Larry Kart

This 2005 trio album (with bassist Joe Sanders and drummer Ari Hoenig) is my introduction to pianist Simona Premazzi. She's damn good.

Late discovery for me. Die Jakobsleiter -- Kent Nagano. Boulez is good; this is better IMO, excellent tenor soloist. And what a work it is.

Can't say without listening again that Warne solos on any of these -- IIRC he got a taste mostly on, maybe only on, the two "Japanese Tour" albums (Hindsight) -- but Warne is also on the band on "Supersax Plays Bird" (Capitol) and "Supersax: Chasin' the Bird" (MPS).

Not a big fan of Supersax as originally conceived and executed, albeit the expertise of the playing was undeniable, but once Warne Marsh came aboard and got solo room, their albums were essential. The setup on every track IIRC was a sax section reproduction of Parker's recorded solo on that piece, followed by a solo the Supersax's' brass player at the time (IIRC Conte Candoli or a trombonist (Carl Fontana?) -- later on, as mentioned above, Warne Marsh often got a taste and played lights out.

Don't have the album, but in a similar vein with "Playboys":

As you no doubt know, upon visiting any Half-Price Books store or similar outlet where used CDs are sold, you'll find lots of dumped Marsalis CDs.

Lake was married for a good stretch of years (1944-52) to the excellent director Andre De Toth, who directed her in at least one notable film, the noir western "Ramrod" (1947) with Joel McRea. It's definitely worth seeing.

Just finished Emily Wilson's recent translation of the Odyssey. Don't see how it could be bettered.

Ella Raines is out of sight in general and especially in and after the great scene where she induces Elisha Cook Jr. to flip out during a jam session.

But who is this "Evans, known for his screaming" she refers to?

You can say that again. The Okieness is striking ... and swinging.

I've always enjoyed my first Kessel album, "To Swing or Not to Swing" -- that's a nice little band (Harry Edison, Georgie Auld or Bill Perkins, Jimmy Rowles, Red Mitchell, Shelly Manne or Irv Cottler) -- and I recall thinking that "Straight Ahead," the final "Poll Winners" album, was quite good.

Yes, really good.

Oops. BTW, two Chicago deejays were involved. Daddy-o-Daylie produced the Argo MJT+3 album, and Sid McCoy produced the second one. The name of the group referred to the band's co-leaders Bob Cranshaw and Walter Perkins, the "modern jazz two." I still remember the first time I heard Cranshaw, at a session in the '50s at Northwestern University, when he was a student there. What a powerhouse he was.

MJT + 3 Studio album by MJT + 3 Released 1961 Recorded May 12, 1960 Universal Recorders, Chicago Genre Jazz Length 35:41 Label Vee-Jay VJLP 3014 Producer Sid McCoy Professional ratings Review scores Source Rating Allmusic [1] I first encountered Strozier as a member of this tasty Chicago group. The previous version of the band, which also made an album for Vee-Jay, included trumpeter Paul Serrano, tenorman Nicky Hill, and pianist Richard Abrams. MJT + 3 is an album by MJT + 3, recorded in 1960 for Vee-Jay Records.[2] Track listing[edit] "Branching Out" (Mabern) - 6:57 "Lil' Abner" (Willie Thomas) - 4:10 "Don't Ever Throw My Love Away" (Strozier) - 9:08 "Raggity Man" (Thomas) - 6:29 "To Sheila" (Strozier) - 4:57 "Love for Sale" (Porter) - 4:00 Personnel[edit] Frank Strozier - alto sax, flute Willie Thomas - trumpet Harold Mabern - piano Bob Cranshaw - bass Walter Perkins - drums

Gotcha. In Hell indeed.

I hold no brief for Leonard Feather, but I don't follow the Strozier reference here. If Feather thought Strozier was white and said so in this roundtable, what aspect of Strozier's life/music/treatment by colleagues could then be held up by Feather "as an example of Racist Negro Jazz Musicians In Action"? Or is it all so obvious/in plain sight that I'm missing it?Strozier was a widely respected player who was hired by leaders both black and white.

Used to have a link to all the issues of The Jazz Review online, and I've visited it many times. But when I just tried to go there -- at Jazz Studies Online -- I got a warning that it was a place that might try to steal my private information.

Haven't heard the album myself, but FYI and FWIW, a reliable source states that the Palo Alto concert tapes were mastered nearly a half-step flat.

in Dan Morgenstern's fond reminiscences of Ira, he mentions that estimable and outspoken mainstream trumpeter Joe Thomas confronted Ira after he sat in at a session and told him that he should never again get up onstage with professional musicians. Soon after that, Ira put down his horn for good.

My favorite (albeit not perfect) performance of (probably) my favorite Mozart work: Sonata in B Flat Major for Violin and Piano, K. 454. The work itself is sublime -- in particular the formal and emotional relationship among the three movements: Forgive these groping characterizations: The first movement, immensely poised, balanced, and poignant; the second, a solemn immense and wholly Mozartean sadness; the third; a tremendous outburst of bouncing contrapuntal energy and joy that nonetheless is not without reference to the second movement's sadness and the first's poise snd balance. My favorite performance, (from 1974): Szymon Goldberg and Radu Lupu (London). Not perfect because Goldberg, arguably the greatest Mozart fiddler of the 20th Century, is here in his mid-60s, maybe a decade or so past his prime, amid all of his beauty, wisdom, and insights. Lupu is in prime, and clearly inspired by his partner, but given Goldberg's age there are times when Lupu comes close to rushing him off his feet. Nonetheless, I've yet to find a superior version.

I love it when Andrea Martin blows into her palm and then smells in an attempt to see if she has bad breath.

How does the CD sound compare to the clips? It was on the latter that I found Ella's voice harsh and blarey.

Yes