Larry Kart

Is that the one with "Ubas"? Ira's tenor solo on that track is immortal.

Did you refer to the "Jazz and Jack Kerouac" chapter in my book?

As I've mentioned recently, my first JATP concert, which took place at the Chicago Opera House in Oct. 1956 (it was also my first live jazz experience and my only in-person encounter with Lester Young), was recorded by Granz, though not issued (on LP) until the early '80s as "Blues in Chicago." Quite a kick to hear again the same music I'd heard some twenty years earlier.

Civil did an earlier recording with Klemperer, right? IIRC, I preferred that one.

Not exactly the same thing, but I'm glad I bought the Granz Jam Session box after buying almost all of the original LPs when they came out in my youth. I keep listening for, but have yet to find, a moment on one of the later Jam Session albums where Jacquet makes a sound like a descending dive bomber.

Esquire Poll Winner he was, which might have been the reason. But was the billing the doing of Billy Berg's or the movie? The former I would guess.

My son wonders if anyone here has run into some Dolby Atmos stuff and if so, what people think about it.

Fine lineup --- two nicely contrasted tenormen, the estimable Ronnie ross on baritone and a formidable batch of trumpeters JOHNNY KEATING — SWINGING SCOTS Jazz music community with review and forums 0.00 | 0 rating | 0 review Album · 1957 Filed under Big Band By JOHNNY KEATING more Tracklist Line-up/Musicians Alto Saxophone – George Hunter, Ronnie Baker Baritone Saxophone – Ronnie Ross Bass – Jack Seymour Conductor, Arranged By – Johnny Keating Drums – Bobby Orr Guitar – Alan Metcalfe Piano – Andy Dennits Tenor Saxophone – Duncan Lamont, Tommy Whittle Trombone – George Chisholm, Jock Bain , Jim Wilson , Wally Smith Trumpet – Bobby Pratt, Duncan Campbell, Eddie Blair, Jimmy Deuchar, Tommy McQuater Tuba – Burt Harden Written-By – Johnny Keating About this release Dot Records ‎– DLP 3066 (US) Thanks to snobb for the addition and js for the updates BUY JOHNNY KEAT My son wonders if anyone here has run into some Dolby Atmos stuff and if so, what they think about it.

Keating's aptly named late '50s big band album "Swinging Scots," released in the U.S. on the Dot label, is a gem.

Just picked that up a few days ago. Dexter is in intense form, and Cees Slinger's at times somewhat off-the-wall comping is an asset.

Working my way through the good-sized batch of Australian trad jazz I have (trad for want of a better term, but no Dixieland here) some from the '40s, most from the '50s -- the Bell Brothers, Dave Dallwitz, Ade Monsborough. etc. Every time I go there, I almost can't believe how good this music is. Dallwitz, for one, though his own man, is a composer in the Jelly Roll Morton class.

A very meaty solo for that "Flying Home" situation.

Roy's Clef quartet album "Little Jazz" is a gem, and he plays great (as does everyone) on Lester Young's "Jazz Giants '56." Likewise on a good portion of a two-disc Granz label Benny Carter compilation "The Urbane Sessions." Byas was in France for the most part at that time. I can recommend "Don Byas on Blue Star" (EmArcy) and the three-disc "Don Byas Quartet, The Complete 1946-54 Recordings" (Solid Jazz), if they still can be found. On the latter set there is a "Laura" to die for. From "Little Jazz": (Don't know what's with that "Miles Ahead" tag).

Serafin, Verdi Requiem (1939)

I've heard some Kellso; he's a good one. Not really trad though. Maybe so, but there were a good many trad players around Chicago at one time. It was a not uncomplicated phenomenon, as much a matter of attitude/sensibility as anything else.

Lu Watters, Turk Murphy and skads more, including many who were a lot better than Watters and Murphy. As opposed to funny hat Dixieland -- yeesh -- these were musicians who were inspired by and fairly often attempted to conscientiously emulate the music and the players of the'20s and early '30s, sometimes with of sucesss and sometimes even giving rise to individual music of much value. As it happens there was a tremendous burgeoning of such music in Australia in the '40s and 50's (see the late Dave Dallwitz and the Bell Brothers et al.) and there is a good deal of that at foot right now in France (see Les Petit Jazz Band, led by cornetist Jean Pierre Morel). More a composer and bandleader than a player (he was a pianist), Dallwitz produced a body of quite individual work that can stand beside that of Jelly Roll Morton.

Whew. Sorry to hear that and sorry to think about the people who might have believed her b.s.

Good. I tried to convey the at once stately and semi-ironic flavor of his remark. The man had a way with words.

Don't know of Jasmine Griffin myself. By you she's a dubious source?

There are cheesy bits a la Legrand, but some fine playing too. Check out Ben Webster.

As Woody Shaw could have said, "Watch out for red-headed women." But then as Maxine could have said, "Watch out for trumpeters named Woody."

Given all the talk about Dexter, I pulled the trigger at Half Price Books yesterday on his "Our Man in Amsterdam," rec. live in 1969, with the late Cees Slinger, Jacque Scholes, and Han Bennink. Volume needs a boost, but the music is excellent, and the CD runs more than 70 minutes. Slinger's craggy Jackie Byard-like comping is a plus. As Dexter says of the opening track, "Fried Bananas," "very tasty." Rest of the program: "What's New" (very soulful), "Good Bait," "Rhythm-A-Ning," "Willow Weep For Me," "Junior," "Scrapple from the Apple."

Maybe so, but I felt charmed. Also, I was in a perfectly friendly mood, so there was no apparent need for him to be defensive in regard to me. Now there was Maxine's uproar in the background, so you could say he was being charming to me to defensively stiff-arm her anger/irritation at him about whatever she was pissed at him about. My guess at the time was that she had a schedule in mind for the evening and he wasn't adhering to it. Another good line from that visit (to me): "Did you ever expect to see a bebop tenor saxophonist about to order caviar from room service?" The drawn out cadence with which he said that was just delicious. It went something like this: "Did you ever expect to see a bebop tenor saxophonist about to order caviar from room service?"

Charming and insightful, if one caught his drift -- i.e. Mobley's harmonic choices were so hip, and Jaws' habits of attack and accentuation more or less reversed some of what was normal.