember that there are often two or more possible arrangements between which a choice should be consciously made. [My emphasis] If the final preposition that has naturally presented itself sounds comfortable, keep it; if it does not sound comfortable, still keep it if it has compensating vigor or when among awkward possibilities is it is the least awkward." BTW, in Fowler's entry "preposition at the end," he explains quite clearly how the "cherished superstition" about not putting prepositions at the end arose: because "you cannot put a preposition (roughly speaking) later than its word in Latin" it was thought that "therefore you cannot do so in English." But Latin and English are not the same language. P.S. This "gang" formed because you got snotty with a poster about violating a "rule" of proper usage that is in fact a canard.

H.W. Fowler's "A Dictionary of Modern English Usage" demolishes what he describes as the "cherished superstition that prepositions must be placed before the word they govern.... The fact is that the remarkable freedom enjoyed by English in putting its prepositions late is an important element in the flexibility of language. The power of saying ... 'People worth talking to' instead of 'People with whom it is worthwhile to talk' is not one to be lightly surrendered.... 'That depends on what they are cut with' is not improved by conversion into 'That depends on with what they are cut.'... Those who lay down the universal principle that final prepositions are 'inelegant' are unconsciously trying to deprive the English language of a valuable idiomatic resource, which has been used freely by all our greatest writers except those whose instinct for English idiom has been overpowered by notions of correctness derived from Latin standards."

watch out. your participles are dangling! Please explain. Not proper English: whom I'd really like to read a good bio of. Proper English: someone about whom I'd like to read a good bio Participles (in this case: "of") should not be placed at the end of sentences. Having been married to a writer myself, I know that being a good one does not equate to someone who can necessarily handle grammar and syntax well. Very surprising --- these functions must be handled in different parts of the brain. But "of" is not a participle, it's a preposition! A participle is a word formed from a verb, e.g. "going" from "gone," and used in so-called compound verb forms -- e.g. "This thread is going down the toilet."

:tup

No, I haven't heard it. I think it was only briefly available. Lots of four letter words and off-color jokes which would have been unseemly for the younger audience Kenton was aiming at in the Creative World years. "Hey mom and dad, just listen to this Stan Kenton album I bought at the high school concert!" Not the public image he wanted. But I'll talk to a friend of mine who is really the "go to guy" for Kenton. I'm sure he has a copy and will make a CDR for me. Wonder if it includes a story Sweets liked to tell. He was trying to get a woman to have anal sex with him, and she demurred, ostensibly on the grounds that it might hurt. To which Sweets said, "It's no bigger than your average turd."

Maybe the Roy Eldridge quartet album on Clef from c. 1955 -- heard it when it came out, the one with "Stormy Weather," "Sweethearts on Parade," etc. So much soul and personality so directly, or so it seemed, plus all kinds and amounts of artistry. I felt I knew the man. By the time I got to Roy and Prez on "Jazz Giants '56," I was one permanently gone guy.