Larry Kart

Ah, yes -- 1625. Who could forget it: Mar 27th - Charles I, King Of England, Scotland & Ireland, ascends English throne Apr 4th - Viceroy Frederik Henry marries Amalia countess von Solms-Braunfels Apr 7th - Albrecht von Wallenstein appointed German supreme commander May 1st - Portuguese & Spanish expedition recaptures Salvador (Bahia) May 1st - Prince Frederik Henry appointed viceroy of Holland May 11th - Boers besiege Frankenburg estate in Upper-Austria May 15th - 16 rebellious farmers hanged in Vocklamarkt Upper-Austria Jun 2nd - Prince Frederik Henry sworn in as viceroy of Holland/Zealand Jun 5th - Spanish troops under Spinola conquer Breda Jun 13th - English king Charles I marries French princess Henriette Aug 6th - Earl Earnest Casimir appointed as viceroy of Groningen Aug 16th - Earnest Casimir of Nassau-Dietz appointed viceroy of Drenthe Sep 13th - 16 Rabbis (including Isiah Horowitz) are imprisoned in Jerusalem Sep 24th - Dutch attack San Juan, Puerto Rico Oct 8th - Admiral George Villiers' fleet sails from Plymouth to Cadiz Dec 9th - Netherlands & England sign military treaty Also, I love it when ruses open their legs.

I defer to the experts, but I still dig it -- and on rhythmic/phrasing grounds.

Should have said that I meant his time before the doubled-up section that begins at about the .43 mark -- after that it does get hectic, although probably on purpose, in the name of musical fun as it was then conceived. If you've got problems with how George is playing before that, I don't hear any. In particular, the way he leans into/sort of slurs and glides through the title phrase seems marvelous to me.

Same performance, better sound, no video though:

Whoa -- it's $95!

Same here! He's good. With his music, I see the piano as an expressive tool divorced somewhat from Tradition, but with energy and soul to spare. He's also a very nice person. Plays with Mike Watt (Minutemen)! Does being divorced somewhat from tradition mean that he (or any of these out cats) have to be subsidized in some way to make up for that? Can they stand on their own feet? Am I being too harsh? Q Have to be subsidized, no -- IMO. Should be, yes -- on a selective basis. Factors involved would be the actual quality of work (this to be judged in the usual crapshoot manner, but fingers-crossed, as soundly as possible), how costly specific ambitious projects might be, etc. Why any of this, you ask? Because over my almost life-long contact with jazz (57 of soon to be 70 years), such artists have been of great value to the world at large, whether or not the world at large knows it. Further, if I'm right about that, and if such figures need or can significantly benefit from subsidized support but don't get it, then some/much/maybe all? of what we otherwise would get from them and benefit from, we would not get. It would be lost, at a cost that can't of course be quantified, but I think it might be immense.

Roebke Octet was excellent. Personnel was: Josh Berman Mars Williams Keefe Jackson Matt Schneider Jason Roebke Jason Adasiewicz Mike Reed (But that's only seven; Jeb Bishop must have been on the road.) Band sounded tightly rehearsed, the unannounced original pieces (I assume all Roebke's) all swung hard, except for one slow-motion ballad. Exceptionally striking was a medium tempo piece that sounded like a Monk-Dameron collaboration -- maybe two-thirds the former, one third the latter, and as solidly put together as the proverbial brick outhouse -- with daunting changes that were not an obstacle course but in effect traced out a subsidiary melody. Guitarist Schneider took a long, soberly brilliant, very linear solo here; his playing throughout the first set was striking, as an accompanist as well as a soloist. Wish he'd get a chance to get something of what he can do on record; my stored-in-my-memory collection of top notch Schneider is a large one; he's special and unique. Jackson was in fine form, too; more straight ahead at times than he usually is, which fit the material, though I certainly like him when he's not straight ahead.

Like "Na -BOH-kov"

I thought Allen's point was that Cecil's verbal behavior was affected by the degree of respect he felt for the person he was talking to, not for the degree of respect that the other person demonstrated toward him. Not the same thing or theme, no?

Probably the Jason Roebke Octet at the Hungry Brain: Josh Berman Jeb Bishop Jason Stein Keefe Jackson Matt Schneider Jason Roebke Mike Reed (But that's only seven?) Usually, it also includes either Mars Williams or Dave Rempis on saxes. Jamie Branch will also be there sometimes instead of Berman.

FWIW, that's Peter Kostakis and Art Lange.

Depends on what brand champagne was being served...and can an a-g jazz artist afford assistants? My guess is that he doesn't need to afford them, that they're probably acolytes. Maybe Ratliff wasn't afforded the space to write an extensive article.....or five covering the details of his conversation with Cecil? Seems to me that Ratliff had a good deal of space. I'll bet that instead he didn't know what to make of whatever Taylor said and/or thought his readers wouldn't know what to make of it. The lede about the ladies lighting cigarettes and serving Champagne suggests that he needed to plug in something to show that he'd been there. He certainly finds the space to quote Taborn and Iyer. Again, I've been in such spots, if I'm right about what Ratliff faced. They're a journalist's nightmare. Had a "yup" and "nope" beaut once with Richard Pryor; through a twist of fate I figured out a way to save it. OTOH, I was utterly defeated by two determinedly non-committal types: John Lewis and Benny Carter.

I didn't get any sense from the original post that the poster thought Taylor was being disrespected. Instead, the poster seemed to be puzzled. as was I as a former journalist, why so little that Taylor said during those five hours was deemed worthy of being quoted. Could be that what he said was just too abstract and/or spacey in Ratliff's estimation? I do recall interviews that left me frustrated and more or less at a loss as to how to write them up, but not five-hour ones. I also recall an interview with Sam Kinison (ostensibly) that turned out to be with his younger brother pretending to be Sam because Sam was too wasted or couldn't be bothered to talk. Fortunately, I figured this out in time. Depends on what brand champagne was being served...and can an a-g jazz artist afford assistants? My guess is that he doesn't need to afford them, that they're probably acolytes.

I remember a Monitor spot or series of them about Bob and Ray's Trophy Train. Much laughter. I've got some of their stuff on CD and cassettes. I remember being disappointed when Martin Williams (he was something of a comedy guru, too) dismissively referred to their work as "college-boy funning," or something of the sort. But then Martin didn't get Albert Brooks either, told me that he thought that "Modern Romance" wasn't at all funny but an attempt to justify Albert's own self-indulgent behavior. I admit that the space between Albert himself and the characters he portrays is often a narrow one, but come on! That's inseparable from why his work works. OTOH, Martin was big against self-indulgence, could detect it with alarming zeal. I've told the story of his reaction when, sitting next to him in an audience, I began to chew a piece of gum.

She's toast.

And then large birds swooped down and ate up all the turtles.

Think I prefer the old look -- i.e. on the board heading. That orangish tint gives me a headache.

My nominee for Mother Of The Year. How did you get that shot of my girlfriend? Oops! Are you the one who's getting her to quit smoking, is she doing that for you or because of you? Either way, might be time to show up with a fifth and some massage oil (when that snotfuck of a kid's not around, if in fact he ever is not around...). That lady is stressed! I'm concentrating on her getting a new pair of glasses. I've learned to live with the tattoo and a few other things -- e.g. her taste in clothes and home furnishings and the way she looks with her clothes off.

My nominee for Mother Of The Year. How did you get that shot of my girlfriend?

When Rogers wrote "Keen and Peachy" he was on the road with Herman and was not yet a West Coast guy, literally or in terms of the so-called West Coast "school," which at the time he wrote "Keen and Peachy" essentially did not yet exist.

Sorry, Allen -- Jazz Lips is a bootleg label; can't sell bootlegs here. See forum rule 7: 7) We do not allow sharing, trading, or linking copyrighted material that is being offered illegally, including bootlegs.

yes

His radio interviews in recent years were hilarious. A fantastic storyteller and clearly a great guy.

Allen -- Was it you or someone else who once wrote that by the later stages of his career/life Albany, despite moments of brilliance, couldn't be relied upon to play on the form of many of the tunes he was playing on -- short-term memory loss or something like that? If so...