Larry Kart

If what you found out on popsike is sound, go right ahead. And maybe I mis-interpreted the tone of Chuck's remark. It happens. But what I said is what I actually thought when I saw it.

Hang in there and cherish the memories.

Not to speak for Chuck (a task I should never take on), but I didn't think he was expressing ennui but rather his simple judgment that the particular disc involved was "no big deal" as a collector's item.

What a nightmare much of that show was.

Two aces so far. Falzone, in a startlingly impressive, Roman Catholic-like structure for a Presbyterian congregation, was in unearthly form -- the music (Malley, of Palestinian background, plays oud, Mulvenna hand drums and various gongs, large bells, etc.) was often Middle Eastern in feel, with further references to French and Spanish music of the 16th Century and before. Jazz in spirit, though -- lots of rhythmically striking, lyrical improvisation. The Loose Assembly concert took a while for me to settle into -- I was late (bad traffic, streets blocked off for a parade), couldn't find how to get into the place for a fair while when I got there, and thus was initially pissed off -- but the music was superb. Some of Reed's best writing and playing, Roscoe is always a giant (everything he plays is so damn CLEAR and logical, as well as more or less HUGE), and everyone else rose to the occasion. Adasiewicz especially -- from an already high level, over the last several years he's been getting better and better; he engaged Roscoe in passages of true dialogue, which is saying something. As Josh Berman has said about Adasiewicz, he plays the vibes, but he's not really a vibes player; he's just a musician, and he'll do anything to kick out of that instrument what's needed.

No, you wouldn't.

Tonight: Allos Musica Trio: James Falzone, Ronnie Malley, Tim Mulvenna (Covenant Presbyterian Church) Saturday afternoon: Roscoe Mitchell with Loose Assembly: Greg Ward, Jason Adasiewicz, Tomeka Reid, Josh Abrams, Mike Reed (Millennium Park) Sunday night: Joe McPhee, Josh Berman, Josh Abrams, Mike Reed (Hungry Brain)

I'm an introvert -- don't bother me with these questions.

I agree, totally.

Chewy -- please spell bedder.

Ya gotta love the band that recorded "Stanley's Stiff Chickens." It also had, on bass, the musician with perhaps the most sexually intriguing name in jazz history, Spanky DeBrest. (That last a contribution from the late J. Figi.)

What do you mean "we," Kemo Sabe?

Nay. I would bridle at that.

So I shouldn't f--- my horse anymore?

Maybe not that much, but why (if this what you're saying) not at all? It was part of the social furniture of the times and also seemed to matter not just to some fans but also to some of musicians who hung out with Bruce and Sahl, though in the case of the former a possible rhyme in sensibilities was not the sole reason. Also, if you find Paul Desmond's sense of humor in general to be present in his music, Desmond and Sahl were friends on much the same wavelength back in their San Francisco days.

You mean Mort Sahl, right?

Changed thread subtitle from "airchecks" to "broadcast transcriptions," because that's what they are and that's why the sound is so good.

http://www.amazon.com/California-Melodies-Art-Tatum/dp/B000003UE5/ref=sr_1_1?ie=UTF8&qid=1289840036&sr=1-1 Tatum on David Rose's radio show "California Melodies," in excellent sound, and again, this is a legit issue, authorized by Rose's and Tatum's heirs. Interestingly, eleven of the twenty-four tracks (total time is about 78 minutes) are Tatum's first recorded broadcast performances of those tunes. If you dig Tatum, I think you'll enjoy this, though if you're not a Tatum fan, you probably won't be converted. I was particularly struck by "Caravan," "Get Happy," "The Shout," "Wrap Your Troubles in Dreams," "Elegie" (yes, "Elegie"), "Have You Met Miss Jones," and "Body and Soul."

Yes, I know who wrote "Crazy." My reference was to Cline because her recording was very fresh in my mind.

I deleted the thread because, without thinking as I should have, I provided a link to a bootleg, which violates forum rules. I could have just removed the link, but I fetl so dumb, being a moderator and all, that I deleted the whole thread, which I suppose spread dumb on top of dumb. But I'm dumb, or I was yesterday,

Maybe the most West Coast record ever. I bought it when it came out, got rid of it a few years later (despite its great Jim Flora cover) because I'd been converted to Silver, Blakey, Rollins et al. and didn't want my burgeoning little collection to be polluted by this precious stuff, then heard it again decades later and realized how much clever, goofy fun it was. Also, the way the band plays those complex petit point charts is pretty amazing.

You're right, Jim. I misinterpreted/mis-remembered the final sentence from this of yours yesterday (in response to my quoting and commenting on two Dietz lyrics): 'And anyway, "play of sound and accent"...what does that mean exactly? To me it implies a linguistic ploy, and what if the language being used is no longer widely spoken? Or what of people who never really spoke that language in the first place?' to mean that perhaps people back then never spoke that way, rather than what you said -- that back then some "people ... never really spoke that language in the first place." Remedial Reading class for me.

What does that mean, in a totally objective sense? And this is the same man who said yesterday that Howard Dietz's lyrics not only aren't in tune with the way people express themselves today but also that even back then people probably didn't express themselves that way. Objectively speaking.

But, Seeline, when you posted the "I Remember" lyrics, though you did say they needed to be heard with the music to have their full effect, it was in a context within this thread where you were implying (or so it seemed to me) that you thought they also were quite beautful. Now you're saying that within the context of the show for which they were written, they're supposed to be taken as archly poetic? (which it me doesn't jibe with beautiful). I don't get it.