Joe

On Music & Arts...

The Roswell Rudd - Steve Lacy collaborations, from their early playing-for-change days to their Italian-documented purple 70s to the later valedictory recording for Verve, satisfy these criteria, at least IMO. https://www.youtube.com/watch?v=AowYh_D60dA https://www.youtube.com/watch?v=TlSSd47dgj4

Yes, on both accounts. And Gary had an Atlantic release prior to THE BLUES CHRONICLES... THE RED AND ORANGE POEMS. Also a sort of comeback for Eddie Henderson via that date as well. Fine record, "straight ahead," but TBC is more personal, more Bartz-ian in its explicit concept-album-ness.

Dave Kikoski's E (Epic / Sony) Gary Bartz, THE BLUES CHRONICLE: TALES OF LIFE (Atlantic) James Clay, COOKIN' AT THE CONTINENTAL (Antilles / Island / Polygram)

Dude!

Intriguing, this Kenton - Terry Riley - Second City connection! Looks like Kaz very likely replaced Mathieu, who moved to San Francisco in the 60's, at least as best I can determine. And thus the seeding of Second Citys commenced...

Thanks for sharing that Larry. My wife is currently taking improv (comedy) classes here in Dallas, and talking with her about that experience has renewed my appreciation for improvisation as an "general aesthetic." (This study, while a bit less in-depth than I would have liked, still makes for fine reading on this topic: Daniel Belgrad's The Culture of Spontaneity.) Kaz, like Del Close and the Beck / Molina axis of The Living Theatre, is a fascinating figure in that he seems to bridge a couple of different improvisational media.

Crepuscule W/ Nellie now has a dedicated website: http://crepusculewnellie.com/. You can interact with annotated excerpts from the novel, and even submit your own notes and paratextual content.

The pianist, not Fred Katz, the cellist. A rather limited discography, with but one leader date that I've heard: EASTERN EXPOSURE on Atlantic Records. On the evidence of this date, a rather unusual player, whose "moves" sometimes recall a much more fluent Brubeck, or an even more oddball Eddie Costa; certainly, he wasn't without harmonic imagination and a pretty individual sense of phrasing. Still, its hard sometimes to separate out "gimmick" from invention on this particular record... a shame, perhaps, that he did not record as frequently as he might have. In my search for more information, though, I discovered that Mr. Kaz was the long-time musical director for Chicago's Second City. http://articles.chicagotribune.com/2014-03-12/entertainment/chi-fred-kaz-legendary-musical-director-at-second-city-dies-20140312_1_fred-kaz-second-city-actor-richard-kind http://articles.chicagotribune.com/1988-12-18/entertainment/8802250816_1_musical-director-piano-player-second-city And, although Mr. Kaz is no longer with us, his website still is, and it looks as though there are more records to hear after all: http://www.fredkaz.com/music.html given the strong Chicago presence on this board, I wonder if there might be more insights, opinions, and memories to share.

Too young. Mr. Soloff can heard to fine advantage here:

[sMH] Dude, dude, dude... rhetoric ain't reparations. It's attitudes like that holding us ALL back. [/sMH]

Chicagoan Jason Stein is a younger player producing some worthy and intriguing music on this instrument.

Jim nails it. We play way too fast and loose with the appellation "racist" / the word "racism" in this culture. Which is a terrible insult to those people in our culture who have had to live under truly racist conditions, i.e., where systematic violence is perpetrated against certain people because of the color of their skin or their perceived racial identity. (Bigotry is one thing; racism is something else, at least as far as I'm concerned.) "Racist" gets used now precisely for its triggering effect. Its usage says much more about the person actually employing the word than the one being targeted by it. And, also, you can't really "figure out" Buddy Rich and his contributions to the music by measuring him according to the established canons of "jazz drumming." You gotta remember that element of show business in the music's history too, for example... but it goes further than that...

Thanks! Looking forward to this.

Yes, I am reading this as a kind of double tribute: Taylor and Cortazar. My favorite Aira thus far has been VARAMO, which, among other things, offers a deftly satirical treatment of how the canons of literary Modernism have been constructed in and for Latin America.

Still making my way through this short story, but Aira is among the more important living South American (Argentine) writers, and one of the few fiction writers I can think of who has ever incorporated improvisation as part of his writing practice. http://bombmagazine.org/article/5992210/cecil-taylor "He played a note with his left hand, a deep B flat, which reverberated with slow submarine convulsions ... And that was all, because the lady of the house was standing beside him, closing the lid over the keys with a movement so smooth and effective it seemed to have been rehearsed."

If you can find Amina Claudine Myers' SONG FOR MOTHER E (Leo)... as Jim would say, carpe! Also, in the spirit of six degrees etc. -- Amina makes incredibly important contributions to this Frank Lowe recording. DIW also released some live shots (from SOUNDSCAPE) by this same group. Not easy to find, but worth the hunt.

Not my favorite (I'll take the original, ultimately), but a very, very, very nice jam on this tune regardless. https://www.youtube.com/watch?v=Rf7VrutWYRA

His version of Clifford Brown's "Donna Lee" (live) solo is , if anything, even more impressive.

[Capacity to comment temporarily disabled.] http://youtu.be/zz7LvCS1oXM

A couple of items of potential interest: 1) NELLIE was recently reviewed ( quite intelligently and generously) by David Eric Tomlinson for The Writers' League Of Texas. No spoilers! https://writersleagueoftexas.wordpress.com/2015/01/23/members-review-53/ 2) I'll be reading this Friday at the flgship Half-Price Books in Dallas with fellow TX author Thomas McNeely. Deets here: http://www.artandseek.org/event.php?id=62039 Thanks again; best.

Available via iTunes, no less!

Easily some of my favorite Rogers on record. Charles is also an important voice on this "I wish this has produced more than four tunes" session: Frank Morgan (as); Wardell Gray (ts); Teddy Charles (vib); Sonny Clark (p); Dick Nivison (b); Lawrence “Larance” Marable (d). Recording session for Prestige Records, Los Angeles, CA, February 20, 1953 467 The Man I Love # 7" 45: prEP 1307 468 Lavonne # 7" 45: prEP 1307 469 So Long Broadway # 7" 45: prEP 1307; 78 rpm: Pr 889 470 Paul's Cause # 7" 45: prEP 1307 All titles are on 12-inch LP: Prestige LP PRLP 7008.