Larry Kart

Bix!

On second thought, the ballad that Von played at the Chicago Jazz Fest this year might have been "Don't Blame Me."

Those lyrics don't stand alone for me. They need the music (which is how they were meant to be presented) and a good singer for me to believe them. I don't see the point of having these (or any of the other lyrics posted) stand by themselves. They were meant to be a part of a whole, and should be presented that way. And they were meant to be sung, not read. Yes, of course, but I'm assuming that many here know the music that goes with these words and thus can appreciate how Dietz's lyrics and Schwartz's music work together.

On the plus side, four gems by Howard Dietz, music by Arthur Schwartz. Yes, things can get a bit purplish at times, but the play of sound, accent, and emotion is something else IMO: By Myself I'll go my way by myself, this is the end of romance. I'll go my way by myself, love is only a dance. I'll try to apply myself and teach my heart to sing. I'll go my way by myself like a bird on the wing, I'll face the unknown, I'll build a world of my own; No one knows better than I, myself, I'm by myself alone. I'll go my way by myself, here's how the comedy ends. I'll have to deny myself love and laughter and friends. Grey clouds in sky above have put a blot on my fun. I'll try to fly high above for a place in the sun. I'll face the unknown, I'll build a world of my own; No one knows better than I, myself, I'm by myself alone. Alone Together Alone together, beyond the crowd Above the world, we're not too proud To cling together, we're strong as long as we're together Alone together, the blinding rain The starless night, were not in vain For we're together and what is there To fear together Our love is as deep as the sea Our love is as great as a love can be And we can weather the great unknown If we're alone together Dancing in the Dark Dancing in the dark 'til the tune ends We're dancing in the dark and it soon ends We're waltzing in the wonder of why we're here Time hurries by, we're here and we're gone Looking for the light of a new love To brighten up the night, I have you love And we can face the music together Dancing in the dark What though love is old What though song is old Through them we can be young Hear this heart of mine Wailin' all the time Dear one, tell me that we're one Looking for the light of a new love To brighten up the night, I have you love And we can face the music together Dancing in the dark, dancing in the dark Dancing in the dark You and the Night and the Music You and the night and the music Fill me with flaming desire Setting my being completely on fire You and the night and the music Thrill me but will we be one After the night and the music are done? Until the pale light of dawning and daylight Our hearts will be throbbing guitars Morning may come without warning And take away the stars If we must live for the moment Love till the moment is through After the night and the music die Will I have you?

How about: Olha que coisa mais linda Mais cheia de graça É ela a menina Que vem e que passa Num doce balanço A caminho do mar Moça do corpo dourado Do sol de Ipanema O seu balançado É mais que um poema É a coisa mais linda Que eu já vi passar Ah, Por que estou tão sozinho Ah, Por que tudo é tão triste Ah, A beleza que existe A beleza que não é só minha Que também passa sozinha Ah, se ela soubesse Que quando ela passa O mundo sorrindo Se enche de graça E fica mais lindo Por causa do amor Por causa do amor...

That is good, but I also like the phrase "the infamous Kenton trumpet section." Hello, Central, get me rewrite.

Very good guess, but I don't know what she looks like. Chris A. posted a link to a picture of Wetzel and drummer Elaine Leighton a few years ago, on a thread about Leighton, but the link no longer is there. Perhaps Chris could post it again. BTW, I'm no longer clear about what the issue is here. That is, we've now seen the photo with Haig and the female bassist (who really seems to be into it, no?) Is that the photo that the person who started this thread was thinking of, and thus there is no evidence of a photo of Evans with an as yet unidentified female bassist? Or is there this Haig photo and a similar Evans photo?

Definitely "nothing else." The "Darn That Dream" he played at the Chicago Jazzfest this year (that was the ballad he played at the Fest, right?) was in the same class as the one on "Vonski Speaks."

According to what I heard on CBS network radio news this morning, there is much more here than meets the eye. In particular, so it was reported by Arman Ketayen (sp?), what happened sprang from an argument between Woods and his wife about him boinking another woman, that his facial injuries were inflicted on him by his wife before he got into the car, that she was pursuing him down the driveway with that golf club (thus the accident), that her smashing in the back window of the car with the club after the accident might well have been an attempted continuation of her angry assault on Woods rather than an attempt to "free" him, and that Tiger went in and out of consciousness after the accident because, in part, he already had some sort of pain medication in him.

My favorite female bassist was Betty Dupree: http://hubcap.clemson.edu/~campber/wiljo.html

Wait, Lee Meriwether played bass with Bill Evans on a gig at the Jazz Record Mart? Exactly. With Barrett Deems on drums.

And it ain't Beverly Peer; he was a guy.

Here's the Haig and the female bassist image, crystal clear: http://images.google.com/imgres?imgurl=htt...t%3D40%26um%3D1 Don't know who she is, though. Don't see any female bassists listed in the Haig discography, though the session might have been unissued: http://www.jazzdisco.org/al-haig/discography/

It is.

One that comes to mind is Lee Konitz/Bill Russo -- "An Image" (Verve, 1959). Konitz with a string quartet and rhythm. It just works; thoughtful, beautifully played, inventive music, no pleading for extra credit. And Russo knew what he was doing. Third Stream well before there was the label would be Bob Graettinger with Kenton -- "City of Glass" and "This Modern World" -- but Graettinger in effect eats the Third Stream for breakfast: "Badges? We don't need no stinking badges!"

There ya go.

In fact, I was a bit surprised that people immediately attributed this quote to Giddins. I would have guessed that it came from DeVeaux. Giddins has a lighter, more journalistic approach in his writing, while DeVeaux can go off on those kind of academic/iconoclastic tangents. Just to be clear, the original poster (that would be me) identified them as co-authors. Also, I wouldn't call the quoted passage "iconoclastic." Unless it's based on a reading of the evidence that is valid but is news to me, the idea that the cyclic forms of jazz, in which rhythm and harmony are interlinked (i.e. chorus-structure music) "are derived from African music" struck me as a possible (though not for sure) instance of a certain sort of political correctness. I'm not saying that so-called African retentions in jazz and a lot of other American musics are not for real, abundant, and crucial but that with chorus-structure forms lying thick upon the ground here and in Europe for a very long time, it's unlikely that in jazz such forms were "derived" from African models.

I have and like the 1967 Leppard set on Phillips, but sonically it's a bit close and clotted (even for its time), and I'm looking for a possible upgrade. What I like about the Leppard is that it has a nice sense of weight and muscularity to it, as though the music's inherent drama (IMO) were being understood/interpreted/projected without being rammed down one's throat. Sampling various versions on the 'Net, I found the touted Manze much too flighty/scratchy and just plain wrong in some of its emphases -- in particular, little or no sense of a bass line, without which IMO these works lose much of their meaning. What I could hear of the Harnoncourt sounded intriguing, though also at times over the top in the dramatization department (which I think I could handle, or Handel, because I would prefer too much of that rather than too little, but I've seen a review that says that the playing in this set gets very scrappy at times, and that I would not like). I see that the Orpheus CO set (coupled with the Water Music and the Royal Fireworks Music) is at Berkshire, but although I like the samples of the latter two works, the Op. 6 samples lack the kind of weight/punch that I want. It's certainly better than the Manze, but both parties seem to think that Handel is Vivaldi.

I know what you mean, I think -- the grit and the funkiness -- but I also think that the final effects had a fair bit to do with how he was miked. This is without having gone back to check, and it sounds a little crazy because it was the same engineer (RVG) throughout, but I recall thinking back then that PC's bowed solos usually had a somewhat more distant sonic perspective on Prestige (more of the formed note, less "overtones," albeit less "presence") than was the case on Blue Note.

Bill Crow (in the June 1959 Jazz Review) on PC's playing on "Benny Golson's "New York Scene": "I much prefer Paul's plucked solo work to his bowing; his conception is excellent, but the predominance of extraneous overtones in his arco sound disguises the tone of the instrument and makes the notes he is playing difficult to hear.... His chorus on 'Something in B Flat' (bowed) sounds like a large insect trying to escape from a bass drum."

"The Man Who Cared too Much" (on Joel's MySpace site) is a beautiful piece and performance -- such a relaxed, "breathing" groove. Is that this band: John Eckert (trumpet), Janice Friedman (piano), Bim Strausberg (bass), Rudy Petschauer (drums)?

Great place, Chris. Am looking forward (shudder) to the Chicago nightmare.

This is by far the most comprehensive guide to jazz in the NYC area that I'm aware of: http://www.hothousejazz.com/ I found lots of things listed here the last time I was in town that I didn't find elsewhere (but there is a lot of clicking on links involved, and not all the links are working or fresh). Actually, the printed Hot House mag was what did it for me (picked it up in the first club I went to).

Russell Thorne. Sounded like he was improvising a Webern string quartet.