Larry Kart

You're on.

Something of my own devising: a third-of-a-pack of Trader Joe's frozen chicken strips (defrosted, of course), covered with Trader Joe's Rustico pasta sauce, then all this heated up, with some Trader Joe's peas on the side. (There seems to be a theme here.) The chicken strips-pasta sauce combo gives you the satisfying feeling of a heaping bowl of pasta but with a good deal less calories and carbs. And some Italian red wine to wash it down -- Umbria Sangiovese 2006.

Funny, but when I posted that I thought that someone else would be doing the same thing at the same time.

What is this? The world needs to know! Dimitri Shostakovich Preludes and Fugues

Check out these videos: http://www.youtube.com/watch?v=dNHPw6qVTtY Allen is on fire, and the whole band cooks. I especially like that chugging, driving rhythm section -- pianist Cedric Heywood, bassist Squire Girsbeck, and drummer Alton Redd. And don't miss Redd's fierce vocal on "Shine." Ory is in pretty good shape for a 73-year-old; Allen was only 51! 14 years younger than I am now -- damn.

Lord have mercy --- before Edie Adams, Pete was married to Betty Hutton! (No wonder I thought of Harry James and Betty Grable.) The gory details follow. I particularly like the fact that Pete and Betty "planned a six-month honeymoon," that they were divorced twice, that Betty charged in one of the divorce proceedings that Pete "never took her out to dinner," and that Betty said in an interview that the secret of her marriage's success (??) was: "My husband and I don't spend the night together." Betty Hutton's Fourth Marriage Betty's fourth marriage was to Pete Candoli. After a rocky start, Betty thought her marriage to Pete was going well until she heard on the radio that it wasn't. Born: Elizabeth "Betty" June Thornburg: February 26, 1921 in Battle Creek, Michigan. Walter Joseph "Pete" Candoli: June 28, 1923 in Mishawaka, Indiana. Died: Betty: March 11, 2007 in her apartment in Palm Springs, California at the age of 86 from complications from colon cancer. Betty's funeral was on March 14, 2007 at Forest Lawn Cemetery in Cathedral City, California. Wedding Date: After being friends for 12 years, Pete and Betty were married on December 24, 1960 at the Lutheran Church of the Reformation in Las Vegas, Nevada. The wedding ceremony was performed by the Rev.Richard L. Sowers. Betty was 39, and Pete was 37 when they married. Honeymoon: Pete and Betty planned a six-month honeymoon in Europe. Marriage Issues and Divorce: In April 1961, Betty announced in London that she was getting an annulment. They separated August 10, 1966. Betty and Pete were divorced twice. The first time was in Juarez, Mexico in September 1966. Deciding she wanted a U.S. divorce, Betty filed for divorce on March 23, 1967 charging Pete with causing her mental and physical suffering. Betty testified that Pete was jealous of her as a performer, argued with her in front of others, and never took her out to dinner. Their divorce was final in California on June 18, 1967. Pete's Other Marriages: Prior to his marriage to Betty, Pete was married to actress Vicky Lane from 1953 to August 1958. Pete and Vicky had one child, Tara Claire Candoli. After his divorce from Betty, Pete married actress Edie Adams in June 1972 at the Fairmont Hotel in San Francisco, California. Edie and Pete divorced in 1989. Children: Betty and Pete had one daughter. Carolyn Candoli: Born in 1962. Occupations: Betty: Actress, comedian, singer, dancer. In later life she worked as a cook and housekeeper at a catholic rectory in Portsmouth, Rhode Island. Pete: Jazz trumpet player, composer, and actor. Quotes About the Marriage of Betty Hutton and Pete Candoli: Betty after marrying Pete: "I should have done this a long time ago." Source: The Ada Evening News, December 26, 1960. Betty on the secret of the success of her fourth marriage: "My husband and I don't spend the night together. He goes home at night to his own pad. Pete likes to write music at night and he can't stand the baby making noise. And I can't stand the scrambling for the bathroom in the morning. Besides I like the whole bed to myself. Pete and I weren't getting along. We separated for a while. We tried this to make it work and it has. He comes to breakfast. I see him as much as any wife sees her husband except at night." Source: Press-Telegram, December 19, 1969. Betty about learning that her marriage to Pete was over: "That's the thing that cracked me. I thought we were happy. But one night when I was getting ready for bed, I turned on Rona Barrett and she said Pete Candoli is engaged to Edie Adams. Then I took a whole bottle of pills and said the hell with it." Source: Chicago Daily Herald, September 15, 1980.

Works for me.

I wanna see her and the bari player gazing soulfully at each other. Or maybe one of them is gazing and the other has her eyes closed. Or... BTW, assuming these people can play at all, how sad it must be to be a young female student in a jazz program and know that you even though you can play rings around one of these Anna Nicole Coltrane's, you're not pretty enough.

"Paradise Lost," opening lines: Of Mans First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal taste Brought Death into the World, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful Seat, Sing Heav'nly Muse, that on the secret top Of Oreb, or of Sinai, didst inspire That Shepherd, who first taught the chosen Seed, In the Beginning how the Heav'ns and Earth Rose out of Chaos....

Yes, but I also think it might have been along the lines of Betty Grable and Harry James.

Pete. "Adams's most recent marriage was to noted trumpet player Pete Candoli, which lasted from 1972 until their divorce in 1989. They toured and performed together, with Candoli serving as her music director."

I'm not a unequivocal Adderley fan, but this album http://www.amazon.com/Radio-Nights-Cannonb...7570&sr=1-1 of material broadcast from the Half Note on Alan Grant's radio show in Dec. '67 and Jan. 68 is something else. Balance isn't ideal on the second group (Zawinul is too prominent, though what he plays is interesting); on the other hand, Sam Jones (in lovely, driving form) is captured with good presence throughout. Both Adderley brothers are inspired -- and, again FWIW I'm not a hardcore fan -- and these were just hot bands that fed off of the audience. I think I prefer the McCurdy rhythm section because he bashes some a la Elvin, and this is a bashing band, but there's no let-up either. Cannonball Adderley Quintet Nat Adderley (cor) Cannonball Adderley (as) Joe Zawinul (p) Sam Jones (b) Roy McCurdy (d) "Half Note", NYC, December, 1967-January, 1968 Little Boy With The Sad Eyes Virgin Night VNCD 2 Midnight Mood - Stars Fell On Alabama - Fiddler On The Roof - * Cannonball Adderley - Radio Nights (Virgin Night VNCD 2) Cannonball Adderley Sextet Nat Adderley (cor) Cannonball Adderley (as) Charles Lloyd (ts, fl) Joe Zawinul (p) Sam Jones (b) Louis Hayes (d) "Half Note", NYC, December, 1967-January, 1968 Work Song Virgin Night VNCD 2 The Song My Lady Sings - Unit 7 - Oh, Babe / Country Preacher - * Cannonball Adderley - Radio Nights (Virgin Night VNCD 2)

http://www.youtube.com/watch?v=zD156wvOvSg

Pete was used more in that role, or fell into it more, than Conte did, though Conte also did a good deal of big-band and studio work. In particular, Conte was a member of the Tonight Show band under Doc Severinsen from 1972-92.

IIRC it was Staley who threw the pitch that Vic Power of the Indians grounded to Luis Aparicio, who stepped on second and threw to first for a double play, thus ending the game that clinched the '59 pennant for the White Sox. I was sitting on a couch in our so-called family room, watching on TV; when that happened I jumped so high and crazily that I went head over heels and landed right back where I'd been sitting. Chicago fire commissioner Robert Quinn immediately set off all the city's air raid sirens in celebration, thus scaring many adults right out of their wits; I had no doubts about what was going on myself.

This Pete/Conte album is a gem: http://www.amazon.com/Two-Brothers-Pete-Co...1791&sr=1-3 It was recorded "live" in the 1980s at Rick's Cafe Americain in Chicago, with John Young, Dan Shapera, and Wilbur Campbell (in great form). I was there, though not on the night things were recorded. At the time, I only knew Pete from his Herman solo spots and the like and as a sterling section man. He can heard at length here as a soloist and was one hell of player -- more from Dizzy than Conte was (or became) and with a hot core of Eldridge as well.

Hank Mobley

A longtime member of Schneider's band said to a friend of mine that he and some of his colleagues refer to her writing as "Celestial Seasonings" music.

Listened again to Overton and Trimble (actually the CRI LP I thought of as entirely Overton has one work by him (his final one, "Pulsations" from 1972, the year of his fairly early death, at age 52) and one by ... Trimble ("In Praise of Diplomacy and Common Sense"). The Trimble I did listen to alongside Overton's "Pulsations," was his "Panels I" (from 1969) for a semi-goofy lineup: electric guitar, baritone sax, Farfisa organ, electric harpsichord, piccolo, percussion, violin, viola, cello, and bass. Far out, man. Actually, it's a fine, somewhat aleatory piece (the details of how it's aleatory are not spelled out). For once, though, the "freedom of choice in performance" elements, whatever they are, seem to have been built into the language of the piece rather than serving as a kind of sauce -- the damn thing moves from moment to moment with a mysterious, loping looseness. I thought at one point of the "Id Monster" from "Forbidden Planet." And it's deeply, naturally jazzlike music at times -- wish I knew who the bari and electric guitar players were. The crucial part though is probably the percussionist's, on kettle drums and playing almost throughout. It's something like Wolpe's swooping writing for kettledrums in his Quartet for Trumpet, Tenor Saxophone, Piano, and Percussion. By contrast, Overton's "Pulsations" was a disappointment. The jazz elements were surface-y, and the whole piece had a short-breathed, declamatory air; whatever the zest of a particular phrase might be, Overton's next gestures tended to sound obvious, as though his sense of variation, which ought to have been fairly "free" given his jazz background, got all rigid in when he donned his classical robes.

In that vein, I have an LP of Hall Overton's classical stuff. Very interesting IIRC. Another fairly obscure good one (actually one-and-a-half -- a whole LP on Desto, maybe, plus half of an old Columbia LP) is of things by Lester Trimble, who again IIRC made knowledgeable use of jazz elements at times.

Another Henry-like altoist who fortunately lived longer was Clarence Sharpe.

Right -- "personal problems." As opposed to getting run over by a truck, which would be impersonal.

if you really know - please share. -_- No, I don't know for sure, but I'll bet that either it was an outright overdose, general debilitation from drug use over time, or (a la Sonny Clark) a specific incident where someone is so completely out of it that and on the streets that one night he is exposed to the elements to a dangerous degree. If physical violence had been involved, I think I would have heard about that. In those days, in the jazz press, such things usually weren't talked about openly. There were one or two standard phrases -- can't recall them now -- that were understood to mean than X had been a drug addict and had died from an overdose or from one of many drug-related causes. Arguably, no alto saxophonist of talent -- with the possible exception of Jackie McLean on "Jackie McLean and Co." -- ever sounded more strung-out than Ernie Henry did. I recall an old Martin Williams Down Beat review of either "Presenting Ernie Henry" or "Seven Standards and a Blues" (or maybe it was "Brilliant Corners") in which, taking note of Henry's sharpish intonation and at times extreme effortfulness of articulation, he wondered whether Henry really could play much at all (as in, were these things a matter of choice or sheer infirmity) and also implied that those who were drawn to Henry's playing were in some sense voyeurs of pain. Martin, of course, was quite a puritan, but he does have a point. Henry's effortfulness is related to Monk's in that it is truly musically expressive of just what Henry, one feels fairly sure, is trying to bring off; on the other hand, he does falter at times, even by his own standards/narrow margins. As for the nature of what Henry expressed emotionally, while I'd say it would be voyueristic to prize Bird's "Lover Man" because it sounds like what it actually is, a man having a breakdown (and Martin may have had that in the back of his mind), Henry doesn't strike me that way. His limitations as an instrumentalist led him to come up with some unique, musically interesting moves (like a drowning man who invents a new swim stroke), while the "cry" of his playing never seemed external or self-regarding (as IMO Frank Morgan's sometimes did); rather, that aspect of Henry, listened to at the time (before his death), seemed like a dangerous, powerful act of realism, for him and to some degree, and along similar lines, for the listener. It sure was no vacation.

In some form or other. Two dates while he was alive, Presenting Ernie Henry and Seven Standards and a Blues, and a posthumous collection of previously unissued material, Last Chorus, that might not have emerged but for his death.