Larry Kart

Pretty sure you'll enjoy it. Also, as one might expect (Scandavian meticulousness), both it and Regni are beautifully recorded. The title track of this one, a polytonal setting of "Donna Lee," is full of Broberg's serious/funny sense of humor.

I have two big band albums by Broberg (b. 1937) and his Nogenja ("Nogenja = "No Generation Jazz") Ensemble -- "Regni" (Phono Sueica) from 1995 and "Conspiracy in Flat Five" (Caprice) from 2000 or so -- that I found very appealing when I first listened to them a few years ago, and upon recent re-listening I'm even more impressed. Broberg lists his idols as Gil Evans, Monk, Dameron, Ellington, Strayhorn, George Russell, Mingus, et al., but all that has been digested and personalized; Broberg is himself. His band is full of very good and quite individual Swedish players, some of them fairly familar to me (e.g. Jan Allan, Lennart Aberg) others new to me (e.g. alto and tenor saxophonist Krister Andersson, who on alto recalls the late brilliant Konitz offshoot Rolf Billberg). In particular, Broberg's music is full of humor/wit -- genuinely musical humor/wit in jazz (that is, there's a dramatic, storytelling element of distortion of expectations that also is wholly musical) being a rare thing in my experience (e.g. Broberg's "Monkey Serenade" on "Regni" is an at once quite insane and perfectly lucid 14-minute exercise in harmonic and rhythmic wrong-footedness [based on "I Got Rhythm"], while his "Double Steps and Track Fragments" from the same album does things to "Giant Steps" that ought to be illegal -- though as I'm sure you'll agree, the idea of playing with, even toying with, "Giant Steps" is an idea whose time has come). BTW, Broberg in his onetime position at Swedish Radio commissioned George Russell's "Electronic Souls etc." back in the mid-1960s.

I could be wrong, although he's the only artist listed so far, and he's pretty clearly the headliner. But if I am right, his website says that he "writes exquisite jazz ballads" -- which is fine because those are the only kind I like to listen to.

This would seem it be the culprit: http://www.richarddworsky.com/ If so, the answer probably is simple but no less pissy: He didn't want to be preceded by a group whose leader was a pianist and no doubt a much better pianist than he is.

I see from a previous post of mine: http://www.organissimo.org/forum/index.php?showtopic=38946 that it is "No Thanks."

One of Al Cohn's two charts on this Med Flory album: http://www.freshsoundrecords.com/record.php?record_id=2112 "No Thanks" and "The Fuzz" (can never remember which one it is) is just amazing, has IMO the greatest shout chorus ever written (and I'm not one of those old farts who's in love with shout choruses per se) and much else that's damn fine. I'd tell you which of those two pieces it is, but most of my CDs are still inaccessible to me.

As a friend of mine who used to do a lot of freelance technical writing for Sony once explained to me, the worst thing you can do for yourself in a corporate setting is say, " I can do that for less money (or with fewer people)."

Does everyone have me on ignore or something? Trust me--this site will work: http://www.joshhosler.biz/numberOneInHistory/selectMonth.htm OK, I get it now. "Tangerine" by Jimmy Dorsey. Thanks.

Trumpeter John Nesbitt (1900-35), who wrote a great deal for McKinney's Cotton Pickers.

Bruce is the author of a fascinating biography of Talbert, "Tom Talbert His Life and Times: Voices From a Vanished World of Jazz" (Scarecrow). I bought "Bix Duke and Fats" when it came out back in 1956 and everything else I could find by Talbert afterwards. All I lack, I believe, is "Wednesday's Child," although two tracks from that 1956 Atlantic album are on the CD that is included in Bruce's book. Seek out anything by Talbert you can find. He's in the same class as Gil Evans, and the flavor of his music is unique -- at once modern and a bit "moderne" at times (like a musical equivalent of Art Deco), it always seemed to be "curved" (if you know what I mean), but it has plenty of drive when it wants to be that way. There's some kinship musically between Talbert with Oscar Pettiford (Talbert knew Pettiford in Minneapolis in his teenage years and later wrote for O.P. in the '50s).

Different bari player every take! The whole saxophone section! The driver keeps missing the car seat so....fire the band. Maybe only one take a day? I thought that was part of the joke, reinforced by the increasingly compressed rhythm of the editing and the anxiety displayed by Jack Lemmon and Louis Nye at one point -- that the whole shtick was so elaborate that when they screwed up everyone had to start over from scratch the next day (with subs in the band being inevitable). Also, as a commentator on YouTube explains, when the actor finally lands in the seat properly, he takes a puff on a cigarette and says (in the English-language original), "Man -- that's coffee!" I need to see this movie. And the Hi-Los are fabulous -- that "shake"!

I'm too old -- b. 1942 -- to be on the damn thing.

Bernie Glow, probably.

By "echoes" you might not have meant anything about who came first, but Murphy (b. 1908) was a prominent arranger in the 1930s for the likes of Benny Goodman and Glen Gray -- when Russell and Melle and Levitt were in kneepants. BTW, I myself don't mean that Murphy influenced them.

But Will (in real life) sips a cocktail of Chardonnay and prune juice; it's called The Libertarian 'cause it makes your market run free.

Except for the Carisi material (previously unreleased), all of it was out on LP -- Russell's and Evans's on Hal McKusick's Jazz Workshop LP on RCA, Levitt's on his own RCA LPs (there were three IIRC). The Levitt albums would be a nice Mosaic Select, but I believe that Mosaic feels there would little market for it, very few people even knowing who Levitt was.

Interesting points, but let me come at this from another angle. Having heard Organissimo both live and on record, I've enjoyed all the various kinds of material the band plays (from the overtly funky to the more complicated) -- in part because you guys are just good but more important, in the context of this discussion, because you yourselves respect and enjoy the various kinds of music you choose to play. So I'd say that the key is (if you're also good): "Respect yourselves and the audience probably will respect you." Maybe that's the same thing as "Respect the audience and they will respect you," but maybe not. The latter approach, beyond the application of simple common sense (which as I'm sure you know will not at times turn out to be that sensible), seems to me like it might involve too much upfront tea-leaf reading, either by you or (if you have such resources, and this is where it can get tricky), producers, managers, promoters, and the like. In any case, having been a member of your actual in-person audience a couple of times, I never felt that I was being talked down to musically.

Weren't the above lines really taken from the collected remarks of Ross Perot?

FWIW, this is the source for this at times dubious ("Bobbi Humphrey, now a jazz great," etc. ) piece: http://www.theroot.com/id/47213?from=rss

And they left the Hustler at the hotel.

Especially couple no. 3.

On the other hand, here is the case being made when it could be made (those jitterbugs!):

I wish this thread was "ovuh."

Make of it what you can: http://www.trapsmagazine.com/index.html

Terrific band.