Larry Kart

Sadly, Hickox isn't lively any more: http://www.independent.co.uk/news/obituaries/richard-hickox-conductor-who-left-a-prodigious-recorded-legacy-of-british-music-1033825.html Don't have that much by him, other than the Poulenc CD, but thought he did a great job on his set of the symphonies of William Alwyn.

A very good one imo: http://www.amazon.com/Poulenc-Stabat-Gloria-Catherine-Richard/dp/B000F3T37I/ref=sr_1_1?s=music&ie=UTF8&qid=1292355998&sr=1-1 Here's a review of it: http://www.gramophone.net/Issue/Page/February%201993/72/747460/POULENC.+Gloriaa.+Stabat+matera.+Litanies+agrave+la+Vierge+noire.nbsp And a comparuson with a similar program by Dutoit: http://www.gramophone.net/Issue/Page/April%201996/96/805248/OPoulenc+Gloriaa.+Stabat+matera.+Litanies+a+%28a+vierge+noireb.+aFrancoise+Poilet+%28sop%29+French+Radio+Choir+bMaItrise+de+Radio+France+French+National+Orchestra++Charles+Dutoit.

How does this compare with their self titled debut disc on Okka ? I found their first hard to like despite my admiration for the band in other contexts Think I've got that one, but rather than sit down and compare them -- too much other stuff to listen to and/or I'm just lazy -- this new one did knock my socks off. BTW, I numbered my choices because that's what the Village Voice Jazz Poll ballot required; in my mind the order is semi-arbitrary.

:party:

Best New Releases 1) Jason Adasiewicz, "Sun Rooms" (Delmark) 2) Warne Marsh, "New York City Live" (Riverworks) 3) Jeb Bishop Trio, "2009" (Better Animal) 4) Henry Threadgill Zooid, "This Brings Us To, Volume II" (Pi) 5) Keefe Jackson Quartet, "Seeing You See" (Clean Feed) 6) Aram Shelton's Fast Citizens, "Two Cities" (Delmark) 7) The Engines, "Wire and Brass" (Okka) 8) James Falzone's Allos Musica, "Lamentations" (Allos) 9) Rich Corpolongo Trio, "Get Happy" (Delmark) 10) Walt Weiskopf, "See The Pyramid"(Criss Cross) Best reissues 1) John Carter & Bobby Bradford (Mosaic)

Good news. Best I ever did, I think. It was so much fun trying to rise to the challenge of the music.

And with a much better edition of the band -- Jake Hanna and (I think it was) Chuck Andrus especially.

Excuse me, but... http://www.google.com/imgres?imgurl=http://www.jimmywinokur.com/ImagesFromAgora/Music/Jazz/Mainstream/PLasJohnson.jpg&imgrefurl=http://www.jimmywinokur.com/AAPages/MusicArtistsMainstreamJazz.htm&h=282&w=328&sz=20&tbnid=t2sh9f0AIfxLYM:&tbnh=101&tbnw=118&prev=/images%3Fq%3Dplas%2Bjohnson%2Bphoto&zoom=1&q=plas+johnson+photo&hl=en&usg=__v-m3hSM8UAviuS2B8N7D3nalGaM=&sa=X&ei=0KQFTYzrJNSPnwehkrHlDQ&ved=0CCUQ9QEwAw Or are you trying to make some kind of joke?

FWIW, Chicago drummer-bandleader Mike Reed picked up a copy of the original issue at Reckless Records about six months months ago and was appropriately blown away by it. Gave me a good feeling to hear that. In fact, when they were planning the program for their recent Millenium Park concert, Mike suggested to Roscoe that they play "Old," and Roscoe characteristically said something like, "No, let's play some new music."

I think I hear what you're saying, Jim, but I'm very fond of Sal's playing on "Empty Room" (especially) and "Sonnet for Sal" (with the Porter-Praskin Quartet).

Per this shared interview with Tubby Hayes: http://www.jazzprofessional.com/Exchange/HayesNistico.htm I think Sal had pretty much come to dislike/feel trapped by this sort of playing. And he was, in Tubby, talking to a man who knew just what the deal was there. Added edit: In any case, when left to his own devices in later years, AFAIK Sal didn't do the rip-it-up thing that often and became a better player for it. P.S. OK, maybe not better -- who's to say about that? -- but arguably more interesting.

Billy Mitchell, "De Lawd's Blues" "The Initimable Teddy Edwards" Both Xanadu, both (but especially the Edwards) not unrelated in style to Von Freeman in their blend of Pres and Hawk, plus bop elements

Judges? Opera, but it's also kind of the only one if its kind.

Yup.

Hey, man -- make a copy of the booklet!

Didn't you have that problem last year, too? Same house? Same house, two very different problems -- at least in terms of cause, not results. Both problems corrected now, fingers crossed.

The Eddie Costa is a gem -- for Eddie on vibes and also because it's some of the best first-period Bill Evans. The rhythm section is half that of "New Jazz Conceptions," with Motian but with Wendell Marshall instead of Teddy Kotick.

Between my legs?

Start with this: http://www.youtube.com/watch?v=WzWFLZ0OSfg It's the performance and recording that deservedly made him famous, IIRC.

If the cover of my copy of Sonny Murray's "Sonny's Time Now" hadn't been damaged in a basement flood some 20 years ago, that probably would be it. The LP itself is in good shape.

John Cohen was born in 1932, as the article says. Thus he is 78, not 68, as the article also says.

OK -- I'm extrapolating from these two things: 1) the section work in the Gillespie and Eckstine bands of Dorham's time (though I don't if there's recorded evidence of him with Dizzy and only few sides was a part could be fairly ragged (though the Eckstine with band also could be razor sharp, as on its Jubilee broadcasts from early 1945 -- but these without Dorham); 2) on Dorham's early small-group recordings, he seems as yet a fairly awkward player technically. If so, I would guess that while he probably was adequate in a section (never said he was "street" player; he knew his stuff, just had some trouble getting it out early on and would of course grow immensely, especially in terms of ideas), he was in those bands in good part because he was a bop-oriented player (had to have a fair number of those on board) who knew the guys. Ira Gitler, who is very knowledgeable about that era (he was there) and not inclined to knock people inordinately, refers to Dorham's solo on Eckstine's "The Jitney Man" as "inchoate." In any case, my original point was otherwise.

Even then, that's far from the first term you'd use to describe KD or even an accurate one. Early on he didn't have quite enough orthodox technique or chops to be the jazz equivalent of an auto parts plant "journeyman" -- i.e. a successful section-man in a big band (though of course a big band is where he was). Instead, he became a remarkable "one-off" -- and all the better for it.

BTW, that reminds me: In his liner notes to "Kenny Dorham, The Flamboyan Queens, NY, 1963"(Uptown), the normally astute Bob Blumenthal refers to Dorham as "a journeyman trumpet player," which made smoke come out of my ears. One can guess at what Blumenthal meant by this -- that Dorham never became that famous/celebrated/what have you. But the term "journeyman" means: "1) A person who is not a master of his trade or business 2) Reliable but not outstanding worker." Now in his early days with the Eckstine band, Dorham was not a top-drawer section man, nor would that ever be his forte. But once KD got his thing together, he was regarded by musical peers and fans alike as a highly individual "poetic" figure on the instrument and was typically hired by others, when he wasn't the leader himself, to bring his special lyricism to the proceedings -- not only as a soloist but also as a key voice in ensembles (e.g. on Tadd Dameron's original recording of his "Fontainebleau," where his exquisitely shaded playing is much more to the point than the work of Charlie Shavers on the Riverside recording of the piece, though Shavers is one of the great trumpet players per se). So -- KD was not a "journeyman," not at all.

All -- Have we reached an end here? This thread has been more or less pointless for a good while.