Larry Kart

My mistake, but this morning I read it as "Cheney's good record day" and wondered what sides he might have picked up. Something by Al "Hurt"? A Spike Jones rarity? Dave Tough? Johnny Board?

What the fuck? That's horrible. I'm offended. Me too. The bandana isn't big enough. According to the story, her opponent did complain but didn't get anywhere with the referee. The problem, I would guess (and Larcher de Brito cited this), is that there have been a lot of grunters and yellers before this, and rarely if ever have they been penalized. Larcher de Brito further noted that her opponent complained only after points she had lost. Knowing f--- all about tennis, I would say that while Larcher de Brito may not be the loudest of the noise-makers, there's virtually no way that her piercing semi-siren scream isn't 98 per cent cooked up, rather than a natural extension of genuine physical effort. The solution? Let the Williams sisters corner her in the locker room and beat the crap out her, perhaps until she starts making the identical sounds. Or better yet, tape Larcher de Brito and provide her opponents with copies of her noise-making that are automatically actuated during play whenever they hit the ball. I bet she'd shut up fairly soon, though by that time there'd be no one left in the stands.

Many thanks for this. I checked out Off the Record/Archephone transfers online and could hardly believe what I was hearing. And that was online! When my order arrives, I'll be hearing anew music that I thought I knew very well.

I'm certainly no expert, but Googling under "TP sensor" brings up several sites, and a glance at this one: http://www.automedia.com/Throttle_Position...ccr20040701ts/1 suggests that you almost certainly have a TP sensor problem. As to whether you can fix it yourself by adjusting what you have now or by buying a new TP sensor and installing/adjusting it, you're probably an accurate judge of your general capabilities as a mechanic and can measure them against what this site (and others) say about TP sensor work. Good luck.

This clip too (from later in the same match):

Check out the story (first link), then (second link) the actual sounds she makes. Wonder if she's like that when she has sex, if that's happened yet: http://www.nytimes.com/2009/05/30/sports/t...0tennis.html?hp http://www.youtube.com/watch?v=_gpVtVz0Bm4

Got the Bluebird box, too. Benefit of being old.

Thanks. That's pretty early Buddy, age 23. I thought that guy might go somewhere.

A Vogue picture disc: http://www.nme.com/video/id/KZ_E5LeAqvA/search Wonder who the rest of the group is, especially the clarinetist.

$30 here - http://www.cduniverse.com/productinfo.asp?pid=1382607 Still a pretty penny, but perhaps a bit of a bargain compared to $40. I just downloaded it from Amazon for less than $5... Yes -- but did you get the "melodicaljy fluid" version?

It was a fairly beat up copy of the original vinyl and always unusually brittle IIRC. In any case, I just ordered a copy of the Japanese CD. I was hipped to this one way back when by an enthusiastic/accurate Martin Williams Down Beat review, which was reprinted in one of his collections (maybe more than one) -- Martin interestingly not being a much a Getz admirer at the time but converted by this album. As he rightly points out, the almost forgotten Jerry Segal's unique, loping, "long" time feel -- sort of a cross between Stan Levey and early Louis Hayes (though Martin heard Philly Joe) -- probably had a lot to do with the success of this date. Some great stop-time playing from Getz on IIRC "Down Beat," and the grooves on "All The Things You Are" and "To The Ends of The Earth" are other-worldly (appropriately so for the latter tune, I suppose).

Don't know if it's been mentioned on this thread, but a semi-forgotten gem is "The Soft Swing" from 1957, with Mose Allison, Addison Farmer, and Jerry Segal. Some of the most rhythmically relaxed. melodicaljy fluid Getz I've heard. I still have my old LP, but a smallish triangle-shaped chunk fell off a while back, which renders the first half of the first track on each side unplayable. It's been reissued in Japan, but the last time I checked it cost a pretty penny -- maybe $40. May have to spring for it before it's too late.

Serge Chaloff's "Body and Soul" New Orleans Wanderers' "Perdido St. Blues" Sonny Rollins' "St. Thomas" (from "Saxophone Colossus") Count Basie's "Taxi War Dance" Konitz w/Kenton "Lover Man" -- aircheck from "Lee in Sweden" (Dragon) Luckey Roberts' "Inner Space" Coleman Hawkins/Charlie Shavers "Hawk Eyes" (title track from the album) Roscoe Mitchell's "Nonaah" (alto-saxophone quartet version) Louis Armstrong's "Struttin' With Some Barbecue" (Decca big band version) Warne Marsh's "317 E. 32" and "Subconscious Lee" -- from "All Music" (Nessa) Jazz Messengers' " Nica's Dream" Ornette Coleman's "Beauty Is A Rare Thing" Sonny Clark's "Cool Struttin'" (title track from the album)

I know that they are in good part personal choices, but: Ellington's "The Sergeant Was Shy" Monk's "Little Rootie-Tootie" The Miles-Cannonball "Autumn Leaves" Other recordings by these people are arguably better/greater, but these never fall to delight and fascinate me. Also, I'm not normally a great Cannonball admirer, but that's one heck of a solo and just a magical mood-drenched performance by everyone. Wonder what an Ashley Khan book about that date would have to say, though I believe there are only two participants still with us -- Hank Jones and RVG. In particular, I would love to know about the role Alfred Lion played on this date, and not only because of Miles' immortal, "Is that what you wanted, Al-fred?"

Happy Birthday. You're doing great work on your home-remodeling project.

Rediscovering, actually -- Elmo Hope. Listening to "The Last Sessions," from 1966. The immediacy of his playing on, say, "Somebody Loves Me" is a rare thing. Can't think of much music that's as wholly "in the present" as Hope's is. In one sense, it's very edgy and risky, in another sense it's not; it's just Hope being himself; no intent I think to dramatize, it's just what is going on. Precious and still as "modern" as can be.

I had never heard that before...is that a misprint? I mean, ok, I'm not the biggest Bill Evans fan in the world, but I sure as hell respect him. And John bunch too, albeit for different reasons. In the end though, props is props & Bunch not having props for Evans is kinda... Is that a misprint? Maybe, my English makes this a bit confused; mind that English is not my mother tongue. The booklet reads: Tony got the idea that he would like to do an album with with me and Bill Evans together playing behind him. Well, I didn't feel that I was in a class with Bill Evans, and frankly, I tried like hell to discourage him from that ( John Bunch) That clears it up. Bunch thought that Evans was in a higher class than he was, and therefore the two of them (Evans and Bunch) playing together behind Bennett wouldn't sound right.

How did they develop? Were certain things, er, 'overexposed'? It seemed cool last I looked. In particular, Stan's daughter, Beverly Getz, made it clear that a number of the posts on this thread, including at least one of mine, were very hurtful to her, as well as (she said) cruel/spiteful in intent and factually inaccurate. There were other issues as well IIRC, but for me that was enough. I could see no way that any of this could be resolved (or "resolved") in this world without creating more unhappiness all around than it was worth.

Johannson was born in 1931. The clips on his website are lovely; I would guess they're based on Swedish folk material: http://www.janjohansson.org/

Gerry Teekens got my copy for mucho bucks. Never seen that one in LP form. Must be rare as hen's teeth. Still have my copy. As I recall, pianist Jan Johannson is in fine form on the album. You can hear Johannson with Getz on this YouTube clip from 1960 with Ray Brown and Ed Thigpen: Johannson died in a car crash in 1968, much too young.

At the cost of about ninety minutes of my life, I've shorn this thread of all the name-calling I could see (about six pages worth out of a former total of forty-four), plus some extraneous stuff, and re-opened it. If in doing so I've whacked a few things I shouldn't have, so be it -- the gist of the arguments (plus a lot of husk) remains.

Larry, I think what I posted here tells you that I have the utmost respect for you. But you're laying 100% of the burden on Jim's shoulders. Would you, personally, be prepared for that task? Give the guy a break! And kudos to you for bringing so much good music into my life. I'm not "laying 100% of the burden on Jim's shoulders" -- if you took it that way, that's not what I meant. I was just alluding to the fact that it's his board. And I'm certainly willing to think more carefully about what I post here and operate more aggressively as a moderator than I have been.

The main thing is that this board continue to survive and operate in something close to its best current -- or, if you prefer, vintage -- form. And that depends on Jim's judgment and on his willingness (while working as a professional musician) to deal with the problems that at times arise here. I trust the former and am very grateful for the latter.

As the person who started that thread, I have no problem with it being deleted, given the way things developed.

Just turned 67. One of my earliest memories, probably late 1944 or early 1945, is visiting the troop transport on which my dad was a signal officer, this at the Mare Island Naval Shipyard north of San Francisco.