Larry Kart

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About Larry Kart

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  • Birthday 05/16/1942

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  • Gender Male
  • Location Highland Park, Il.

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  1. Oscar Peterson, Short List

    Another OP goodie, but fairly obscure, is "Tenderly" (Just a Memory), with the Ellis, Brown trio from a 1958 Vancouver concert. Issued in 2002, with liner notes by Peterson discple Oliver Jones, it seems to be legit and is in excellent sound. Right up there with Stratford and the Concertgebouw. Not quite like Cziffra I think, who had a fabulous swashbuckling technique but also was known for taking notable liberties with the text.
  2. Oscar Peterson, Short List

    But OP is in good form as an accompanist on those albums.
  3. Oscar Peterson, Short List

    Yes, it varied. But when OP's comping was bad IMO, it was inexplicably so along the lines I mentioned -- clottled, insensitive. Wish I could recall what musician said this, but I remember one worthwhile musician complaining as well that OP played the "wrong" changes, meaning (or so I understood this remark) that at times OP delved into his chunk-a-chunk bluesiness when the piece at hand was not a blues or even that blues-tinged.
  4. Oscar Peterson, Short List

    The '50s Basie tribute album with Buddy Rich is nice -- has a very "in there" feel. Stratford and Concertgebouw of course for that trio. I will dissent for the most part on OP as an accompanist for the likes of Ben Webster, Coleman Hawkins, and other major figures of that vintage. His comping for them IMO tends to be quite airless and clotted -- compare, for example, his comping on Harry Edison's "Gee Baby Ain't I Good To You" with that of Jimmy Rowles on "Sweets," with essentially the same band. An odd example is the "Getz and J.J. Johnson at the Opera House" recordings from 1957 -- half in mono from one concert (supposedly from L.A.), half in stereo from another (supposedly from Chicago -- in fact, I think the locations of the two concerts may be the other way around, not that it matters). In any case, OP and the rest of the rhythm section ( H. Ellis, R. Brown, and Connie Kay) are terrific on the mono tracks, as are Getz and J.J., while OP is quite discombobulated/insensitive on the stereo tracks, which has a negative effect on Getz especially -- this divergence on performances separated by just a week. My guess is that on the stereo tracks the members of the group were placed too far apart on the stage for them to hear each other or the horn soloists adequately, but the difference between OP's comping on these two concerts still seems weird to me.
  5. What are you listening to right now?

    I'd pay YOU to remix them.
  6. What are you listening to right now?

    Ah, yes -- "Poor Dr. Millmoss." Ah, yes -- "Poor Dr. Millmoss." Love that crazy/surreal album. Wonder if any group of players today could play those charts they way these guys did. It's not just a matter of notes but of sensibility.
  7. What are you listening to right now?

    I like Carroll of the RCA era, bought a multi-disc compilation of those albums a few years back. Not a major player, but she had her own distinctive/distinctive boppish thing, with touches of Tristano at times. When she came back in recent decades as more of a cabaret-artist, not so much if at all.
  8. What are you listening to right now?

    Lund can get a wee bit same-y (maybe too much focus on one narrow slice of the treble register at times), but he's got some darn good new ideas -- especially harmonically.
  9. What are you listening to right now?

    Not in the class with the Costa, but another old favorite from the Dot catalogue, an album I no longer have and haven't heard for years. It's essentially the late-'50s Ted Heath band in an unfettered setting. I recall being impressed by trumpeters Bobby Pratt, Eddie Blair, Jimmy Deuchar, and Tommy McQuater, tenormen Duncan Lamont and Tommy Whittle, baritone saxophonist Ronnie Ross, and trombonist George Chisholm. Johnny Keating's warm, neo-Basie charts were plus.
  10. Is WAR (baseball) utter nonsense?

    If the play on the field is all that matters to you, I assume it also matters to you whether the team you favor plays well, wins a lot more than it loses. Well, all this WAR stuff, right or wrong, is merely an attempt on the part of those who fill the rosters to assemble a team that has a better chance of winning, one that makes more good plays on the field than would have been made otherwise.
  11. What Classical Music Are You Listening To?

    Frank Martin -- Der Strum
  12. What Classical Music Are You Listening To?

    VAGN HOLMBOE, SYM. NO. 8 A hard composer for me to get a grip on, nor can I quite get a grip on why he's a hard composer for me to get a grip on. In this work, in particular, there's an insistent, even hectoring quality in his taste for fierce, urgent massed brass and percussion that isn't that often (for me) backed up by a sense that fierce urgent things are being said. OTOH, his penchant for what he calls "metamorphic" structuring calls for a certain sort or level of close listening, typically amid much busyness, that often repays the effort, though finally one can wonder where all these steely shifting strands/all this "journeying" finally take you. By contrast, I have no such doubts about the music of Holmboe's less known fellow Dane, a contemporary and colleague, Herman Koppel, whose works I've recently discovered.
  13. Perhaps amusing email

    from a friend (names suppressed in the name of privacy): My onetime roommate, a fine reed player/arranger with numerous major-league credentials, decided 30 years ago to become a lawyer. So he went to law school, passed the bar exam, and worked for a law firm for years. All the while keeping his hand in as a musician. Last year, his firm closed its doors, and he elected to return to full-time playing and arranging. With no little irony, I observed to him that it was a good thing that he had music to fall back on.
  14. The Lunceford was a revelation to me.
  15. What are you listening to right now?

    BTW, am I the only one who finds it off-putting when players "make rhythmic points by abrupt accenting and "attacks" (i.e. by emphasizing, as in "pecking at," the beginnings of individual notes) rather than by building larger rhythmic designs"-- especially when the "attacks" come wrapped in "heated," hoarse, or growly timbres that sound like they're externally applied, not organic. I should add that it's not overt "heat" that I don't like, just its application like makeup. For some genuine heat, see below: