Larry Kart

Chet Baker and Paul Bley's "Diane."

Braff also made duo albums with Dick Hyman and Roger Kellaway.

Not quite a damning statement but if I not only knew that little but also hadn't even made an attempt to check, I'd lie low with the categorical remarks. Also, while it's not an album, one of the most famous recordings in jazz is a trumpet-piano duo -- Louis Armstrong and Earl Hines's "Weather Bird." Also, there is whole series of a trumpet-piano duo albums with Oscar Peterson and others -- Roy Eldridge, Dizzy Gillespie, etc. And Basie, also under Norman Granz's aegis on Pablo, did a few, I think.

Roger -- You need a new suit and/or a better tailor: http://www.huffingtonpost.com/2008/02/07/b...em_n_85581.html

Wikipedia says Ware was born Sept. 8, 1923, so he would have been a week short of his 16th birthday at the time of the Broonzy session.

Voila: http://maps.uchicago.edu/mainquad/reynolds.html

It's possible that I've got this all mixed up in my mind. It was about 53 years ago.

Mine had different stuff on it.

As fate would have it, Bob Porter just posted this on another site: "I just got news that Chris Anderson died Monday February 4. No further details."

Have disliked them for many years but have to admit that at age 12 there several compliations that were mind-openers for me -- an EmArcy intro to jazz 12-inch LP, "Jazz of Two Decades," a Jazztone Society 10-inch, and two Columbia's -- "I Like Jazz" and another one whose title I forget. What happened to me then, and it could happen to anyone in that you know almost nothing stage, is that 1) you have no filter except your own naive taste, and 2) you tend to accept that whatever they've put out in that form is really central and good. So for instance, on the EmArcy there was Charlie Ventura's "East of Suez" with a wordless vocal by Jackie and Roy, which sounded so incredibly weird to me in part because it was damn weird and I didn't have enough background to know that it was -- which again made it seem even weirder. Sarah's "Shulie-A-Bop" was also on that one and seemed pretty weird in its incredible plasticity of phrasing and timbre, and the hypnotic casualness with which she addressed each member of her trio: "Crazy Joe Benjamin" --ha!), but not nearly as weird as "East of Suez." That was like reading your first science fiction story or horror story without knowing that there were such things as science fiction or horror stories. On the other hand, there were some absolute classics on those discs; the Jazztone had Norvo's "Congo Blues" with Bird and Diz, the second Columbia had Armstong's "Savoy Blues" and Ellington's "The Sergeant Was Shy." (The latter is still my favorite Ellington recording; can't argue that is the best, I just love it.) The Jazztone also had a corruscating Pee Wee Russell stop-time blues solo, "Stuyvesant Blues" with Max Kaminsky, which kind of scared me because of its naked intensity and because I had no idea a clarinet could sound like that. Here's what was on "I Like Jazz:" http://mfhorn.net/discography/compelations...ike%20Jazz.html Can't find info on the others, but there was more than one Jazztone Society sampler. The one that I can find info on is not the one I heard back then.

the first frank strozier album on the Jazzland Twofer? (! imho) That's my memory too. And those are two more albums that I used to have but don't anymore. I just ordered the compilation.

Thanks, Chas. Easy Street must have been the name of the club that Johnny Janis mentioned. Speaking of Chris Anderson, I heard him a few times in Chicago in the 1957-8 period, at Monday night jam sessions at the Gate of Horn. Absolutely magical; wish I'd had a tape recorder between my ears. Something like a cross between Jamal and early Bill Evans, who is said to have been aware of Anderson's playing, though Anderson's literal and figurative touch was unique -- at once feline-delicate (a la Jamal and Evans) and craggy-oblique (a la Andrew Hill, who no doubt heard Anderson when he himself was getting things together; Herbie Hancock admittedly was influenced by Anderson). Blind, and victim of a debilitating bone disease, Anderson was so fragile that he had to be lifted onto the piano bench. Amazing that he has survived; I believe he's still with us. If not, he was alive in 2002. Here's a 1982 NY Times piece about him. http://query.nytimes.com/gst/fullpage.html...75AC0A964948260 And a Peter Watrous Times review from 1994: http://query.nytimes.com/gst/fullpage.html...756C0A965958260 I've heard several Anderson albums, including the one (or was it two?) that he made for Riverside but some reason don't now have anything of his. The Riverside trio album I did have, with Bill Lee and Philly Joe, sadly somehow became too warped to play many years ago. No Anderson recording I've heard, though, matches my memory of how he sounded "live" in '57-'58. There was, I believe, one Anderson trio album on VeeJay from that period, but I've never run across it. Chicago was a happening town piano-wise (and otherwise) in that era. Back to Billy Wallace.

Thanks, Bill. In case you missed it, I just ran across another recording on which Wallace appears, singer Johnny Janis' "The Start of Something New" (Columbia, c. 1959-60). It's mentioned in this recent thread about Janis, which I launched: http://www.organissimo.org/forum/index.php...84&hl=janis The album is notable for Janis' work but doesn't tell us much about Wallace that we don't already know -- his trio plays a mostly subsidiary, neo-Red Garland role, though tastily so. I spoke to Janis and he doesn't recall who the bassist and drummer were, though he said that this was Wallace's regular working group, and that they were the house trio at a particular Chicago club (probably on or near Rush St.) for some time, maybe a year or more.

EDC -- Don't recall where I got the Letzbor. Maybe straight-up full-price, on the basis of someone's firm recommendation. If it was from Berkshire, it's not there now.

Dan: I was thinking more of the root Latin verb of "amatory," "amare" -- "to love." I've never had any luck getting sexy with a record, at least not since the days of 45s.

Do you expect that this solo will turn any "admirer of Roberts" into someone who is ashamed that they ever liked him? No -- but it might raise some questions and/or doubts, at the least about what's going on in this performance. I don't think anyone should be judged on a single recorded solo, and I'm surprised that a professional critic would imply that. I'm not a professional critic, I'm an amatory critic.

Do you expect that this solo will turn any "admirer of Roberts" into someone who is ashamed that they ever liked him? No -- but it might raise some questions and/or doubts, at the least about what's going on in this performance.

This has come up before, but admirers of Roberts should listen to his Carmen Cavallaro-like solo on "Flamenco Sketches" from the LCJO album "The Fire of the Fundamentals": http://www.amazon.com/Jazz-Lincoln-Center-...s/dp/B0000029EC In fact the whole track is stranger than science fiction IMO.

Pardon me it this has been said before, but listening to the radio a few minutes ago, it suddenly occurred to me why (probably) Belichik ran across the field while there was still a second left on the clock and Giants had yet to run a final play -- control. Belichick could not of course do anything to control the outcome of the game anymore (barring an insane error on the part of the Giants), but he could try to control (and in fact did control) the literal way the game ended -- as the result of a decision/act on his part. A great coach, but he's f------- nuts; not that those things are contradictory.

When your O line is getting beaten by the other team's D line pretty much straight up, there aren't many adjustments you can make. Quick bubble screens and the like are the main adjustment, and that was tried, but the Giants linebackers and D backs were prepared for that and responded well enough. There were some first downs off of those plays, but no total breakdowns and resulting long gains, which is what the Pats got off of that stuff so often this season.

I should add that journalistic procedure requires that every sports columnist address a different topic in his or her post-game column. The idea is that the reader won't accept two columns in one day on the same topic. So if there are, as always is the case with a major paper, several sports columnists present, it's all decided or parceled out (based on pecking orders plus common sense) before anyone begins to write. And deadlines are tight.

Because he switched to the topic that she already was writing about, and that, because he was top dog, forced her to start all over with a new topic on deadline. And there's no way he could do this without knowing what he was doing.

I'd like to help, but my basement is being waterproofed tomorrow (first step involves jackhammering on the inside), and I don't know when I'll be able to get to all the CDs (including what Biber I have) that are now stacked out of the way, behind box after box of books. IIRC, Letzbor's continuo is gorgeously lush in a good sense -- not romantic but very responsive and, as they say, "musical," while Letzbor himself is a very expressive player. He gives me the feeling that he's listening as much as he's "projecting." Manze I've never much cared for in anything; haven't heard Holloway in these, but on other recordings of his that I have heard he seemed rather "scratchy" in tone to me -- the way a lot of English original-instrument fiddle players used to be.

Lord knows I shouldn't do this, but hasn't Goodspeak made a sotto voce hard left turn recently? One of his core points IIRC used to be that that Bonds was being treated with unique unfairness in the whole affair, in large part because of racism -- a stance that he maintained when the Mitchell Report came out and attention was turned toward Clemens; as he then claimed that much of the media was giving Clemens a pass or the benefit of the doubt, while Bonds remained subject to the same old unfair vilification. Now Goodspeak feels that Clemens is in the unfairly vilified class, a victim of "gossip"? I'm not saying that it's impossible that both Clemens and Bonds are being unfairly vilified, but I wonder how Goodspeak accounts for this seemingly significant shift in media behavoir toward Clemens (if that's what he thinks has happened) or for his own shift in how he views this behavior.

Thanks, Danasgoodstuff, for that example, because I had some doubts about how uniform the evidence was to back up The MG's original statement. That is, without checking, I thought that what he said probably was true of most blues, less so of Soul and R&B (because of their roots in Gospel, where melismatic "distortions" and the like are common). And I wondered about Reggae too, which based on my limited experience is at once very conversational and given to sudden lunges or lurches of accent in response to underlying, lilting-insistent rhythmic patterns.