Larry Kart

Perfect description. I remember that moment from way back when but never really thought of it as a clam, even though... -- anymore than I thought of Ernie Henry as being out of tune.

Sorry, nof, you are so wrong about that. Phil Schaap never bought as much as a clap on e-bay... You can get the clap on eBay? Oh, no.

No, it was Paul Desmond.

Whoa!

"Stan Getz -- The Last Recording" http://www.amazon.com/Stan-Getz-Last-Recording/product-reviews/B000641Z86/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1 from Munich, 1990, 93 minutes, excellent sound and camera work, with Kenny Barron (in top form), Alex Blake, Terri Lynn Carrington, and two synth players on some pieces (they don't get in the way). Stan takes a little while to fully warm up, but he certainly does -- the version of Mal Waldron's "Soul Eyes"! Best of all, in some hard to define but to me unmistakable way, seeing Getz play here tells a great deal about who he is and how he plays -- to a degree that few jazz videos do in my experience. I usually find that the visual information doesn't add that much to the sonic information and that I'd just as soon close or half-close my eyes and pay attention to the sounds only -- which is how I often listen to music I like anyway. With this one, I can't take my eyes off what I'm seeing. Another video that gave me that feeling is the Jazz Icons Monk, but the reason for that was more obvious -- seeing Monk's hands on the keyboard and feet on the pedals -- than it is (or seems to me to be) here.

The same rhythm section on "Energy Fields" is anything but '50s West Coast mellow to my ears; rather, it's cooking and thrashing, with drummer Joe Corsello, as Michael Cuscuna says in the liner notes, in the vein of Tony Williams and Joe Chambers (I'd add Billy Hart). Huh, that's interesting. I've met Corsello and heard him play with pianist Joyce DiCamillo and never would have guessed that he'd be into that bag. On Corsello's MySpace site: http://www.myspace.com/joecorsellodrummer there are links to several tracks ("Just in Time" from "Energy Fields," "Loose One, Gain One" from "Carmen Leggio Quartet") where he's playing with a good deal of intensity. He also lists his influences as Gene Krupa, Buddy Rich, Philly Joe Jones, Elvin Jones, Tony Williams, Peter Erskine, Jeff Hamilton, Bill Stewart, Billy Hart, Duduka Da Fonseca, Victor Lewis, Kenny Washington, Adam Nusbaum, Alan Dawson.

The same rhythm section on "Energy Fields" is anything but '50s West Coast mellow to my ears; rather, it's cooking and thrashing, with drummer Joe Corsello, as Michael Cuscuna says in the liner notes, in the vein of Tony Williams and Joe Chambers (I'd add Billy Hart).

The "bass" in those recording was Morton's left hand, no?

Really got into it tonight. Wow. Terrific interview, too.

That would be even better -- the time when many major cities where developing their own versions of Haight-Ashbury. In Chicago it was Wells St.

Yes, it almost literally reeks of that era, late '60s, (which would be, I assume, when this material. rec. 1961, was released).

That would be Jon Avant.

If "Interstellar Space" and the last quartet recordings were where Trane was headed -- and not only chronology but also achievement (IMO) suggest that that was the case -- I wouldn't say "struggling to keep up" but "increasingly on different pages." Likewise with Elvin and Trane. Also, wasn't that the conclusion that all parties reached?

Was listening a few weeks ago to "Meditations" and felt in particular that McCoy's long solo on "Consequences" sounded like (in the words of Dave Liebman) "a mini-twentieth century piano concerto" -- which Liebman meant as praise, but I think it's pretty turgid-Romantic. I prefer Alice Coltrane's approach to playing with (or behind) late Trane.

It really was outrageous, particularly when they got away with that low hit to the knees late in the game. I'm with you -- here's hoping that the Saints get a humiliating shellacking in Miami!! I know this makes me a bad person, but every hit Favre takes, illegal or not, gives me pleasure. OTOH, that pass interference call in OT was crap. And Childress' CYA non-explanation of that crucial 12 men in the huddle blunder! At least the other Vikings' mistakes were made by guys who were being hit by other guys. OTOH again, I think Peterson does have a problem there that is more than just physical. Can't think of the guy's name right now, but there was another very talented back in the recent years (was it Shaun Alexander or Tiki Barber, or both?) who put the ball on the ground too often in a somewhat similar manner. There seems to be a whiff of petulance or something like it that gets into the mix.

Seems to me to be pretty much written in code, but as much as I can sort out, I agree with his point about the likely Burns Effect but doubt there is much Kelley Effect in the sense Rich seems to mean (Kelley's Monk bio altering the way worthwhile music is being made and perceived in the present), in part because I seem to be one of the few people who find Kelley's book disappointing. For all his research, I get little sense that he has much understanding of why Monk's music was and still is important as MUSIC; if so (and I'm not saying I'm right, just that this is how Kelley's book strikes me), then the book is more or less another exercise in adding another immobile noble statue to the cultural museum and is thus not far removed from one key strain of Marsalis-ism. (Also, it may be just an irrelevant verbal tic on Rich's part, but his mention of Steve Lantner's playing being enjoyed by "the Vandermarks" made me think of '50s Broadway columnist telling us who was at the Stork Club last night.) In any case, the good music I go out to hear with some regularity (and enjoy with other somewhat like-minded people around me) is being made on its own good terms, as far as I can tell. Actually, last night one of the guys I like, Chicago guitarist Matt Schneider, was playing a fairly obscure Monk piece by himself (don't recall the title) to warm up before the set, but I don't think he was in the grip of the Kelley Effect because I've heard him play that piece more than a few times over the years -- and not, I would venture to say, to pay tribute to Monk or the like but because it's simply music that interests Schneider as a musician, has some bearing on things he likes, or would like, to do himself. Isn't that the way it's supposed to work?

Pace, Allen, but a conversation I had with Freddie Green about his role in the Basie rhythm section really did it for me. I've talked some to other players of note who were older, but for some reason (perhaps because Green seemed not to be inclined to talk but then did so forthrightly and very insightfully, albeit briefly), it felt as though I were in touch with a stream that ran deep and went way back.

The trick is that by 1:09 Niko means the one-hour-and-nine-minute mark, not the one-minute-and-nine-seconds mark. Advance the counter to that point and voila! Pretty astonishing stuff. My first reaction is that his lines sound so "suspended" -- rhythmically, harmonically and melodically -- more so than is the case with any soloist I can think of from that time and not until "sheets of sound" Coltrane, if then. Raney, perhaps, if he'd wanted to do it that way, but his temperament and inclinations were somewhat different when it came to the shapes he liked to make. Likewise, perhaps, with Warne. And Bird of course. Otherwise...

From Randy Sandke's self-published "Bix Beiderbecke: Observing A Genius At Work" (1996): "Bjx's solo on "'Tain't So Honey, 'Tain't So" stretches the rhythm further than anything he'd done up to this point. Only five of the sixteen bars contain downbeats." There 's a transcription of the solo (one of many) in the book.

IIRC correctly, a good deal of what's in the H.R.S. box, though of course that's OOP.

That second video! I much prefer it to the first one. Also, in the first one, dig the movements of the trumpeter on the left (I think it's Freddie Jenkins). That's all she wrote.

FWIW, Gunther Schuller praises the Crosby band in detail in his "The Swing Era," pp. 652-60. He begins: "The Bob Crosby Orchestra was in its heyday quite special -- and for a while one of the very best in the land."

Probably: 10:00PM at Elastic, 2830 N Milwaukee, 2nd Fl, 773.772.3616 Spacer : Jason Adasiewicz, Nate McBride, Mike Reed Halo Defect : Dave Rempis, Nate McBride, Michael Zerang Last night heard Rob Mazurek, with Adasiewicz, Josh Abrams, Matt Lux, and John Herndon.

Scott Wendholt

Help me out here -- why wasn't he "in a position to do that five years ago in [his] congressional testimony"? (My emphasis]