Larry Kart

For me Pettiford over Brown is more than a matter of just because no OP.

Art Blakey or Roy Haynes -- both great but too different from each other for me to compare them/choose. Put a gun too my head and I'd say Blakey, for his work with Monk and Herbie Nichols. Oscar Pettiford or Ray Brown. Sarah Vaughan or Ella Fitzgerald

I see what you mean. Almost wish I didn't, but I do. Dickie Wells or J.C. Higginbotham Maybe tops on the insoluble list: Johnny Hodges or Benny Carter

On tenor. Lars Gullin or Serge Chaloff.

Could you post a link?

Rosolino vs. Cleveland. Dead heat for me. In any case, their-rapid fire approaches were rather different, and in the right mood I like them both. OTOH, Cleveland could be lovely on a ballad ("If You Could See Me Now" and "Ballad of the Sad Young Men" with Gil Evans) while I have no memory of Frank on a ballad. Agree on Watrous. Yeesh. Jimmy Rowles or John Lewis (as pianists only).

I have Signia Pure 312 7NX hearing aids, which work just fine for me. I've tried to advise a friend of mine, and he just sent me this: "Sorry to pester you again, but I settled on Oticons after getting some testimony from other old poops on music chat lists, and I’m disappointed. Sieman used to be king of hearing aids, but they sold that division years ago. My audiologist got in a pair of Signias for me to try and they were dreadful; apparently it’s common knowledge that they’ve gone right to hell. The Oticons are just not very good for listening to music and the app on my phone is pretty useless. There are three positions: normal voice, music, and cutting out extraneous noise (like in a restaurant) and they’re all childishly bad; they are supposed to be volume controls but what they are is crude tone controls, turning down the treble. Orchestral music sounds like mush. I’m afraid my problem may be the precise nature of my particular hearing loss; anyway, I’m searching the Internet."

To the degree that many West Coast tenor men were Pres disciples. Perkins and Kamuca for sure. Giuffre on tenor. For that matter, a la Dex, Wardell Gray.

Lester Young -- where do you think Dexter got it? And almost all of Pres' other host of disciples.

The Quinichette to get above all IMO is "For Basie," with Shad Collins, Nat Pierce, Freddie Green, Walter Page, and Jo Jones. This was Page's last recording, I believe, and he makes all the difference. Shad Collins shines too.

No, I didn't.

???

About the order of the notes on the 1979 LP, you're mistaken. I'm looking at that LP, and the order of the original pages I sent along is all mixed up. Follow what I said in my previous post and you'll sort it out.

Solution to the "Consequence" liner notes puzzle: I hope they disentangled the "Consequence" notes for the CD issue. I wrote them for the initial issue (on LP) of this material in 1979, submitting maybe four numbered sheets of typescript. In the event, someone at Blue Note or in Japan mixed up the sheets, and in the liner notes as printed, several paragraphs are out of order. Specifically, on the LP issue the first four graphs are in correct order, but the next graph, which begins "As evidence of this..." and the one that follows it ("The rhythm section is 'up' too...") should be preceded by the graphs that begin "Immediately striking here..." and "But Morgan turns..." (That is, graphs seven and eight of the LP notes are graphs five and six in my typescript.). The "rhythm section is 'up' too..." graph then should be followed by the one that begins "Somewhat overshadowed in critical esteem...". From there on, the LP notes are in the right order. In any case, I think I was "on" when I wrote those notes.

I'm sorry I meant "Consequence, " with Jackie McLean and Lee Morgan -- a superb album.

At Half Price Books yesterday, Benjamin Grosvenor's Decca debut album, with a stunning Gaspard de la Nuit. Probably will be going back today or tomorrow for his second album "Dances" and a 1964 London LP set of La Centerola (sp?) with Simionato and Bruscantini -- this stimulated in part by Jon Vickers' statement that Simionato was the best singer with whom he ever shared the stage.

I don't understand any of this. Back in the day, like Chuck, I was just happy to buy the LPs, regardless of their covers. I even wrote liner notes for "Vertigo," even if they got mixed up in Japan.

It's Lourie, not Laurie.

imperfectly? intermittently? Those aren't ideal antonyms but in the right direction. A staunch friend is loyal. A staunch ship is watertight.

Found a clean copy at a library sale today for $1.

I've mentioned before that I heard Stitt with Mal Waldron at the Jazz Medium in Chicago in maybe the early '80s, with Mal doing his elliptical thematic comping behind him. Stitt picked up on this right away and played in that for him "different" bag quite strikingly - not change-running but intensely linear thematic thinking, not unlike Rollins on "Blue 7."

John Coltrane -- "Ballads"

On what basis, if you know?

The best or one of the best Stitt albums is the originally title-less one , originally on Argo, from the late '50s, with the same color photo of Stitt on both sides snd no liner notes and no personnel listed. The rhythm section, often said to be Barry Harris et al. is in fact the Ramsey Lewis Trio, who do a fine job. I believe it's on CD (MCA-Chess) as of 1990. Tracks include "Cool Blues, "this is Always."

My favorite Sinatra story, by way of comedian Shecky Greene: "Frank Sinatra, wonderful man, saved my life. Three guys were beating the crap out of me in the parking lot of the Sands Hotel, and Frank said, 'That's enough.'