Larry Kart

I'm not saying that Avakian was the producer here, just that he was a producer. He may just have been present as an interested party.

Wechsler was on lots more than that -- including The Chordette's "Mr. Sandman."

I see that on the Songbirds site, Marlene Ver Planck identifies the pianist as Moe Wechsler.

Bald-headed producer is George Avakian; don't know who the guy is who's popping his fingers and talking on the mike at times.

The other side of Seve: http://www.golf.com/golf/tours_news/article/0,28136,1906770-3,00.html http://www.timesonline.co.uk/tol/sport/golf/article3559327.ece http://findarticles.com/p/articles/mi_m0HFI/is_9_53/ai_90701727/ http://www.heraldscotland.com/sport/spl/aberdeen/seve-in-the-huff-as-tiger-talks-of-gamesmanship-1.297761 http://m.kitsapsun.com/news/1999/sep/21/golf-gamesmanship-still-is-in-style-at-the-ryder/

Not exactly. In addition to his unreal shotmaking skills, he was known for his coin-rattling, coughing-during-other-players'-backswings gamesmanship. He and Paul Azinger got into it on several occasions. I'm not saying that Seve was right or wrong, just that this was part of his reputation.

http://phfilms.com/index.php/phf/film/lambert_co/

They probably passed on the group, but it was academic because Lambert died soon afterwards when hit by a car on the Merritt Parkway while changing a tire.

I remember when I first heard this back when it came out, and was struck by how much Kirkpatrick sounded like KD. That's exactly how it hit me back then. OTOH, while Kirkpatrick is a fine player IIRC, KD's sound is SO distinctive that it did bother me a bit that Kirkpatrick sounded so much like him. It would be (perhaps) like the difference between an alto player who sounded (or tried to sound) like Bird and one who sounded like Ernie Henry.

Last night at the Hungry Brain, vibraharpist Jason Adasiewicz's Sun Rooms (Nate McBride, bass; Mike Reed, drums). Fresh from a day of recording their second album for Delmark, they were in great form.

Didn't have a chance because I didn't get introduced to jazz (at age 13) until about three months after his death in March 1955. Of the giants I did just manage to hear in performance before that wasn't possible anymore, the one who sticks out in my mind is Lester Young.

I take it you weren't running OS 10.5 or 10.6 on the old iMac with Time Machine? That's a shame. I was running OS 10.4.11. Tried to download some new virus protection software (Intego -- my old Intego version was about to expire), and though the guy at Intego who sold it to me said it would be compatible with my old OS, he didn't ask (and I didn't tell him) how much RAM I had. It wasn't enough, and the failed download tied up my computer in an unbreakable loop -- unbreakable even by the Apple store techs who transferred what data they could from my old computer to my new one. The AOL archive thing I don't understand. I seem to have access to all the messages I've ever sent but not to any of the ones I've received over the years, which was a great searchable resource. That archive was somewhere at AOL, not on my computer. Any thoughts on how I might get at it again? I don't run anti virus protection on my Macs, is that a mistake ? FWIW, the guy at the Apple store said that for my new IMac (and probably for many if not all old ones) it isn't necessary.

I take it you weren't running OS 10.5 or 10.6 on the old iMac with Time Machine? That's a shame. I was running OS 10.4.11. Tried to download some new virus protection software (Intego -- my old Intego version was about to expire), and though the guy at Intego who sold it to me said it would be compatible with my old OS, he didn't ask (and I didn't tell him) how much RAM I had. It wasn't enough, and the failed download tied up my computer in an unbreakable loop -- unbreakable even by the Apple store techs who transferred what data they could from my old computer to my new one. The AOL archive thing I don't understand. I seem to have access to all the messages I've ever sent but not to any of the ones I've received over the years, which was a great searchable resource. That archive was somewhere at AOL, not on my computer. Any thoughts on how I might get at it again?

Yes, I do -- I read yours of a day or two ago and was able to reply earlier this evening.

Computer went belly up; now have a new one. Got my fingers crossed. Sadly, I lost access to my vast (since 2001), searchable AOL email archive in the transfer of data from old to new computer (both IMacs -- 2006 and 2011 models).

Hey, what's the point of being a moderator if you don't get to f--- people up from time to time? Seriously -- I may have overstepped the bounds on this one. If so, I'm sorry; I'm certainly not perfect.

You can do what you please with your Mosaic sets in the world at large, but this is not the world at large. It's the Organissimo Jazz Forum, and not everything that's legal in the world at large is ethical by the standards of this place. Right or wrongly, two of the forum's three moderators, J.A.W. and myself, sensed that there might be something a bit fishy about what what you were up to here. I asked a question about this, echoing what another poster already had asked; you eventually responded -- reluctantly and in a rather hostile manner. You say "MY RIGHT and MY BUSINESS," but you don't automatically have a right to do business here. BTW, I am quite familiar with the history of Mosaic. I was there from the first, as a customer and sometime recipient (as a journalist) of promo copies. I also wrote the booklet essay for the Mosaic Tristano-Konitz-Marsh set.

Please answer this seemingly reasonable question, Mr. Peccary. Failure to do so makes one suspicious. Suspicious? You're killing me. I spent many years as a journalist and collector. Moving along some sets that I don't/haven't listened to in order to get a Martin guitar. Something that I will enjoy on a much more regular basis. So you were sent these sets by Mosaic in the expectation/hope that, as a journalist, you would review/write about them? If my figures are correct, thirty-one of the thirty-eight sets you are offering for sale here are SEALED.

Please answer this seemingly reasonable question, Mr. Peccary. Failure to do so makes one suspicious.

http://www.guardian.co.uk/books/2011/apr/24/amis-hitchens-world

Eddie Johnson's "Indian Summer" arrived today, as lovely now as it was thirty (!!!) years ago (feels to me like it was the day before yesterday). A very together band -- in addition to Johnson, there are especially fine examples of John Young's playing. Were any of those tunes suggested by you, Chuck? "Misty Thursday," perhaps? If so, an excellent choice. Additional track, "I'm Old Fashioned," is very nice. Wish there were much more Johnson on record, but this shows what a noble, unique player he was.

Yeah -- and his head similarly looks rather weird, too, no? Like it's a size or two too large for the rest of him and/or has been pasted on.

Pretentiously dumb stuff (printed in the New York Times, from whence it volleys around the Internet) leaves you calm?

these "studies" come around a few times a year. every time i hear/read about them i want to vomit. it'd be easy to go through the article, and the larger related 'real' article here, to pick out all of the jive, pop pseudo-science, cutesy nonsense - but it's just not worth doing again. as far as i'm concerned, the appropriate response to any one of these articles that are about some science project/department "proving scientifically" how music "makes you feel," and exactly which particular rhythms or harmonies do this-that-and the other thing to some specific region in the brain and that that must mean that Bb makes little jimmy's neurons flutter in such a way that he'll end up asking helen to the prom, is "fuck you." be on the lookout for pfizer to market the "Mozart Pill" any year now. didn't you hear? the scientists located the synapse/neuron that gives you the feeling of listening to Mozart. side effects may include vomiting, depression, and wasting money.

Neither the first nor the last! Yes, but more so the first. The percentage of runners who score from second with no outs is virtually the same as the percentage who score from third with no outs.