Larry Kart

"Margin Call" Then "The Big Short" They're complimentary

My late wife and I saw Rigg in a very good Tom Stoppard play, "Night and Day," in London in 1978 0r '79. She was terrific in it.

Also: Bobby Hutcherson - Color Schemes (Landmark LLP-1508) Bobby Hutcherson, vibes, marimba; Mulgrew Miller, piano; John Heard, bass; Billy Higgins, drums; Airto, percussion. Fantasy Studios, Berkeley, CA, October 8-10, 1985 Recorda-Me Bemsha Swing Rosemary, Rosemary Second-Hand Brown Whisper Not Color Scheme Remember Never Let Me Go ** also released on Landmark LCD-1508-2. 1986 Bobby Hutcherson - In The Vanguard (Landmark LLP-1513) Bobby Hutcherson, vibes, marimba; Kenny Barron, piano; Buster Williams, bass; Al Foster, drums. "Village Vanguard", NYC, December 5 & 6, 1986 Little Niles Estate Well, You Needn't Some Day My Prince Will Come Witchcraft I Wanna Stand Over There ** also released on Landmark LCD-1513-2. Bobby Hutcherson - In The Vanguard (Landmark LCD-1513-2) same session. "Village Vanguard", NYC, December 5 & 6, 1986 Young And Foolish ** originally released as Landmark LLP-1513 + 1 bonus track. Bobby Hutcherson - Landmarks (Landmark LCD-1310-2) same session. "Village Vanguard", NYC, December 5 & 6, 1986 Tune Up 1988 Bobby Hutcherson - Cruisin' The 'Bird (Landmark LLP-1517) Ralph Moore, soprano, tenor sax; Bobby Hutcherson, vibes, marimba; Buddy Montgomery, piano; Rufus Reid, bass; Victor Lewis, drums. Fantasy Studios, Berkeley, CA, April 15 & 16, 1988 All Or Nothing At All Cruisin' The 'Bird Sierra Imminent Treasures Chelsea Bridge Come Rain Or Come Shine On The Delta ** also released on Landmark LCD-1517-2. Bobby Hutcherson - Cruisin' The 'Bird (Landmark LCD-1517-2) same session. Fantasy Studios, Berkeley, CA, April 15 & 16, 1988 If You Do ** originally released as Landmark LLP-1517 + 1 bonus track. 1989 Bobby Hutcherson - Ambos Mundos (Landmark LLP-1522) James Spaulding, flute; Bobby Hutcherson, vibes, marimba; Smith Dobson, piano; Randy Vincent, guitar; Bruce Forman, guitar #2,7; Jeff Chambers, bass; Eddie Marshall, drums; Francisco Aguabella, congas; Orestes Vilato, timbales, congas; Roger Glenn, percussion, flute. August-September, 1989 1. Pomponio 2. Tin Tin Deo 3. Both Worlds 4. Beep D' Bop 5. Poema Para Ravel 6. Yelapa 7. Besame Mucho ** also released on Landmark LCD-1522-2. Bobby Hutcherson - Ambos Mundos (Landmark LCD-1522-2) James Spaulding, flute; Bobby Hutcherson, vibes, marimba; Smith Dobson, piano; Randy Vincent, guitar; Jeff Chambers, bass; Eddie Marshall, drums; Francisco Aguabella, congas; Orestes Vilato, timbales, congas; Roger Glenn, percussion, flute. August-September, 1989 Street Song ** originally released as Landmark LLP-1522 + 1 bonus track. 1991 (age 50) Bobby Hutcherson - Mirage (Landmark LCD-1529-2) Bobby Hutcherson, marimba #1,7,9,10, vibes #2-8,10; Tommy Flanagan, piano; Peter Washington, bass #1-3,5-8,10; Billy Drummond, drums #1-3,5-8,10. BMG Studios, NYC, February 15 & 18, 1991 1. Nascimento 2. Mirage 3. Beyond The Bluebird 4. Pannonica 5. Del Valle 6. I Am In Love 7. Zingaro 8. Groundwork 9. Love Letters 10. Heroes

Coupled w. "Ole ala Lee!"

Clare Fischer -- First Time Out Prince Lasha -- The Cry

How is it? Lots of photos it seems.

Diod not know of it. When did it come out?

Eager to hear it. Wonderful, isn't it, how caught up we can get in the personhood, so to speak, of those jazz musicians who speak to us. There are a great many players whom I feel I know better than I do my close friends or even myself.

Ordered it

Hmm, jazz reparations. What might they consist of? Kenny G's gonads plated in gold?

Seems to me we've got at least two issues at work here -- 1) enlisting an art (jazz in this case) to attempt to remedy social ills, and 2) who gets to be/should be represented in the jazz academy in what numbers; and then, harking back to the first point, what should those who are or will be in in their proper places and in proper numbers in the academy once injustices are redressed be teaching? Or is this really thing all one thing/and or one thing being approached the other way around -- that is, once the numbers of those in the academy issue is fully addressed and satisfied, then what is taught there will more or less naturally go out and serve to remedy social ills? Or is it all really more or less about power -- who has it and power to do what? Also, should there be ANY academy at ll. More thoughts when I think of them. First thought: while art certainly has power to affect others and is itself affected practically and otherwise by power considerations, when art and power get heavily commingled, I think one tends to get dubious or conflicted or narrowly shaped art. FWIW, I can think of at least three works of jazz that certainly addressed or touched upon social ills/injustices in a powerful manner and IMO were largely or wholly successful as art -- Ellington's "Black Brown and Beige," Oliver Nelson's "Afro-American Sketches" and John Carter's three-part "Roots and Folklore." Carter BTW writes, in the notes to "Castles of Ghana" (part of "Roots and Folklore)": "By the 16th century there was a great turmoil among many of the countries along Africa's west coast. Many African chiefs. in co llavboration with Euopean traders, used this chaotic period to form a new area of trade, one involving the illegal gathering and trading of African citizens to be eventually shipped from Africa to there places in the old, in permanent detention and generally for purses of un compensated labor. Many of the forts and castles became holding stations for African captives, awaiting a efficient number for ship,ent. The inspiration for my compositions is rooted in this historical period. They are musical projections of the high emotions that must have gripped all the participants of the real life human drama." These are the words of a serious man whose music has serious weight. P.S. I have a good friend, a vastly experienced professional musician, who was taught jazz performance and jazz history at a prominent NYC institution's venerable jazz program for many years. Over that time he has positively affected (by their own accounts) the lives and the varied musics of many now prominent younger jazz musicians of many racial and ethnic backgrounds. Further, knowing him and his considerable body of musical and historical knowledge and his kind caring nature, I'm fairly sure that what he is able to pass along is quite special. That is, not everyone who can be labeled and placed in a slot, if that's the name of the game, ought to be so labeled and placed -- first, as much as possible, look and listen carefully on an individual basis.

The way Miles ends his solo on "When Lights Are Low"! Lovely in itself, it always makes me think that there was some passing kinship between Miles and Richard Rodgers.

Hey, I may have that one. If so, happy happy joy joy.

The Mosaic box reprints all the original liner notes IIRC. Trust the boys at Mosaic to be thorough. Sorry -- I meant "bottle. That "neurotic relationship to the alto" may have been Max Harrison's bright idea. I know I've seen that phrase before. Did Max write these notes? Can't imagine what that "neurotic relationship" might have involved. Did L:ee take his horn to bed with him?

I'd love to hear it. Which CD is it?

The pianist was Mike Alterman? Speaking of fairly obscure Herman pianists, I've always liked the work of Norm Pockrandt on "Jackpot!" (Capitol) by the swinging octet that Woody brought to Las Vegas in 1955. Cy Touff IIRC is featured nicely on the album. I believe that it was this little band's pairing of Touff and Kamuca that led to Cy's tasty Pacific Jazz album with Kamuca and Flores, the one with Johnny Mandel's "Keester Parade." Bass – Monte Budwig* Clarinet – Woody Herman. Drums – Chuck Flores. Piano – Norman Pockrandt. Tenor Saxophone – Richie Kamuca. Trumpet – Cy Touff, Dick Collins, Johnny Coppola

Magical music to slit your wrists by.

Nope. OK, I'm calling the game on account of the White Sox are losing to the Twins. It's from John S. Wilson's notes for "Lee Konitz Inside Hi-Fi" (Atlantic, 1957) The notes begin: "There is more than guile and gallimaufry in the design and title which decorate the front pages of this album. [IIRC, it show an image of Lee inside the tubes and wires of a hi-fi system.] With full justice -- and an equal lack of imagination -- the set might have been called 'Lee Konitz In Hi-Fi,' since to be in high fidelity ((hi-fi) appears to. be the current high fashion [high fashion.] But the Messsers Atlantic Recording Corporation have no pash for fash, The Messers, are probing, inquiring and utterly incorrigible gentlemen and when the enclosed performances were being recorded at Rudy Van Gelder's sound atelier it occurred to them that Konitz might look particularly intriguing (even more than he normally does) if he climbed inside Van Gelder's maze of wires, eggbeaters, thermostats, and retrogavitators. The is the real inside story of how Lee Konitz managed to get inside hi-fi and those who are familiar with the work of that great other inside man, John Gunther, will find that Konitz others a slight different kind of report. The essential split in th two styles is that Gunther takes notes while Konitz gives them. "Well, so much for gaiilimaifry. So much for guile." etc. John must have been hitting the battle real hard at the NY Times when he wrote the above, P.S. "gallimaufry"IIRC is a confused mixture. John Gunther is a semi-forgotten author-journalist who wrote a series of once popular "Inside" books about foreign countries and regions. BTW, "Lee Konitz Inside Hi-Fi" is a fine album, with Lee playing tenor on sIx tracks (with Sal Mosca, Peter Ind, and Dick Scott) and alto on four (with Billy Bauer, Arnold Fishkind, and Scott). P.S. "Sound atelier"?

"Seriously, when it's all over, if you can own your decisions and their outcomes, hey, you win. That shit is personal and not for anybody else." Or as Lester Young put it, "But it's the same way all over, you dig? It's fight for your life, that's all. Until death do we part, and then you got it made." I also like his remark earlier in the same 1959 interview: "I've developed my saxophone to make it sound just like a alto, make it sound like a tenor, make it sound like a bass, and everything, and I'm not through working on it yet."

Yes, people just want to live, but if they are artists, just living -- in the light of all they have created and the assumptions that underlay its creation and the business, so to speak, that these creations have engaged in over time out there in the world that lies outside oneself -- may in some sense not be enough.

IIRCAllen Lowe had some inside-the-beltway views on Doll's (in his view, negative) role in shaping the final not-so-great phase of Jackie's great career.

I found "Live at Ronnie Scott's" quite interesting, though I can't say I loved it. Can't recall all the many thoughts I had about it while listening to it fairly intensely a few weeks ago, but it was interesting perhaps in the way an X-Ray or an MRI of a man with a incipient but not yet wholly manifest fatal disease might be to a curious medical student.

By Jackie's later work, I mean only the VERY late work, after he returned to action from a fairly long span of time in Hartford. The sounds and gestures, many of them, were familiar, but the spark, the underlying motivation, seemed to have dimmed quite a lot or even gone out.