Larry Kart

Happy Birthday!!

Wow, indeed. Do you get the feeling that Carson wanted a piece of her?

"Let 'Em Eat Cake" (though "Wintergreen for President" is from "Of Thee I Sing")

When I was in my pre-school years in Chicago, circa 1945-7, my mom and I used to listen to the Breakfast Club on the radio almost every weekday morning. Fran Allison (later the marvelous human mainstay of "Kukla, Fran, and Ollie") used to crack me up as the Breakfast Club's Aunt Fanny. Also, the pianist in the band on the show, later the music director, was a friend of my folks. Then it was the time for the soap operas -- Ma Perkins, Just Plain Bill, Our Gal Sunday ("Can a girl from a small mining town in Colorado find happiness as the wife of a wealthy and titled English lord?"), and Lorenzo Jones, the one whose theme song was "Funiculi, Funicula." Boy, did I hate that song.

The man himself:

I removed the link.

Only if ferrets taste like chicken.

Aug. 11, 1954 – JIMMY RANEY ENSEM- BLE INTRODUCING PHIL WOODS. New Jazz 1103. (Reissued as Prestige 203, and, com- bined with the March 3, 1959 session with Dick Hyman, as Prestige 7673/OJC-1865, under the title Early Quintets.) Recorded at Van Gelder Studio, Hackensack, New Jersey. Players: Jimmy Raney (g), John Wilson (tp), Phil Woods (asx), Bill Crow (b), Joe Morello (dr). Songs: Stella by Starlight, Jo-Anne, Back and Blow, Five. You can listen here: http://www.rhapsody.com/phil-woods/early-q.../pee-wees-dream Good stuff.

Likewise, at 8:50 p.m.

P.S. From a post I made on another forum a year or so ago: ...claims were made by members of Max Roach's group of the early 1960s that "Take Five" had been stolen by Desmond from a piece in 5/4 that the Roach group played. I know that piece, Tommy Turrentine and Julian Priester's "Long As You're Living," and it's a gem; but aside from the 5/4 meter and the fact that both pieces have an insistent bass pattern, it bears not much resemblance to "Take Five," certainly not in terms of melody. For a discussion of this issue, see p. 208 of Doug Ramsey's biography of Desmond, "Take Five."

So I take it to be somewhat of a gem? Musically, yes. Probably has value for collectors, but I'm not into that. It's a 5/4 piece on that album (don't recall the title) that led to the claim that Desmond's "Take Five" was lifted from that piece. IIRC this claim was weighed in Doug Ramsey's Desmond bio and found wanting.

..she might be a little old for you at this time! I can dream, can't I?

My idea of a good time: http://www.fanpix.net/picture-gallery/316/...hur-picture.htm

Some but not all of the tracks gathered in the Nessa Art Ensemble 1967/68 box. See details below: Ref: Nessa NCD 2500 A/B/C/D/E (CD) Title: The Art Ensemble 1967/68 (1993) Recorded: 5/18/1967, 5/19/1967, 6/26/1967, 8/11/1967, 8/25/1967, 9/2/1967, 11/2/1967, 11/25/1967, 3/4/1968, 3/11/1968 at Pete Bishop's Basement, Sound Studios, Lester Bowie's Basement, Roscoe Mitchell's Apartment, and Chess Studios, all Chicago, IL Released: 10/1993 Roscoe Mitchell, Alto Sax, Soprano Sax, Clarinet, Bass Sax, Flute, Recorder, Gourd, Bulb Horn, Harmonica, Percussion (on 1-15, 17, 19-23) Joseph Jarman, Alto Sax, Sopranino Sax, Clarinet, Bassoon, Flute (on 10-14) Lester Bowie Trumpet, Flugelhorn, Steer Horn, Kelp Horn, Bass Drum, Whistle, Siren (on 1-5,7-14,18-23) Malachi Favors Maghostut, Bass, Electric Bass, Zither, Kazoo (on 1-14,16, 19-23) Charles Clark, Bass (on 13) Philip Wilson, Drums (on 1-6) Thurman Barker, Drums (on 13-14) Robert Crowder, Drums (on 19-23) Contents: 1) Theme Statements: Slow Theme/Bell Song/Fast Theme/Chinese Song (08:08) 2) Old (08:03) 3) Tatas-Matoes (03:45) 4) Quartet No. 1 (22:02) 5) Quartet No. 2 (36:45) 6) Trio (Oh Susanna) ( 31:03) 7) Warm Up ( 02:10) 8) Number 2 ( 21:35) 9) Number 1 ( 25:09) 10) Number 2 (take 4) ( 08:33) 11) Number 2 (take 6) ( 14:26) 12) Number 2 (take 7) ( 19:44) 13) A To Ericka ( 21:39) 14) Quintet ( 22:46) 15) Solo ( 05:20) 16) Tutankhamen ( 06:39) 17) Tkhke ( 07:33) 18) Jazz Death? ( 07:20) 19) Carefree (take 1) ( 03:07) 20) Carefree (take 2) ( 03:05) 21) Carefree (take 3) ( 02:35) 22) Tatas-Matoes ( 02:17) 23) Congliptious/Old ( 19:30) Purchased: 11/3/1993 1-4 recorded 5/18/67, 5 on 5/19, 6 on 6/26, all in Pete Bishop's basement. 7-9 recorded 8/11/67, 10-11 on 8/25, 12 on 8/25, all in Sound Studios. 13 recorded 9/2/67, 14 on 11/2, both in Lester Bowie's basement. 15 recorded 11/25/67, in Roscoe Mitchell's apartment. 16-18 recorded 3/4/68 and 19-23 on 3/11, all in Chess Studios The albums: Lester Bowie: Numbers 1 & 2 (9, 12) Roscoe Mitchell Art Ensemble: Congliptious Old / Quartet

New York Art Quartet: http://www.amazon.com/New-York-Art-Quartet/dp/B0012IWK5C

Sidney Bechet-Muggsy Spanier Big Four, from 1940: http://www.youtube.com/watch?v=XsVBQ_O6Hb8

Chet Baker-Gerry Mulligan, which may have been the first notable, regular-working such quartet.

Way too "perky" for me; little or no sense that she would be that interested in anyone but her own little self.

OK, I've got to shut down the computer now. See you all in a week or so.

Well, yeah, of course, but if all I get is a "pretty melody" or "interesting harmony", without the sense that it's being driven by the pulse, the I get the sense that I'm expected to be a passive observer who's supposed to be blown away (or at least "impressed") by how.....superb it all is. It's like, would you rather "look at" life or get all up in it to one degree or another? I don't understand why a melody or a harmony that isn't being "driven" by the pulse but instead is in open dialogue with it has to be a merely "pretty" melody or a merely "interesting" harmony -- and merely seems to be what you mean by your use of "pretty," "interesting," "passive" and "be .... 'impressed' by how.....superb it all is." IIRC, you brought Bach into this a few posts back; check out the opening movement of the St. Matthew Passion, which certainly has a pulse to it but also (to an exceptional degree) that dialogic (top down, bottom up, sideways and slantwise) intertwining of melody, pulse, harmony, and tone color and tell me that it's aimed at "a passive observer who's supposed to be blown away..." etc. Just to be clear, I mention this is not because we're supposed to kowtow to Bach and the St. Matthew Passion for any culture vulture reasons but because it's amazing music. The spiritual aspect, too, but there YMMV. The music, though, I can't imagine you being cool toward.

To me, putting what's pretty much the same thought a bit differently, it's that melody and rhythm (and harmony, and let's not forget timbre/tone color) are always potentially talking to each other. Further, in jazz especially, any thought or act that's arguably melodic, rhythmic, etc. in origin/inspiration can be transformed into/flow into a thought/deed in one of the other "realms." In any case, if the pulse ain't in potentially open dialogue with some or all of the other realms, then my bottom will be moving with the bottom, but my mind soon will be wanting more. P.S. I'll be off-line for about the next ten days, maybe more. Major home-remodeling (paint the walls, refinish the wood floors, demolish and re-do the kitchen) calls for me to unhook the computer, etc. and take everything out of the back half of the house for starters. I could hook it up in the living room for a while, but that room probably will be stuffed with stuff until the back half of the house is done. Maybe I'll sign on at the library.

Nothing against Susan Boyle's performance, but about the song itself: I dreamed a dream some time ago About a song Uniquely nagging It sang of love, or God knows what, Please forgive the sound of gagging.

Great points above, but what I said was different: "if the rhythmic accents you'd make weren't outright dictated by the changes, they often were suggested by them -- the rhythmic implications of the harmonic framework were frequent and always potentially present." In fact, given the fluidity with which the various aspects of music can interact, it may have been as much a taste for more planed-down or "straighter" rhythms that led to more planed-down, "open" harmonic frameworks as it was the other way around.

I think the bassist is Nick Tountas. Willie is an amazing player! Right, Nick Tountas. Bruce Anderson, the pastor of the Lutheran Church of the Redeemer in Niles, Il., where these jazz vespers are held, is a very talented bassist himself. P.S. I mis-typed in my previous post. That video is from 2007.

Here's a rather stunning video of Pickens from 2002. The drummer is Rusty Jones; I've seen/heard the bassist before but don't recall his name: http://itsundertherotunda.blogspot.com/200...ie-pickens.html I have a nice 1987 Pickens Trio LP on Southport from 1987, "It's About Time!" with Wilber Campbell or Robert Shy on drums and Larry Gray or Dan Shapera on bass. Apparently it's been reissued on CD with extra tracks, with the original seven tracks misidentified as coming from 1997 (at least they say there are extra tracks on the CD, though I don't see them listed): http://www.amazon.com/gp/product/B000009RM...me=&seller= Unfortunately the price probably is prohibitive.