Larry Kart

No, it will not return to its post upon reaching the record's trail-out grooves.

The musician in that Mel Lewis story might have been Dick Sherman. To answer Dan Gould's question above, it might have been because Stan had more heroin around than money at the time or, and I might vote for this, he just wanted out of sheer perversity to mess Sherman up.

When trumpeter Dick Sherman, then a recovering addict, worked with Getz, Stan tried to pay him off in heroin.

Go for it, I'd say. A very happy date. Only drawback is that it's only 46 minutes, but it feels like a multi-course banquet.

To be precise, I believe he said "a nice bunch of guys." Also, when told that Stan had insisted that Astrud Gilberto get no royalties but only the standard session fee for her hit recording with him of "The Girl from Ipanema," Al Cohn commented, "It's good to see that Stan Getz hasn't changed."

On the other hand, I can see where if the person approaching were Stan Getz, either man might have some reason to avoid him.

What a terrific happy date this 1983 OJC disc is. Grey's characteristic vigor loosens up J.J. a good deal, while Kenny Barron, Ray Brown, and Mickey Roker play their asses off. Sheer joy. Sadly it seems to be o.o.p. or rather pricey. I found my copy at a library sale.

Gotcha. P.S. As for the studio, Raney probably wouldn't avoid, say, Bob Weinstock or Ira Gitler or Teddy Charles. Any idea about the nature and origin of Haig's anti-Semitism?

Shorty Petterstein Henry Jacobs Alan Watts P.S. I once ran across a would-be Lenny Bruce expert (a noted poet and literary critic -- won't mention his name here) who thought that Bruce had done the Petterstein interview and who had written a lengthy essay that revolved around tying Petterstein's "blow is like an instrument" line to something that allegedly was fundamental to Bruce's humor. I told him that Lenny had nothing to do with the Petterstein interview, that it was an accident of packaging on the part of the Fantasy label that it and some Bruce material appeared on the same album, which led to the confusion, and that the Petterstein and Prof Sholom Stein interviews were instead the work of Henry Jacobs and Woodrow Leifer. IIRC, that Bruce "expert" refused to accept my correction, perhaps because his essay already had been published in the academic journal Daedalus, and it might have been embarrassing for him to take back or otherwise alter the essay's premise. The essay's title BTW was "A Blow Is Like an Instrument" -- don't know where he got that "A."

How was Raney supposed to tell?

FWIW the second Pfizer shot goes into your deltoid a fair bit deeper than the first one. Different longer needle. No difference otherwise, at least not for me. Some swelling on day two.

Someone once wrote in a Jazz Review magazine review of "Odds Against Tomorrow" that its apparent moral was "race prejudice prevents bank robberies."

John Lewis' scores for "Odds Against Tomorrow" and "No Sun in Venice"

Over time I find I prefer the other two Resonance Evans sets Imentioned; at least I listen to them more often.

Brignola and DeJohnette are great together.

I found that Morell let loose a good deal on the two recent Resonance label Evans releases -- "Live at the Top of the Gate" and "Evans in England." Interesting interviews with Morrell and Gomez in the latter set's booklet.

Listened a bit last night. Very well recorded -- balance between Evans and Gomez is ideal, for once there's just right amount of space between them, albeit Gomez is still Gomez; Evans is in fine form for that period; Morell is just Morell, or so it seems to me.

Theremin?

Down for double as of Monday. Arm was rather sore the next day, but now all's well, aside from the third hand growing out my neck.

Yes, even his wig is a real wig.

Are you doing an imitation of Hans Groiner?

Larry Goldings as Hans Groiner reshapes the music of Thelonious Monk:

Go to Ms. Sabol's You Tube site and you'll see that she's quite real. And can't you see that Goldings is mugging, comically responding to the supposed difficulties of trying to keep up with her a-musical waywardness? BTW, the other guy I mentioned above is Henry Hey. I'll try to post some of his stuff. Hey on Palin and Bush:

A la the National Anthem thing, and Goldings’ part in it, does anyone recall the name of the jazz pianist, a NYC-area guy I believe, who took political speeches from people he wanted to make fun of and crafted music that closely mirrored the rhythms and pitches of the speakers and then combined what he had done with the original speeches. The resulting music was of necessity fairly complex, a la Conlon Nancarrow, and the music-speech combos were amusing. Don’t recall the guy’s name right now. I have or used to have a record on which he’s a sideman. A good player. First name Henry perhaps. If I could think of his name, I could post some his stuff. It was on You Tube.

Yes I'm sure. Apparently Goldings is known for doing the sort of thing he does here. Ms. Sabol's performance at CPAC was a cappella, Goldings' "accompaniment" was his after-the-fact addition -- again, something he does to amuse himself and others. There's another NYC-area jazz pianist, last name Heck IIRC, who does something somewhat similar; he takes political speeches and the like given by people he wants to make fun of, and he sets them to music of his own invention that closely mirrors the rhythms and the pitches of the speaker.The results are of necessity often fairly complex, a la Conlon Nancarrow, and also fairly funny.