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Welcome Back, Larry Kart!


catesta

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Mozilla. I'd tried to download it once or twice to replace my old browser, Internet Explorer, but each time the connection cut off just before the download was over. Then a kind soul (who shall be nameless in case this is not kosher) sent me Mozilla on a disc, and the rest was fairly simple.

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Nah, it's cool Larry. I sent it. And I'll send one to anyone else who is having a problem. If anyone knows of another member who cannot get on due to the incompatabilities between the new board software and Mac OS 9.x (featuring Internet Explorer 5.x) then by all means, let me know.

Glad to have you back, Larry.

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Mozilla. I'd tried to download it once or twice to replace my old browser, Internet Explorer, but each time the connection cut off just before the download was over.

Been there and done that (frustrating as hell, I know). It happened to me a few years ago when I was attempting to download a newer version of IE. I eventually realized I first needed to locate and download another bit of software (something called "open transport", as I recall). Anyway, my Mozilla download went extremely smoothly (in case anybody else wants any encouragement to at least give it a shot).

A big :tup to Jim for helping Larry get back on here. (that's not big enough... let's try this...)

4260234_8baad89f61.jpg

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Brian Priestley kindly sent me a copy of his review in Jazzwise. Here it is:

Jazz In Search Of Itself

Larry Kart

Yale U.P. £20.00

Kart has been commenting on jazz since the late 1960s, when he started contributing to Down Beat under the editorship of Dan Morgenstern. Less of a name on the international critical scene, and perhaps even in his native country, his work has appeared most regularly in the Chicago Tribune. So it’s appropriate that the cover photo and one of the early chapters both feature saxist-trumpeter Ira Sullivan, who also failed to gain a wide reputation through remaining in Chicago.

It’s our loss that Kart isn’t better known, since he writes thoughtfully and often provocatively on a wide span of music, from Earl Hines to Roscoe Mitchell and from Frank Zappa to Tony Bennett. The book’s title suggests a heavy thesis but, instead, the pertinent questions about what jazz is (and who it’s for) come up in straightforward artist profiles, grouped in chronological order of significance, rather than their order of first publication. Even within a brief piece, Kart often focusses on significant details and, in his less enthusiastic comments (for instance, on Peterson and Jarrett), is helpfully specific. He’s also one of the only writers to identify the similarities between Wynton Marsalis and David Murray, and to deplore the influence of Coltrane and Bill Evans.

Some of the portraits of early-jazz figures are fairly short obituaries or book reviews. But, as the chronology moves on to “Moderns And After”, the coverage becomes more expansive and, in the case of people like Miles and indeed Marsalis, the author’s reactions from different periods gives a more rounded picture. It’s a shame the only essay-length entry is from a boxed-set reissue of Lennie Tristano, Lee Konitz and Warne Marsh, because Kart is clearly capable of lengthier considerations of several artists here. But maybe Chicago-based writers don’t get those opportunities.

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