Larry Kart

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About Larry Kart

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  • Location Highland Park, Il.

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  1. So, What Are You Listening To NOW?

    In the "Viva Prado" clip that was Art Pepper, right? And who was the tenor player?
  2. Don't know if I've told this story before, but when I was Down Beat's assistant editor in 1969 and Dan Morgenstern was the editor, with both of us having votes in the DB Hall of Fame critics poll version, we discovered that Pee Wee Russell, who had died that year, and Jack Teagarden, who had died in 1964, were just a few votes apart when all votes except our own (yet to be cast) votes had been tallied. At that time, maybe still today, each critic had three votes in each category of the poll, and the votes were weighted in some way, depending on whether one had assigned a musician to first, second, or third place on one's ballot. Don't know which of us came up with the idea, but it occurred to one of us that because the vote totals for Pee Wee and Teagarden were so close, because neither man might not make to the top for a good while (Pee Wee 's vote total having risen a good deal that year in large part because of his recent death), and finally because Pee Wee and Teagarden were such a natural pair to enter the HOP together, we decided to adjust our votes so that Pee Wee and Teagarden would tie for the HOF that year and enter together.
  3. Roscoe Mitchell, composer, soprano; Denny Zeitlin, pianist; Mary Halvorsen, guitarist; Wadada Leo Smith, trumpet; Jeb Bishop, trombone, were among my choices.
  4. Friday night at the Philadelphia Museum of Art caught the best jazz singer I've heard in some time, Washington, D.C.-based Christie Dashiell, daughter of a veteran bassist who heads a college jazz program in N. Carolina. Her trio is excellent. Her older brother on drums has some Vernell Fournier in him, I thought, and pianist Allyn Johnson is excellent.
  5. New server and increased cost...

    Donation sent.
  6. Wild Bill Davison

    If you don’t know this album already, you’re in for a treat. Wild Bill, Kenny Davern, pianist Charlie Queener and Geroge Wettling (no bassist) recorded in 1968 in a club in Columbus, Ohio. All in fine form, but Davison and Wettling are out of sight; it was Wettling's trio (and probably his final recording; he died in '68); Wild Bill sat in and recorded it all himself on his own tape machine — good sound too. .
  7. Charlie Rouse redux The above performances aren't the worst thing in the world, by any stretch, nor are they this, by any stretch:
  8. Charlie Rouse redux

    Am about to leave town first thing tomorrow morning for almost a week, so no can do. But I can't imagine that examples of what I spoke of would be hard to find; rather, they were the norm. Typically, Rouse would play the head and then modestly decorate/modify the piece's given melodic/rhythmic/harmonic material (its skeleton, so to speak) until his solo had run its course. This approach was different from Rouse's approach (a good deal of the time) when he was away from Monk, and it was different as well from the approach of other soloists who played successfully with Monk -- e.g. Rollins, Lacy, Coltrane, Lucky Thompson, Milt Jackson, Thad Jones, Clark Terry, Ernie Henry, who am I forgetting? P.S. I'm a great admirer of Johnny Griffin but don't find his work with Monk to be that successful by and large. His sound and rhythmic approach were a good fit for Monk, but his more or less decorative hyper exuberance didn't really add anything essential to the mix IMO, though the results were ... well, good clean fun might be a way to put it. In any case, to play effectively with Monk, one needs to engage with his music on a structural level, not a decorative one.
  9. Charlie Rouse redux

    Another thought about why Monk welcomed (or what you will) Rouse. In addition to taking up lots of solo space -- space that Monk himself typically was unable or unwilling to fill (indeed Monk seldom took lengthy solos ever) -- Rouse more or less played the skeleton of Monk's music back at him rather than presenting him with a reading of the material that might have been challenging by our lights but too divergent and/or independent and thus too challenging to the state where Monk was -- mentally and musically -- at that period in his life. Perhaps Monk needed support, and Rouse provided it.
  10. So, What Are You Listening To NOW?

    The AFRS airchecks from Billy Berg's are beyond belief -- not only for Bird but also for Dizzy and Al Haig.
  11. Charlie Rouse redux

    Pete Brown was said to have based his style on that of trumpeters.
  12. Charlie Rouse redux

    As fate would have it, I ordered the above set after starting this thread and am enjoying it right now. Watkins is in fine form, Rouse, at least on the early tracks (from 1956), is not as warm and linear as he is on "Yeah!" (1960) -- his rather abrupt way of phrasing is quite distinctive at this point, it's kind of like he's running on tip-toe -- and he and Watkins blend handsomely on the varied, inventive charts. There's a certain delicacy to the group, akin to the sound of the contemporaneous Chico Hamilton Quintet. And the late Gildo Mahones contributes a number of sparkling solos. BTW Rouse's phrasing circa 1956 led me to wonder whether he ever played alto and, if so, dug Pete Brown.