Larry Kart

Speaking as a guitarist and a jazz player generally I don't think Pat really changed at all. I heard him right at the beginning of his comeback (ca. 1984)and it was as if nothing had happened to him. Pretty remarkable. I think he changed some of the trappings, like switching to a solid-body. It sounds like his touch lightened some and that he might have switched to a lighter gauge string. But if you really listen his sound was always bass-heavy and dark, and still is. The content and concepts---the approach, and I won't go into all the details here---though relearned reveals no radical difference to me. No radical difference to me, either. OTOH, though I'm not aware of any recorded evidence of this, I did hear Tal Farlow in a club late in his career and was astonished by the increase in fluidity and timbral shading in his playing. He always had been a favorite, but this was Tatum-esque, almost more than my mind could absorb in real time. BTW, I'm aware that on some of his recordings for Concord, Tal had time problems. All I can say was that he sure didn't on these nights. One wonders if, like Raney, Tal had significant hearing loss, which of course could really screw you up time-wise, and either managed to make an adjustment or got hearing aids.

Among the many interesting details, there's this: 'Lesley Gore recalls that "It's My Party" was among some two hundred demos producer Quincy Jones brought to review with her in the den of her family home in February 1963. On hearing "It's My Party" Gore told Jones: "That's not half bad. I like it. Good melody. Let's put it on the maybe pile." The song proved to be the only demo Gore and Jones found agreeable.' (My emphasis ... and note Gore's fully collaborative role.) Also, the arranger-conductor on the demo recording that Gore herself then made and that was released (after much hugger-mugger) and became the big hit was Claus Ogerman.

The story behind the Gore recording of "It's My Party" is Byzantine in its complexity: http://en.wikipedia.org/wiki/It's_My_Party_(song) BTW, the "hook" of the song IMO is not so much the title phrase but the harmonic role played by the descending note that the words "Johnny" and "walked" fall on in the phrases "Nobody knows where my Johnny has gone..." and "Judy and Johnny just walked through the door..."

The Artie Shaw of the Swing Era and the Shaw of his 1949 big band and his small combo of the '50s were pretty different. And, though his name has come up in regard to his influence on Land and Golson, how could we forget Coltrane? Also, I hear a lot of change-evolution over Coleman Hawkins' long career. Rollins' too.

Bill Evans -- at least three, maybe four or more fairly distinct periods. 1) New Jazz Conceptions/Everybody Digs; 2) Explorations/Village Vanguard; 3) early '60s, and then things get blurry for me; 4) the second batch of Vanguard recordings and on out. I have a musician friend, an admirer-scholar of Evans, who refers to his various periods as heroin, methadone, and cocaine.

On that cut the title phrase "When times look bad for you ... look over your shoulder" has a very feminine "throb" to it IMO. If there's anything odd about Shapiro's voice, it's that it does sound mature for her age, but not "boyish" IMO. In fact, among the several reasons her "It's My Party" doesn't compare to Lesley Gore's is that the digging-in-your-toe petulance (if that's the right word) of the song fits the suburban American girl that Gore was but not the relatively grown-up product of tough East End London that Shapiro was. "Gore was ... raised in Tenafly, New Jersey, in a Jewish family. Her father, Leo Gore, was a wealthy manufacturer of children's clothes and swimwear...."

I agree about "It's My Party," Jim, but those other clips of the young Shapiro I posted reveal her to be IMO a terrific, soulful singer -- and a sexy one, too, without bringing to bear any thoughts of androgany. YMMV.

I think Smith's main problem was that so many of his constituents, i.e. the players, were saying all over the place (on Twitter, in interviews, etc.) that all they wanted to do was get back on the field and play. You can't negotiate when your side has given away almost all its leverage, and the other side knows it.

Have to add this one by Shapiro:

Interesting story about Helen Shapiro, semi-forgotten British pop star of the early '60s whom some have compared to Winehouse: http://online.wsj.com/article/SB10001424052702303544604576433814108614294.html?mod=googlenews_wsj Check her out (lots more clips on YouTube): http://www.youtube.com/watch?v=5nUZNyBtSa8&feature=related

Thanks, Brownie -- correction made. Geez, I've pointed out that mistake myself before when others have made it. Must be getting old.

by way of a post by Crow on the Jazz West Coast site: "Eddie Bert was rehearsing a group for a record date, with JR Monterose. He pulled out a Shorty Rogers original and we ran it down. JR said, 'You play on this one, Eddie, I don't want to play on it.' Eddie said, 'It's just 'I Got Rhythm.' JR replied, 'I have nothing further to say on 'I Got Rhythm.'"

Me, too, but by this point on this particular thread (not to mention its predecessors on the topic of OP) did you find anything much other than ways of saying "I like" or "I don't like"? The last post I recall that referred to actual musical detail was Litweiler's about OP's rumpy-dumpy (sp?) comping behind Lester Young and Ben Webster. Otherwise, mostly posturing, picadors poking at bulls, bulls trying to gore matadors, etc. Yes, it could go on forever, and maybe someone eventually would add a further observation that went beyond "I like/don't like," but the odds seemed very slim. Further, as a moderator, I admit to getting annoyed at having to watch a boiling pot that, again by this point, seemed to contain nothing but hot water.

I have mixed feelings about Cannonball's playiing (like some a lot, like much of it much less), but be that as it may, surely he's a player who's musical fingerprint is so indelible as to be a dubious influence, as say IMO Dizzy was on Jon Faddis.

Seems to me that once you begin thinking that way -- these deaths (i.e. "the kids killed in Norway") automatically matter more than those deaths or that death (e.g. Winehouse's -- assuming you think that Winehouse's death matters or ought to matter much at all), then you're on a very slippery slope. Like, does the Holocaust or the Black Death make the killing of the kids in Norway less meaningful? Not IMO. How about the assassination of JFK? Arguably made a big difference in the course of history. There's no moral meat locker where one can take dead bodies and total up the score.

I got several of two different sizes of Leslie Dames racks from Racksandstands.com several years ago. Solid, good-looking, and one person can assemble them, though it's easier with two friendly, cooperative people: http://www.racksandstands.com/Leslie-Dame-Enterprises-CD-1000-LE1055.html I thought it was a very good deal.

Kinda messes up her dad's scheduled (current?) gig in NYC (he's a would-be jazz-blues singer).

This thread is on the verge of being closed. As will be a new thread about the exquisitely shaded subtleties of the word "motherfucker."

The point to this thread vanished some ways back.

Looking at the back-up singer on the left, I would say build it from the ass up. And I mean that as a compliment.

James Slaughter (drummer on Andrew Hill's first trio record, with Malachai Favors on bass) Bud Shank Blood Powell Horror Silver Sonny Payne Buddy Payne Freda Payne Jack Brokensha

You can tell she's not lip synching because she starts to come in too early at about 2:21:

Russell Gunn Brian Blade Larry Grenadier Gerald Cannon

No, the one's Leeway means were not the re-recordings you linked to but the Time-Life Giants of Jazz series, nicely put together collections of the artists' representative work with in many cases superb booklets (at times of more than 50 pages) that were alone worth the price. Think I've bought every one I've run across -- Teschemacher (notes by Marty Grosz), Red Allen (Dick Sudhalter), Benny Goodman (George T. Simon), Teagarden (John S. Wilson), Joe Sullivan (Richard Hadlock), Benny Carter (Ed Berger), Johnny Dodds (Bob Wilber), James P. Johnson (Dick Wellstood). Really sorry my Red Norvo set, with notes by the late Don DeMichael, has vanished. IIRC, the Joe Sullivan set was especially valuable because Sullivan collections don't lie thick upon the ground.

Harrison Ford The Wookie Harry Caray