Larry Kart

Based on what I heard, I'm pretty sure he did. Either that or (in the first few sections) Ferde Grofe on Quaaludes.

Wynton didn't even orchestrate the thing? "University of Florida music professor James Oliverio spent a whirlwind five weeks this summer working with one of the country's preeminent jazz talents. "Tonight he will be seated in a plush seat at Lincoln Center in New York City watching the U.S. premiere of "Swing Symphony (Symphony No. 3)," composed by Grammy Award-winning musician Wynton Marsalis and scored by Oliverio. "Oliverio, director of UF's Digital Worlds Institute, spent four days in a cabin in the North Georgia mountains translating a handwritten piano score into a full orchestral score for Marsalis as part of his work...." http://www.gainesville.com/article/20100921/ARTICLES/100929912/1109/sports?Title=Lincoln-Center-premiere-scored-by-UF-music-professor Well, at least the piano score was handwritten.

Nothing. P.S. Did Buddy Bregman ghost the string parts?

Within only 5 posts? Surely you jest. Whatever, all I can and will do is say what I actually think, which may turn out to be nothing.

Will watch/listen this afternoon and (perhaps) weigh in.

Good luck, Allen.

OK

Well, you did say it was "illuminating." While that's not a blanket endorsement, the word does suggest that you think that Burns' words throw light on something of importance. To me, the words you quote reveal that Burns thinks vague, sappy, more or less self-serving thoughts -- e.g. "My mission--and I'm happy to say that there is a huge evangelical dimension to what I'm doing--is preaching the gospel of Americanism, but one that is mindful of the fact that it is not separated from questions of the spirit and the soul's survival." Also, I'm glad to know that the women Burns ran across "who for lack of a better word is a psychic" and whom he told "of the interviews and how each person had called Armstrong an angel," not only responded "biggest wings I've ever seen" but also said this "softly" and after she had "closed her eyes." In the words of that Snickers' commercial of a few years back, "Great googly-moogly."

Colette (on clarinet), Chico Hamilton (both quite young), et al. backing Fred Astaire in a scene from "You'll Never Get Rich"(1941). Some fine Astaire here, especially toward the end:

Kind of like, IIRC. Don't take it to the bank; I haven't heard a Strand recording in maybe 40 years.

Just curious -- why do you think that all of the segment that you find vital, creative, and interesting exists underground? Why does the larger community that must in some way give (and/or have given) rise to this segment of the music not have enough of a taste for this segment to make it a popular, above-ground thing? Where's the disconnect, if that's the way to put it?

No -- Strand was very subtle, "sophisticated"-tasty, albeit arguably a tad bland for some tastes (quite un-bluesy IIRC). If you've ever heard Joe Mooney's work on accordion and on organ, Strand was kind of like that. A lost world.

Pardon me if this has been mentioned before, but have you heard of Laurie Pepper's solution to the bootleg problem, "pirate" the pirates? http://www.jazzwax.com./ No, it's not a "solution" solution, but there is a nice symmetry to it.

Don't know for sure, but I would guess that if they had a problem with me now it wouldn't be because of style but subject matter and content. They wouldn't want me to write about things that I found interesting or, if there were areas of common interest, wouldn't want me to say some of things I wanted to say.

BTW, Red Menace -- almost all the pieces in my book (though not that piece about Kerouac and jazz) were written for a daily newspaper, the Chicago Tribune.

Thanks, Lazaro. My trick (if that's the way to put it) was to think in terms of speaking to a friend after, say, you'd gone to see or hear something together. You start talking first, but implicit in what you're saying is "And what did you think?" Another way I'd sometimes think about it in retrospect (when I'd look at something where I got kind "out there" --as in an piece about Andy Kaufman that referred to and quoted from Kafka's "The Hunger Artist," this in an American daily newspaper) was that you can get away with talking about almost anything if you lay the table right. Besides, I wasn't dicking around there. What I thought about Kaufman could be said, so it seemed to me, in no better way. BTW, about "laying the table right, " I mean several things (maybe more, but these are the ones that come to mind) -- do it swiftly/economically, don't pander, but also don't intentionally exclude anyone, assume the reader is with you, and don't apologize.

Roy Haynes is Roy Haynes. If you're a musician and he's too busy for you, go play with someone else. He hasn't been too busy for a lot of great players, quite the contrary. And never IIRC for this listener.

My local library has the Gallagher book. Will investigate.

David Blight is really onto something with his account of the power of "Lost Cause ideology" in American life. Don't want to derail this thread, but its workings on today's political/cultural landscape seem pretty obvious, nor do I think it's likely that we as people can get past this so deeply appealing (if you will)"construct."

Yes -- from that Joe Goldberg piece linked to above: "While Louis Armstrong is playing, a musician named Matt Glaser shakes his head in time, and scats along." IIRC, the self-satisfied smirk on Glaser's face as he substituted himself for Armstrong was quite something.

I'm pretty sure that the "white beardo"(i.e. a bearded white guy rather than a guy with a white beard) was not Giddins but Berklee faculty member-violinist Matt Glaser: http://www.berklee.edu/faculty/detail/matt-glaser Don't recall now exactly what Glaser said, but I do recall that it struck me at the time as annoying bordering on insufferable. But then I've been told that that description fits me.

Don't know if it's been linked to before, but here's an interesting 2001 review of Burns' "Jazz" from the late Joe Goldberg: http://www.jazzhouse.org/gone/index.php3?view=1264890487

See this thread:

Don't have the Henderson album anymore myself, so I can't cite specific tracks/passages. McBride does get hired a lot, so what do I know?

OK -- The amplification in the hall was crappy and this was picked up on a cell phone, but I've heard much the same plodding, thunky thing from McBride on a good many studio recordings (e.g. the Joe Henderson Big Band CD), to the point where his presence on a date is a warning sign for me.