Larry Kart

I'm not as down on the bossa nova as some here, especially when the songs are performed by Brazilians (especially the songwriters themselves), but "Chega de Saudade" ("No More Blues") and "The Theme from 'Black Orpheus'" can be hard to take.

The original recordings of "Lonely Woman" and "Ramblin'" are great, but I can't think of any non-Ornette ones that are much good. The Joe Daley Trio "Ramblin'" is like a root canal, aside from Russell Thorne.

Many don't know the name of the piece, but this snippet from "Entry March of the Gladiators," the old circus band number that Gerry Mulligan used to end a lot of performances in the days of his sextet especially, was known to cause psychosis: http://www.amazon.com/Entry-March-of-the-Gladiators/dp/B007L16Q9A

Its heyday is long past, but at one point "Bernie's Tune" could make you scream. The same with "Lullaby of Birdland."

At one time I got very tired of "Walkin'" and "Bag's Groove," but you don't hear them that much any more. "'Round Midnight" performed well remains great, but performed by rote, which very often is the case, it's a drag. "Just Squeeze Me" in its vocal form gives me the willies. The same with "Don't Get Around Much Any More." "Footprints" has been played into the ground. Likewise with Dorham's "Blue Bossa." Perhaps it doesn't really count, but "The Theme." I'm a big fan of Horace Silver, but "The Preacher" wore out its welcome almost immediately IMO.

I actually heard the source version of Stella By Starlight (the 1944 supernatural film The Uninvited) prior to hearing a jazz version of it. When I first heard the Miles version from 1958 Miles I was like...oh yeah, I've seen that! The Uninvited is a fine spooky movie, and Stella fits the dramatic situation nicely. Another song that kind of grates on me is The Way You Look Tonight.

Stella by Starlight kind of grates on me. Also, When Sunny Gets Blue.

Your "desire for all this to come about" sounds kinda like a semi-political protest -- e.g. "my desire to rid my world of as much shit and bullshit as was not put here for me or by me or to be good for me but instead is here solely to serve somebody's notion of what my notion of what I should be should be." ( I'm reminded some, albeit in an inside-out way, of Bob Dylan's "...because something is happening here but you don't know what it is do you, Mr. Jones?") I admit that some music, or the promotion of said music, can have the effect of the sort of alien and alienating social nudging (or worse) that you dislike, but how this fits into "I look to hip-hop as a hope for it to be the 'popular' conduit for doing to metric texture and rhythmic dimension what Coltrane & McCoy did to tertiary harmony, and all the implications thereof" escapes me. Music can become a form of social nudging, but desiring/expecting music to (seemingly primarily?) fight back against social nudging (or worse)? Like that Dylan lyric, it reminds me of Woody Guthrie's "This guitar kills Fascists." No -- and new horizons in "metric texture and rhythmic dimension" don't kill them either.

I'm no expert here, but why does there have to be some meaningful musical-social relationship between hip-hop and jazz (of the past, present, or future) or between jazz and hip-hop? Is it merely/essentially because (to use Peter Pullman's term) they're both af-am musics in origin? If so, there are plenty of popular and artistically significant non-af-am musics that never had much (or that much) to do with each other (e.g. the waltz, Italian opera, Rembetika, Gamelan, Ragas, etc., etc., and no one got their panties in a knot over their "failure" to have musical commerce with each other. Of course, anyone is free to try if they themselves feel within themselves a viable musical reason to do so -- I think, for one, of what the members of Air did with ragtime way back when -- but otherwise? Or are we really talking about some blend of marketing and social engineering?

Dompan

Klemperer's recording of "The Magic Flute."

I heard you with that band and wrote something about it. Lord -- 25 years ago.

That is a lovely album.

http://www.youtube.com/watch?v=OKcdWYvZB-E I heard a version of that quartet (I think a different drummer) at The Brown Shoe in Chicago. After a would-be virtuosic (IMO just show-off, rubber-bandy) solo by Scotty Holt, Jackie said pretty much to himself (I was close to the bandstand) "ridiculous shit." From that moment to this, I'm not sure in what sense he meant that.

Fats is SO pretty here.

IIRC, Fats isn't in great shape here. Agree with Jim about the live date with Bird, Bud, and Blakey.

That, too, though my memories of it are dimmer (that was a long time ago -- maybe 40 years?), but what I loved about the other one was the degree to which Jodie and Wilbur locked into what Lee wanted to do and carried him more or less beyond his "tenth level of paraphrase." And Rodby wasn't just along for the ride. I could/should add some performances by Warne, but they're a blur of the marvelous. I did hear some of what's on "All Music" as it was recorded, but it was recorded.

Lee Konitz and Al Cohn at the Jazz Showcase. Also at the Showcase, Lee with Jodie Christan, Steve Rodby, and Wilbur Campbell.

I vas dere, Charley. Also, at a club on Stony Island Ave., Roscoe, Maurice McIntyre, Ajaramu, and Claudine Myers.

That band recorded for Delmark. Oops. And I've got the record, too.

Thousands I'm sure, starting in 1955. For more than ten years, 1976 to 1988, I was reviewing regularly for the Chicago Tribune, so that helped.

This band almost recorded (different bassist IIRC) but not like on this night at the Gate of Horn in Chicago, circa 1957: Ira Sullivan, Johnny Griffin, Jodie Christian, Victor Sproles, and Wilbur Campbell. What made it so special is that on several tunes, particularly an unreal "Night in Tunisia," Ira played trumpet and then after he and J.G. had soloed, picked up his tenor and engaged in an intense friendly battle with J.G.

I hate it when chord changes get "ticky."

It goes on forever?

Three volumes of Buxtehude's harpsichord music, with Lars Eric Mortenson, and the Complete Mingus Town Hall Concert.