Larry Kart

Sorry, that's Jaimie Branch, not Jamie. I spell fonetikly sumtimz.

Last night in Chicago at Elastic caught trumpeter Jamie Branch, tenor saxophonist Joe Sexton, and drummer-pianist Marc Riordan -- all former New England Conservatory students, Sexton and Riordan still based in Boston, Branch has been in Chicago for several years (her folks live in a northern suburb, she works at the Jazz Record Mart). Very impressive more or less "free" playing, no waste motion. Sexton is a bit older and more developed than Branch -- a review that talks about him is here: http://www.allaboutjazz.com/php/article.php?id=18470 -- but Branch is really in tune with these guys; they make a group music. I was especially impressed by what happened on the one piece where Riordan switched to piano; Webern out of Feldman gestures that really cohered and were responsive to, and were responded to by, Sexton and Branch. A nice touch is that Elastic, before and between sets, plays all kinds of good stuff through their good sound system, but wisely only one artist/band per night, so you can really get into that thing if you're in the mood, and also wisely, not something that's in the style of the music you're about to hear "live." Last night it was Armstrong Hot Five/Hot Seven. Damn did it sound fine. Another night it was Von Freeman's Atlantic LP. Etc.

Gary Valente, point that thing the other way!

That link seems to be on the fritz. Try this one: http://www.amazon.com/Leroy-Walks-Vinnegar...boutThisProduct

http://www.amazon.com/Leroy-Walks-Vinnegar...et/dp/B000000Y9 followed by Leroy Walks Again. They're not solo LPs; the first one's a sextet, the second I believe is a quintet. Personnel includes Teddy Edwards and Victor Feldman. Leroy Walks probably is the one you saw.

President Bush calls in the Head of the CIA and asks, How come the Jews know everything before we do?" The CIA chief says, "The Jews have this expression :'Vus titzuch?' The President says, "Hell, what's that mean?" Well, Mr. President", replies the CIA chief, "It's a Yiddish expression which roughly translates to "what's happening". They just ask each other and they know everything." The President decides to personally go undercover to determine if this is true. He gets dressed up as an Orthodox Jew (black hat, beard, long black coat) and is secretly flown in an unmarked plane to New York, picked up in an unmarked car, and dropped off in Brooklyn's most Jewish neighborhood. Soon a little old man comes shuffling along. The President stops him and whispers, "Vus titzuch?" The old guy whispers back: "Bush is in Brooklyn."

Indeed.

As I recall, a grim tale lies behind this sentence: "Larry Young died from untreated pneumonia at the age of 38."

I recall hearing that it was AIDS or AIDS related, via the dirty needle route.

It's not an album title, but a few weeks ago I saw this neatly lettered handmade sign taped to the inside of a someone's instrument case: DON'T FORGET PEOPLE DON'T LIKE YOUR MUSIC

I remember in my senior year in high school a girlfriend who had no jazz background whatsoever. We were in a record store listening booth, and I put on Ornette's "Free," which was pretty much brand-new and about which I, the young know it all, was still dubious. She got it immediately.

Hussar = soldier in a light cavalry regiment. The full title is Variationen uber ein Husarenleied, Variations on a Hussar's Song.

Not exactly a requiem -- as the title implies, the subject is nothing less than the apocalypse -- but try Franz Schmidt's Das Buch mit sieben Siegeln (The Book with Seven Seals) , preferably the Mitropolous recording with Wunderlich and Dermota. The Welser-Most got some good reviews, but I haven't heard it.

Addendum: Getz seems to be working pretty steadily these days with Dale Fielder (see his itinerary): http://dalefielder.com/index.html

Answered my own question thanks to ... Scott Yanow: http://www.answers.com/topic/jane-getz

Speaking of Pharoah, does anyone know what happened to (as in whatever, if anything, became of) the pianist on his ESP album, Jane Getz?

I don't go back quite that far. I'd guess a few doors east of Broadway on Arygle, toward the El. In the interview I did with Wilbur Campbell, he mentions the Argyle and Bird: "I freelanced at the Savoy Ballroom with [tenor saxophonist] Claude McLinn for six months--that’s when I first met Bird and Max [Roach]. The second time, I was with [trumpeter] Roy Eldridge at a place called the Tailspin, and it was right down the street from the Argyle Lounge, where Bird was working. And I knew Max and Miles (Miles was a youngster then) [pianist] Duke Jordan, [bassist] Tommy Potter. This was ’47 or ’48. That was one of the greatest times in my life. I remember I got in a little hassle with Roy. I was going to hear Max and them, and he was playing that thing, that new thing, and it was fine. So I heard it, and I was trying to cop. I’d come back from the set and try to play what I’d heard, and one night Roy got mad. He said, “You’re not playing over with Charlie Parker--he’s playing down there and you’re playing with me. I want you to just play some titty-boom.” So I said OK and I just played a little titty-boom for a while, but then I’d come back and go on into it. I said. ‘To heck with it--this is just one job, but this is the opportunity of a lifetime, to be hearing Bird and Miles and Max every night."

Rather lengthy review of the Jazz Icons in post #5 on this thread: http://www.organissimo.org/forum/index.php...mp;#entry563625

A report: Place was packed, I was in a distracted mood, so take what follows in that vein. Parker himself was in intense but rather mellow form; some of his soprano playing was almost pretty, and his links to various aspects of the "jazz tradition" seemed quite clear, especially in terms of depth of timbre and manipulation of same. Shoot me, but there were times when I almost thought I was listening to Rich Perry. The pairing with Ned Rothenberg was useless IMO; I just had to screen Rothenberg out, and that was mostly possible. The second set included a reticent electronic effects dude, Kevin Drum; Norwegian bassist Ingebrigt Håker Flaten (who so far -- I've heard him twice -- strikes me as a bit of a wanker); and Fred Lonberg-Holm, who was a daunting partner in that he was able to virtually mirror and at times even anticipate anything and everything that Parker played. How good an idea this was -- either in general or from Parker's point of view -- I'm not sure, in part because the rest of the people on the stand were IMO not really equipped to function well in such a setup, especially after Rothenberg joined in on the second and final longish piece. But it was quite something to hear Fred do what he did, and to do so from and within what was clearly a state of considerable physical and mental ease, no matter the intensity of the sounds he produced. I would say that if this had been a Parker/Lonberg-Holm duo, or if one or more simpatico players had been added to them, the results might have been remarkable. But I can also imagine that Parker might have found what Fred was doing to be annoying rather than stimulating -- though if get a vote, I'd say that if that were Parker's view, he'd be mistaken.

Sorry if one or more of these has been mentioned above, but a couple that seem to me to come from the same place in song-writing purgatory: Jule Styne's "People," and Anthony Newley's "Who Can I Turn To?" Also, "Make Someone Happy."

One of the albums by The Mastersounds (Buddy and Monk Montgomery, Richie Crabtree, and Benny Barth) included a tune titled "Bela By Barlight."

Try Roy Nathason's version on Sotto Voce. It's great! IIRC, Sonny Criss handles it quite well on the album "Up, Up, & Away."

Alderson on Happy Days.

Thanks. If you ever run across Schweizer, say hello and ask him to get in touch if possible. I want to know what he's been up to lately.

Wanda Sykes