Larry Kart

...in the side pocket. That commercial also really made me want a Snickers. Genius at work.

http://www.youtube.com/watch?v=zLrsCnBvQFo

That would have been when I heard Ayler sit in with them.

That would be me. I find "Tricrotism" easier to say. If there's a slight awkwardness/hesitation between "Tri and "cro" in "Tricrotism," it's more awkward for me to go from "co" and "tism" in "Tricotism." "Tricrotism" seems balanced and flowing; one almost bounces from "cro" to "tism." "Tricotism" is kind of hollow in the middle, no bounce at all.

Maybe I wrote what you read -- the piece "Notes and Memories of the New Music," written for Down Beat's "Music '69" (or was it "Music '70"?) yearbook, reprinted in my "Jazz In Search of Itself."

And Evelyn Rothwell, John Barbirolli's second wife: http://en.wikipedia.org/wiki/Evelyn_Barbirolli

I heard a version of the New York Eye and Ear Control band (Rudd, Tchicai, Ayler, probably Milford Graves, don't recall the bassist) in a loft above the Vanguard in what year of the mid-'60s I also don't recall. Only time I heard Ayler in person.

Recently bought the disc with the Rihm work; it's excellent. In the pastoral English vein, William Alwyn's 12-minute "Autumn Legend" for English horn and strings is worth checking out unless you find that idiom too bland and/or pictorial: http://www.amazon.com/Alwyn-Angelica-Pastoral-Fantasia-Interlude/dp/B000000APK/ref=sr_1_1?ie=UTF8&s=music&qid=1265813853&sr=1-1 There's also an Alwyn concerto for oboe and harp, but I haven't heard it: http://www.amazon.com/Alwyn-Concerto-Oboe-Strings-Grossos/dp/B00117QWSU/ref=pd_sim_dmt_dmusic_2

Contacted her.

Cool, intensely played game. Only one turnover, few penalties. Especially liked Lance Moore's catch of the two-point conversion. Tiny margin between success and failure, and I think it had a big effect on the outcome, practically and emotionally. I was out of the room for The Who.

The Armstrong Decca and the Chu Berry.

The Wells St. bar where Gene Shaw played (with organist Bobby Pierce and drummer Fred Stoll) was The Hungry Eye. John Litweiler's review of the group appeared in the Oct. 17, 1968 issue of Down Beat (on p. 32), which happened to be the second issue of DB I worked on as assistant editor. It's a pretty long review; here are some excerpts: "Shaw, it seems clear by now, is one of the outstanding trumpeters of his generation, in fact, one of only one or two or three to survive the hard bop era as genuinely successful artists. "There are not many to compare to him, because too many of his contemporaries these days have chosen fashionable modal jazz or soul music; and others, like Ray Copeland, linger in an unfair obscurity. Uniquely, Shaw has stayed with chords and the standard mid-'50s bop repertoire, and few of the others can approach the incisive power and daring of his art. "His style is almost a final refinement of the hard-bop idiom. Certainly the most personal quality of his solos is their comprehensive structure, achieved by almost every means possible -- contrasting dynamics, rhythms, note values, lines and spaces, use of juxtapositions for resolutions, balancing sequences against each other. His method is not so different from that of, say, Roy Eldridge, or some of the craftier swing-oriented players -- except that Shaw's harmonic-rhythmic basis is more sophisticated, he is subtler, and his good taste is more consistent. "He is not a straight-ahead soloist, for Shaw's imagination instinctively turns toward illuminating attractive byways and dark, strange shapes. Yet he avoids any kind of thematic improvisational approach, and his solos are almost never ordered around a central climactic idea. The perfectly formed ideas evolve naturally, one on another, resulting in relaxed, lyrical, satisfying statements...."

I remember hearing Waldron accompanying Sonny Stitt in Chicago at the Jazz Showcase in the late 1970s or early '80s, when it was located under the Happy Medium on Rush St. and known as the Jazz Medium, I think. Mal's compositional thinking as an accompanist led to some of the best Stitt I'd ever heard. Between sets I said something of the sort to Waldron and expressed the wish that he would come back from Europe more often. His response was quietly [edit: I meant to say "sincerely"] appreciative -- a nice moment I felt.

Chu Berry's solo on the alternate take of "Too Marvelous For Words," from the Mosaic Box. Fascinating player, significantly different from his colleagues, including Coleman Hawkins. Berry was in another place. Also, while I'm not saying this is the way he put his thing together, think of him in harmonic terms first, and it gets very interesting.

But that's because you charmed her.

"...The other tracks on Jordi's reissue are taken from the Koch reissue of Jack [Montrose]'s Atlantic LP with Bob Gordon. Jordi does a nice job on these reissues as you note, reproducing Jack's comments from the liner notes on PJ-1208. Jordi was a frequent visitor to southern California in the 1980s when he purchased many photographic prints that are now emerging on his CD projects. Unfortunately, Jordi did not understand that the purchase of a print did not entitle him to reproduction rights, so there are ongoing battles with the rightful owners of these images to receive compensation...." (My emphasis) Likewise, with Willie Sutton's understanding of the banking system.

Yes -- at a bar on Wells St. I'd probably recognize the name of the place if I heard it. John Litweiler wrote an appreciative review of that group for Down Beat.

Don't miss Johnny Griffin's solo on "Body and Soul" from the Ware album. Those deadpan quotes are outrageous even by Griffin's standards -- Frank Signorelli's "A Blues Serenade" (nice tune) seguing into "The Donkey Serenade." This street-corner surrealist side of Griffin perhaps fed into the Art Ensemble, and/or all parties were drawing from some sense of leering matter-of-fact juxtaposition that was built into Chicago reality.

It was Allen Lowe, not me, who made those points about Art Taylor's sometimes erratic time-keeping. In his liner notes to the "John Coltrane, Fearless Leader" set, Lewis Porter cites a number of examples.

My favorite Mulligan recording probably is his 1957 Columbia big band version of "All the Things You Are," with a lovely solo by Don Joseph and a sublime orchestral out chorus. Don't know if it's on CD, but it can be downloaded here: http://www.amazon.com/dp/B0013AYCR8?tag=jazzcom-20&camp=14573&creative=327641&linkCode=as1&creativeASIN=B0013AYCR8&adid=12NHGYH7VJFBH7V6H261&

"Ragtime at the Rosebud" is available on CD, and "Pastime Rag. No 4" can be sampled here: http://www.jazzbymail.com/ViewAlbum.aspx?iPID=2591&iAID=1396&sPC=1396_2591&sLCD=gsl5106&sAN=Milton%20Kaye

Arthur Marshall's Pastime Rags from pianist Milton Kaye's two-LP set "Ragtime at the Rosebud" (Golden Crest). "Pastime Rag No. 4" is from outer space (the intro especially), and this performance, while perhaps a bit too "shaded" for some tastes, really brings it to life. I've heard others that do not.

Yes -- thanks.

AFAIK, just "Tea for Two" and "Donna Lee," as linked to in post #6, but those links aren't working right now. Niko has said that he's working on trying to iron this out. In the notes to the Tony Fruscella-Brew Moore Spotlite LP, "Fru 'n' Brew," recorded at the Open Door in NYC, Dan Morgenstern mentions hearing Singer at that grungy bar and being greatly impressed. My guess is that "Shine" and the other two Singer performances were recorded there.

Both -- simultaneously and with no strain. Something I give my best friend of the time and myself credit for is that at age 13 in 1955 we were stunned by the recent 10-inch RCA reissue of 1940-42 Ellington Band material -- "Concerto for Cootie," "Ko Ko," "Jack the Bear," "Harlem Airshaft," etc., had no doubt that this was great stuff. And I don't recall that anyone "sold" us on this; it was just the music.