Larry Kart

Sorry for confusing things. I was replying to the post on that thread by Blake and the reply to it by Parkertown, which I thought meant that Parkertown was saying that L-R-G, The Maze, and S II Examples were on the AEC box. Those three pieces are on Chief CD 4. Numbers 1&2 are of course on the AEC box.

Crouch's post can't be real -- right? It's far beyond parody.

Don't know if it's come up here before, but the main thing about the personnel on "Out of the Cool" is that the volcanic drummer on "La Nevada" is not Elvin Jones but Charlie Persip.

My guess on the piano player is Jimmy Jones. I'd try next the Emarcy album she did with Clifford Brown. It's been reissued on CD. Another great one for Sarah, though you'll have to put up with some string-laden orchestras and soupy charts, is "Great Songs from Hit Shows," a 2-CD set that I hope is still available (I wrote the notes). In in a similar vein, there's her 2-CD set of Gershwin material -- all these from the Emarcy period.

Buddy Bregman?

No, it's not. It's on CD on Chief, issued in 1989. Don't know it that's still available. In any case, it's about as important as music gets.

No, but "The Saga of Jenny" is all true.

Hey, the leader of our high school jazz band -- Bill Brimfield among the trumpets, Steve Bagby the drummer, Ann Margret (!) the vocalist -- was bassist Bruce Anderson, son of the then-head of Illinois Missouri Synod Lutheran Church, the Rev. O.V. Anderson. The Rev. Anderson was one fearsome dude -- a dour, towering figure who loathed jazz and, so it seemed, any form of pleaurable activity. BTW, Bruce, who was and still is a darn good bassist, went on to become a Lutheran minister himself; his church is in Morton Grove, Ill. Also BTW, when I say high school jazz band, this was before the stage band thing and school sponsorship -- it was just the guys from New Trier H.S. (and some from nearby Evanston H.S., like Brimfield) who wanted to play jazz.

http://www.youtube.com/watch?v=pt7Ro2gr2JU...sarah%20vaughan Dig what she does to the bridge!

http://www.youtube.com/watch?v=xklfKdX2IrY...rch=stan%20getz Too bad it's only 1:45. What a loss it was that Cole virtually stopped playing piano on record. This is, I assume, from the mid- or late-1950s, and he not only sounds great but also as though he's grown some stylistically ... and he's damn hip too, FWIW.

http://www.youtube.com/watch?v=1_hNtvghs2k...=lester%20young P.S. If I'm posting info that's been posted before, please tell me,

http://www.youtube.com/watch?v=94ijwIaH6bM&search=jazz

http://www.youtube.com/watch?v=9BOoP7U1jAA&search=jazz STRONG Pres!

http://www.youtube.com/watch?v=F0yYud187MY&search=jazz

I think a great story could be quarried from Kenton's life -- the tale of a charismatic semi-megalomanic a la Howard Hughes who made a music in his own image. And that last part could be translated into cinematic-musical terms that I think anyone could grasp. (In that vein, one oft he problems of "'Round Midnight" was that the plot required Dale Turner's musical resurrection to take place before his musical and literal demise, but Dexter himself was so far gone at the time that no such musical resurrection could be heard -- and even if it had been possible for him to significantly increase the strength of his playing, would the majority of the audience been able to hear the difference?) BTW, I see Eastwood's old friend and fellow onetime Kenton devotee Mort Sahl working on the script of ... what else, "Artistry in Rhythm."

I agree with Chris on the excessive Chan slant in "Bird," though I think Dianne Venora did a much better job in that role than Forrest Whittaker (an actor I usually admire) did as Bird -- admittedly a difficult bordering on impossible role to play. As many have said before, Whittaker's exaggerated physical motions when he's pretending to play are particularly annoying, given that we know that Bird aalmost always stood stock still when playing. My choice for Bird would have been the young James Earl Jones. In the same vein, at a certain age, Eastwood would have made a great Stan Kenton in a biopic.

There's a very good album on Concord, led by Tompkins, with Al Cohn in fine form. Don't know if it made it to CD. That Carson anecdote is choice.

Beginning to move through the set, I was struck by how much better Ron McMaster did with the Russ Freeman material than he did the first time, back in 1989. Freeman sure was a unique, swinging player. I particularly like the way he can strongly recast a standard in his own gnarly terms and still leave the tune-as-tune there (e.g. "You Stepped Out of a Dream," "East of the Sun," "The Party's Over"). Also, Harry Warren's "At Last" is a damn fine piece of music.

"Lydian M-1"! Still sounds great and different-logical today, and it sounded even more so at the time. I think I liked George Russell best around the time of this and the Jazz Workshop album (and, a bit later on, "Jazz in the Space Age"), when he was trying to tighten the nuts and bolts of his system to the maximum rather than loosening things up.

I see that Lonehill (yuck) has got their clammy little hands on "Clifford and Max -- Live at the Beehive," originally on Columbia LPs Sound ain't great on the LPs, and I don't imagine that Lonehill could do anything with it, but this is the hottest Clifford in every sense -- quality, inspiration, and sheer heat. Also, and inseparable from this, Max plays out of his ******* mind. Rollins and Nicky Hill, Billy Wallace on piano.

I'd turned 14 that May and had asked my parents if, as a belated birthday present, they would take me to the Brown-Roach Quintet's late-June Chicago engagement at the Modern Jazz Room on Dearborn St. (The only way a 14-year-old could get in to a club where drinks were served was to be accompanied by an adult -- at least it worked that way at the Blue Note.) As I recall, the issue of Down Beat that printed reactions from the community to Brown's death included a particularly anguished one from Dizzy.

Sheldon M. writes: "..Im sure this doesn't justify calling him "fag"???? At least do it to the guy's face, up close and personal with no cameras/mics around~" But Mariotti makes sure that he is never around where Guillen or anyone else he attacks is. GA Russell writes: "Guillen is not being held to account by Management for suggesting that a sportswriter is a homosexual. He is being reprimanded for offending homosexuals by using the word "fag". Do I have that right?" Yes. But Guillen -- himself a professional hothead, of course -- didn't mean by calling Mariotti a "******* fag" that Mariotti actually was a homosexual; he meant that he was not "a manly man." Bad enough, perhaps, but on that point see my response to Sheldon M. above.

It needs to be said that the columnist Guillen went off on, Jay Mariotti, is about on the level of Ann Coulter -- a professional weasel. Moreover, one of Mariotti's "greatest hits" so to speak, was his dubbing Frank Thomas "The Big Skirt," after Thomas ("The Big Hurt") was tagged out at the plate when he slid in to a Cleveland Indians catcher rather than trying to bowl him over. Having come up with this nickname for Thomas, Mariotti repeated it in print over and over, with great relish. Also, as Rick Morrisey's column in the Chicago Tribune today suggests, Mariotti is pretty much regarded with contempt by his sports columnist colleagues because, while he does attend games, he makes it a policy never to venture into a clubhouse or a dugout where anyone he's slammed might be present and be prepared to complain about or contest what he has written.

My first car was a used 1962 or '63 Peugot (sp?) sedan, whose soft, comfortable front seats reclined 180 degrees, which came in handy in certain circumstances. Then, in early summer, it developed some significant mechanical problem, and I discovered that 1) a part needed to fix it had to be ordered from the factory in France and 2) the factory, like much of France, was essentially closed down until autumn. Also, it turned out that the reason the significant mechanical problem cropped up was that the car had been in accident that badly damaged its frame. So I traded it in on an used MG 1100, which I literally lost in Chicago's fabled 1967 snow storm. But those reclining seats were nice.

Just picked up this delightful record (originally Riverside, now OJC), which Chris produced back in 1960 and which almost certainly never would have been made otherwise. As the notes explain, Chris played some vintage Snowden sideman recordings on his Philadelphia radio show, Snowden (then a parking lot attendant) wrote him a friendly note, Chris arranged to hear him play, etc. Snowden (b. 1900) went way back -- it was in his band that the young Ellington came to NYC from D.C . -- and his banjo playing is something else: lucid, unique, joyfully swinging. Fine band too: Cliff Jackson, piano; Tommy Bryant, bass; Jimmy Crawford, drums.