Larry Kart

Check out 1959 Phil Woods on those clips there, with that small group from the Quincy Jones Orch. Woods sure could play then.

Or Langley-Porter Psychiatric Clinic.

Post from Jazz WestCoast, after a Zeitlin concert: Denny has some great news for fans of his music. Michael Cuscuna called him a while back about doing a Mosaic Select issue of the Columbia trios. It turns out the Mike found an hour of previously unissued trio tracks and wanted Denny to approve it. He hadn't heard this music for some 45 years. Some of it apparently was a little too edgy for Columbia of that time. As it turns out, he gave it thumbs up and even played several tunes from it at the concert. Denny told me after the concert that the Mosaic set will be out in August.

Shaw's short-lived 1949 band was superb. Danny Bank said that it was the best sax section he ever was part of -- Al Cohn, Zoot Sims, Herbie Steward and Frank Socolow altos; Don Fagerquist, tpt.; Jimmy Raney, guitar; charts by Tadd Dameron, George Russell, Johnny Mandel, et. al.

To quote Mel Brooks' psychiatrist, Dr. Haldanish: "Stay away from my eyes! Don't come near my eyes!"

Actually, Jim, you and Joe and Randy are perfect examples of what the real difference is -- as is, FWIW, Harold Mabern, whose name came up on this thread a while ago as someone who is/was not a "giant," therefore the implication ( by the person who brought up his name) is why don't we "elitists" dismiss him too, because he's no Bird, Pres, Coltrane, Bix, Louis, etc. The differences are the linked issues of individuality and genuineness. If you've got those things (plus talent) going for you -- as the members of Organissimo do, as Harold Mabern does, as a lot of people who are not outright flaming "geniuses" do -- then the results will (allowing for individual tastes) deservedly capture the mind and satisfy the soul. The problem that some of of us have with some of the people we've been yacking about is that while these guys may seem to be just trying to make a living playing music, there is arguably something askew or even half-broken in them in the place where individuality and genuineness, under prior prevailing normal circumstances, used to meet. That is, we're not just talking about (in some of these cases) about how these guys have been marketed by others but about (or so it seems to some of us) their whole basic orientation toward what they do, one that more or less precludes the possibility of much genuineness ever arising in them. As for the "wouldn't they choose a much easier music to play and make money with?" argument, the answer to that I think is that their approach (if not perhaps their conscious goal) amounts to "I'm gonna be a reasonable-sized frog in a small, shrinking pond." To pull that off is not a snap, but it's an easier route to take than a whole lot of others that come to mind, especially when you've got just the right kind of "reasonable-sized frog in a small, shrinking pond" help, as these guys tend to do.

Laving aside The Bad Plus (never heard them, believe it or not), I've heard some damn fine Iverson on record, e.g. Reid Anderson's "Dirty Show Tunes" (Fresh Sound New Talent). Lump him with Meldau? I don't think so.

Does Don Byron count? I can see where he might not.

Would Monk have hired Charlie Rouse in 1957? Not if Johnny Griffin were available; otherwise, quite possibly.

If they don't change what they fry the falafel in, yes.

I don't get this, & yes I know who Christopher Hollyday is / was. Just a joke, Christopher Hollyday having virtually disappeared. As for the rest of it, I'm saying that without Redman's name and back story, none of this might have been.

No shit... It's like I said about Wayne in another thread, there's certain players that I get "friendly" with, and for them, I dig checking out wherever they decide to go, because that's what most people I dig do - they move around, always curious, not in a "I Can't Decide Who I Am" type way, but in an "Let Me See What THIS Is All About, It Might Appeal To Me In Some Form Or Fashion, Some Of It". And sometimes where they go ends up being a dead end, sometimes they end up looking but not touching, and sometimes they actually find somethings that open them up a little more to be somebody a little different than they were before. As that pertains to Sonny, well, I remember Larry saying in one of our periodic Sonny Spats a few years ago that he didn't hear any joy in any of Sonny's later work (that's a paraphrase, iirc). And sorry, but that's just....not plausible in my mind. But ok, what can I say other than I hear it, he doesn't. It's just that I find the notion that something like this marks "the beginning of the end" for Rollins is something that I find nothing short of absurd, true only if it's your definition of what "the end" is, and true only if that definition is formed entirely from what you think the world is. Otherwise, there's been a lot of good-to-great music made by the man, and the end is nowhere in sight. Even if it ain't "like it was", it's still good-to-great (and yeah, some duds, too, like you say , you pays your money...) in the "like it is" world, and can't nobody do what Sonny Rollins does in that world but Sonny Rollins. I don't remember saying that, and it doesn't sound like something I'd say, but.... I will say, though, that after a certain point (with exceptions) Sonny reminds of the smell of a falafel stand at the end of day three of a street fair.

That was among my reactions.

If you get it (the record contract) the way he did, it's at least a misdemeanor.

Hey, in the world we're talking about, once you're a phenom, you can only become a force. Ask Christopher Hollyday. Actually, the whole J. Redman thing always has been so perfect that I'm waiting for the revelation, sure to come eventually, that either there is no such guy or that there is and his real name is Jacob Garfein.

"Jazz is people!" Oy vey.

I would have agreed -- still do.

She was in great form on Oliver Nelson's "Afro-American Sketches," which is a helluva album.

Finally broke down and got it from the library. Soon (page 5) came across this marvelously representative Ross idiocy: "The heroic narratives of nineteenth-century music, from Beethoven's symphonies to Wagner's music dramas, invariably ended with a blaze of transcendence, of spiritual overcoming. Mahler and Strauss told stories of more circuitous shape, often questioning the possibility of a truly happy outcome." Yes, the "Ring" has a "truly happy outcome." "Tristan" too. On page 11 Ross himself writes: "The story of the 'Ring' was, in the end, one of hubris and comeuppance: Wotan, the chief of the gods, loses control of his realm and sinks into 'the feeling of powerlessness.'" And then a touch of Ross's pervasive fake-hamisch, upside-down vulgarity: "[Wotan] resembles the head of a great bourgeois family whose livelihood is destroyed by the modernizing forces that he himself has set in motion." Another gem: "On the train back to Vienna [after the premiere of Strauss's "Salome"], Mahler expressed bewilderment over his colleague's success. He considered 'Salome' a significant and audacious piece .... and could not understand why the public took an immediate liking to it. Genius and popularity were, he apparently thought, incompatible. Traveling in the same carriage was ... poet and novelist Peter Rosegger. According to Alma [Mahler], when Mahler voiced his reservations, Rosegger replied that the the voice of the people is the voice of God -- Vox populi, vox dei. Mahler asked whether he meant the voice of the people at the present moment or the voice of the people over time. Nobody seemed to know the answer to that question." (My emphasis.)

http://www.audiophilesales.com/prod/main.a...d=14&cat=-1 Needed something to put my stuff on now that I'm beginning to put things in the basement after a flood (believe it or not, before I had components literally resting on top of other components), and a guy I know in L.A. who fixed my excellent but initially defective Creek amp pointed me to a dealer in that area who recommended Cambre stuff and suggested I look for a store in my (Chicago) area that carried it. There was none I could find, so I ordered it by mail from the above place in Indianapolis (arrived in one day), and the difference I can hear is beyond what I would have thought possible. Anti-resonance is their principle. Rack looks nice too. Have no connection with this outfit, except that I gave them my money.

A Winogrand link: http://www.mentalfloss.com/blogs/archives/12903 Worth a look.

He wrote at least one about the Chicago scene in '68-9.

I once walked two miles on a knee in need of surgical repair to buy a copy of Winogrand's OOP "Figments from the Real World."

That link is way out of date. Pullman severed all ties with FSG many years ago and is now (fingers crossed) with another publisher (the one I pointed him to).

I'll try to check and report back.