Larry Kart

Thanks for the reminder, great record. And at times Finch and Cranshaw are virtual compers too.

A good one I don't see on Amazon anymore is his 1990 album "Transition and Transformation" (9 Winds) with avant-garde classical bassist Bertram Turetzky, trombonist George Lewis, and three cellists.

Fine player. I've got a good number of his albums.

IIRC, Schildkraut is in good form there.

He looks like he's full of spirit.

Had much the same experience -- a beat up used LP for many years that was treasurable for what I could hear of it. Then finally found the CD.

As a matter of fact I have six recordings of the Mahler Ninth -- Horenstein (Vox) 1953, Klemperer, Maderna, Giulini, Boulez, Zander.

I'm in.

For certain classical works where interpretations vary (e.g. Mahler symphonies) I happily have multiple copies -- three Mahler Ninths, three Mahler Sevenths, three Mahler Fifths, two Fourths.

Make that REALLY complex rum drinks.

Complex rum drinks with little umbrellas?

For one kind of thing (if you dig the MJQ) -- John Lewis. For another kind of thing -- Ed Bickert.

Harold Mabern should be in the photo.

Good one

I agree again --certainly about the Philly connection and the sharing of data there -- and also about Cannonball being "awkward as fuck for the longest," though I don't think he was that awkward until and unless he was trying to incorporate oblique Trane-like information into his pre-existing relatively juicy and symmetrical vocabulary. Of course, he could still, if that's the way to put it, pull back as with the hit "Live in San Francisco" album and deliver soul and good grease without fear or favor, but there was still the work Jim speaks of to be done. One could say that the drive to do this work speaks of a certain idealistic strain in Cannonball --because the distance he had to travel to get there was considerable, while in front of him he had a virtual cash register that probably wasn't going to stop ringing.

BTW, Jim, you may disagree but in this realm of successfully absorbing Trane's "new knowledge," Cannonball seems to me to be an interesting case in that initially and for a fair amount of time -- and we do have the fairly abundant amount recorded evidence of Trane and Cannonball playing side by side with Miles and in one key case with just the two of them -- Cannonball's period of learning from Trane and "taking notes" led to a not inconsiderable degree of "does this part fit with that part? -- i.e. do they fit for me" unease and awkwardness on his part. And how could it be otherwise given the what seems to me to be considerable distance in timbre, harmonic and phrasing habits (Cannonball more or less symmetrical, Trane anything but that), etc. between the two men. By contrast, based on the recorded evidence -- e.g. his playing on Wynton Kelly's "Kelly Blue" and Art Farmer's "Modern Art" -- for Golson to pick up on Trane's expanded harmonic vocabulary etc. was a much smaller and smoother step than it was for Cannonball; and for the likes of Bill Barron it was virtually no step at all. In any case, all the credit in the world to Cannonball for forging ahead through what might (or might not) have been periods of some relative frustration for him, albeit tempered by great popular success. After all, from 1964 (or even from 1958, when Coltrane was right at his shoulder) to 1974 is a LONG time.

Sorry about my use\possible misuse of "hip." I agree with what you say above almost 100 percent, though I also think that while "hip" (as in merely trivially, fashionably hip) is not synonymous with math and science, there is or can be, in the minds of some, some possible residual sense of being hip -- as in being on the "right" side of rapid turbulent consequential developments in the realms of math and science when those development seems to be of the utmost practical and even spiritual significance. One does not -- as in "and then THIS comes along, and it's like, oh shit, now there's THIS" -- want to be LEFT BEHIND, no? The forceful logic of the new in a garden of forking paths.

"Leo Rising" is very good. Interesting in light of some of what's already been said on this thread is how firmly/avidly Foster tried to absorb Coltrane after he left Basie band -- the results being a good deal different and I would say less personal than his earlier work. By the time of "Leo Rising" though it seems to me that his playing had become personal after a somewhat new very muscular fashion, though the Trane influence still was evident. It might be interesting to consider all the players of Foster's vintage (I think there were a good many) who altered their already distinctive, celebrated, and seemingly firmly in place styles in the direction of Trane, for better or worse. Harold Land is one who comes to mind. Other candidates? I would guess that the main underlying impulse behind such developments was harmonic -- i.e. Trane's world of new harmonies was felt by these players to be at once so hip (if you will) and also fairly compatible with these players' pre-existing modes of playing that Trane's approach had the effect on them of a magnet on iron filings. And once they got into Trane's harmonies, much else -- changes in rhythmic thinking, timbre, choice of frameworks to play on -- inevitably came in its wake. One player by the way who seemed unaffected, perhaps because he had already traveled a good way down his own "advanced" harmonic paths, was Oliver Nelson, although the evidence of how Nelson sounded in "blowing" contexts diminishes a good deal about this time. I should reiterate that I'n thinking of players of the Foster, Land, Nelson vintage -- not younger figures like, say, Joe Farrell, who were already in the process of becoming themselves but in the face of the onrushing Trane train virtually had to climb aboard or be run over.

Do we know this 2006 Premonition album with a choice rhythm section of Richard Wyands, John Webber, and Jimmy Cobb? I didn't know of it until I found it at a library sale over the weekend. Seems to me that engineer Jim Anderson did a very good job of capturing Von's sound. I also picked up a Ray Bryant solo album "Somewhere in France" (Hyena) with Ray in fine form. Vividly recorded too, although the source Ray says was a cassette that the sound man gave him. He doesn't recall where the gig was or when it took place.

Thanks for your kind thoughts.

Great indeed.

Back in 1955 I dug the excitement of the New Testament Basie band, but what really got to me was the sense in some recordings of individual instrumental personality/open-honest storytelling speech. A key instance was, from a Jazztone label collection, Peewee Russell's solo on Max Kaminsky's "Stuyvesant Blues." I could hardly believe what I was hearing: Likewise with several Roy Eldridge recordings, and a bit later on Jackie McLean. Many developments followed, but I've never lost my taste for what might be called "musical personhood."

SONGS WRITTEN BY TOMMY WOLF ORIGINAL SONGS Title Written by Originally by Original date Covered by A Face Like Yours Tommy Wolf, Victor Feldman Blossom Dearie 1975 Covered by (13 artists) Apples on the Lilac Tree Tommy Wolf, Fran Landesman Tommy Wolf - Monty Budwig, Shelly Manne 1958 Covered by (2 artists) City of the Angels Fred Astaire, Tommy Wolf Fred Astaire September 19, 1975 Covered by Tony Bennett I'm Always Drunk in San Francisco Tommy Wolf Cannonball Adderley with Ernie Andrews October 4, 1964 Covered by (10 artists) It Isn't So Good It Couldn't Get Better Tommy Wolf, Fran Landesman Tommy Wolf - Monty Budwig, Shelly Manne 1958 Covered by (11 artists) It's Nice Weather for Ducks Tommy Wolf, Fran Landesman Irene Kral June 1977 Covered by (10 artists) Listen Little Girl Tommy Wolf, Fran Landesman Jackie and Roy May 1955 Covered by (8 artists) Little Bird Tommy Wolf, Pete Jolly, Dick Grove The Pete Jolly Trio and Friends 1963 Covered by (6 artists) Night People Tommy Wolf, Fran Landesman Richard Hayes and Tani Seitz June 1959 Covered by (2 artists) Season in the Sun Tommy Wolf, Fran Landesman Covered by (2 artists) Spring Can Really Hang You Up the Most Tommy Wolf, Fran Landesman Jackie and Roy May 1955 Covered by (248 artists) The Ballad of the Sad Young Men Tommy Wolf, Fran Landesman Tani Seitz June 1959 Covered by (86 artists) This Little Love of Ours Tommy Wolf, Fran Landesman Tommy Wolf 1956 Covered by (3 artists) You Smell So Good Tommy Wolf, Harry Stone [1] Jackie and Roy May 1955 Covered by (10 artists)

Shipping is an extra $15,000 -- just kidding.