Larry Kart

That 1957 Elliot Lawrence album on VIK was "Jazz Goes Broadway," and it included songs from several shows. "Jubilation T. Cornpone" just stuck in my head, probably on the grounds of sheer nastiness.

Kenny Drew's "Pal Joey" album, with Wilbur Ware and Philly Joe, is a gem. No strain for jazz musicians to play on most of those songs. I have vague and not that pleasant memories of an Elliot Lawrence-led version of "L'il Abner" on VIK, with a lot of the New York studio/Charlie's Tavern regulars of the time (c. 1958). Not much in that score -- "Jubilation T. Cornpone," indeed. Wilbur Harden's "The King and I" was nice. Harden's sweet lyricism rhymes well with Rodgers'. IIRC, Harden's "We Kiss In a Shadow" is hypnotic.

Chocolate clothing

"My Fair Lady Loves Jazz," the Billy Taylor ABC-Paramount attempt to follow up on the Manne-Previn-Vinnegar hit, is rather precious at times but has some striking solos by altoist Anthony Ortega, who was pretty darn "out" for that time and just damn good.

Arnold's Wikipedia bio says he was born in 1926, if Arnold is who you meant. P.S. Oh, I see; it was that "He was 91" typo at the end that you were referring to. The way he swings his hips as he counts off the tune is pretty scary.

Arnold can be heard on several tracks of the Fresh Sound Phil Sunkel CD, which combines Sunkel's two ABC-Paramount LPs -- "Phil Sunkel's Jazz Band" and "Jazz Concerto Grosso." "The "Phil Sunkel's Jazz Band" tracks are definitely worth a listen for Sunkel's sly, quirky writing; the "Jazz Concerto Grosso" not so much. Arnold was out of Pres but with an Al Cohn, not Wardell, flavor. He sticks in my mind because of a funny (at least to me) incident that took place maybe thirty-five or forty years ago. I was visiting for the first and only time the suburban Chicago home of a record producer and was duly astonished by the size of his collection of vintage LPs. He asked if I wanted to see his most-prized recording, and I said sure, wondering what this gem might be. It was Arnold's ABC-Paramount album "Wailin'" -- which I think could only have been prized for its rarity, not for its musical value, though it was OK that way. With that I understood as never before what it meant to be a collector. And I don't have that Joe Holiday CD any more.

You must be thinking of Joe Holiday. Right you are, damn it! :blush2: But that means I may still have that Holiday CD.

Could be Arnold, based on this later photo of him: http://www.google.com/imgres?imgurl=http://farm4.static.flickr.com/3177/2964966853_9705076438_s.jpg&imgrefurl=http://askjot.com/search/Buddy-Arnold&usg=__gE0At7RO52S5dQl3dqjqBkTlB-U=&h=75&w=75&sz=4&hl=en&start=0&zoom=1&tbnid=Sb9URIbQNliscM:&tbnh=71&tbnw=71&prev=/images%3Fq%3Dbuddy%2Barnold%2Bsaxophone%2Bphotos%26um%3D1%26hl%3Den%26sa%3DX%26biw%3D898%26bih%3D832%26tbs%3Disch:1&um=1&itbs=1&iact=hc&vpx=559&vpy=560&dur=199&hovh=71&hovw=71&tx=72&ty=39&ei=I5_1TIOYHsuq8QOx6cjNBQ&oei=I5_1TIOYHsuq8QOx6cjNBQ&esq=1&page=1&ndsp=20&ved=1t:429,r:13,s:0 Also on the cover of his mid-1950s ABC- Paramount album "Wailin'" Arnold is using a white mouthpiece. http://en.wikipedia.org/wiki/Buddy_Arnold Arnold IIRC was out of Pres by way of Wardell Grey. He made a good many singles (jazz with R&B touches) for Prestige or New Jazz in the early 1950s that must have gotten a fair amount of juke box play, otherwise Bob Weinstock wouldn't have kept recording him. All that material was put out on CD about a decade ago, probably on OJC. I had a copy once upon a time but no more.

Musically -- the "just spews" part (and I mean that positively).

It's almost certainly not possible, but he reminds me of Linn Halliday.

The idea that Nielsen wasn't in on the joke (and Robert Stack and Lloyd Bridges in "Airplane," likewise) is absurd. Not only would these guys have to be unbelievably stupid not to get it, but it would have been unbelievably dangerous for them to be cast in these straight-man-in-the-midst-of-farce roles while keeping them in the dark about the farcical nature of the project.

Really? Her "My One and Only Love" with Al Cohn is something else. And her "Speak Low" is pretty darn smoldering. (Both from "The Warm Sound.") I admit, her voice can be rather "purplish" for some tastes, but whatever else Wayne might have had going for her, there were sound musical reasons why she was Mrs. Neal Hefti.

But it did call upon his sense of taste, so in a real sense, it played to his one of his strengths. And The Dells...hey, The Dells. Yeah, always. No matter, Lewis' behind-the-beat phrasing on that one is one of my favorite pop treats of the era. Sooooo sensual in a Still-Young-And-Not-Yet-Jaded kind of way. Maybe it was the borer ants? Speaking of sensual female singers, I got to start a thread about that Francis Wayne Atlantic album I just listened to.

Nice track, background vocals especially. Young's part didn't exactly strain his skills.

Sounds like a reasonable fit.

It's neither -- it's the nest for a large family of borer ants.

Will can be OK, provided he doesn't don cape and mask and enter his "Natureboychick" cavern.

No -- but a lot of Cubans et al. end up here and listen to and make what they wish of American music before they get here, if they do; and a lot of people in this big country have big ears, plus semi-innate affinities. For example, don't know how you feel about Brew Moore's playing with Machito, but if you dig him there, as I do, Brew was from Indianola, Miss. Also, you spoke of Chombo Silva's artistry being "hidden behind a curtain of "obvious" "American influences." Hidden to some listeners is what I think you meant, but those American influences were certainly a notable part of who Silva was. Maybe I should have said, "It's a big, fluid world."

I'm not enough of an expert there to say for sure, but there's a good deal of recorded evidence, and I would think it's likely, given that Tito featured Holmes as much he did. I know -- Marty Holmes, but why not? It's a big country.

Oh yeah -- I know Chombo Silva. And Tito Puente in the '50s had a somewhat similarly inclined tenor player, Marty Holmes.

Picked this up on a whim, and wow. Two different recorded-in-Havana albums from 1960 -- the first with trumpets, flute, tres (both great players), some vocals, and rhythm; the second yoruba chants and gutty rumbas with rhythm. A highlight of the first date is an absolutely sick Willie Bobo timbales solo on "Barandanga"; the whole second date is solid gold, the singing/chanting flows like lava.

Very amusing, but NIMBY.

Choice Diz. Thanks.

I was in Cranshaw's vicinity a few times when he was young and playing a lot in Chicago, maybe even when he was still a student at Northwestern University. He's the same very nice guy.

Great stuff.