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. Paul McKee and others

    Picked up a 2006 big band album led by bassist Jim Widner, "Our of This World" (Widner is the longtime head of the jazz department at the U. of Missouri-St. Louis) because I saw that trombonist/forum member Paul McKee was among the soloists and arrangers, and so far I'm delighted. Paul's arrangements of the title track and "Alone Together," and his solo work on the former, are excellent and quite distinctive -- the writing is long-lined melodic, relaxed, and soloistic, not "shout chorus"-oriented, and his solo on "Out of This World" is handsomely integrated with the chart. Jim Sangrey might like to know that one of the tenor soloists on three tracks is his old partner in Quartet Out, Pete Gallio. Band seems to be a blend of guys from the West Coast (trumpeters Mike Vax and Clay Jenkins [excellent on "Alone Together"], drummer Gary Hobbs, altoist Kim Richmond, trombonist Scott Whitfield), the Midwest (Widner, pianist Chip Stephens, tenorman Chip McNeill) and the East Coast (altoist Dave Pietro, trumpeter Dave Scott). Album was handsomely recorded in Springfield, Mo., "Gateway to the Ozarks," of all places -- a city I know fairly well because my late wife's in-laws lived there and my brother-in-law does today.
  2. BFT 151 (October 2016) - Discussion Thread

    I was able to order Goldstein's recording of Feldman's "Triadic Memories" yesterday from here:
  3. BFT 151 (October 2016) - Discussion Thread

    Goldstein’s spoken intro to “Sonatas and Interludes” (he’s — charmingly IMO —very 1982 here): And his performance in 2015 of another Cage prepared piano”piece, "Daughters of the Lonesome Isle": Goldstein's Cage (Sonatas") and Feldman recordings ("Triadic Memories" and "For Bunita Marcus") seem to be o.o.p. and were never widely available, but they may be obtainable directly from him:
  4. BFT 151 (October 2016) - Discussion Thread

    Louis Goldstein's performance on You Tube: Goldstein's performance of Feldman's "Triadic Memories":
  5. BFT 151 (October 2016) - Discussion Thread

    Another fine recording of “Sonatas and Interludes” (with some comments on the work):
  6. BFT 151 (October 2016) - Discussion Thread

    Maro's violinist sister Anahid Ajemian was the wife of George Avakian.
  7. Bob Dylan corner

    When you think about it -- and this has been the case with more than a few prizes over the years (I can cite some examples, though it might or might not be a first for the Nobel) -- Dylan more or less gave TO the Nobel the pre-existing "prize" of himself. That is, the Nobel people decided that it was in need of the cachet of someone such as Dylan.
  8. Bob Dylan corner

    I wasn't involved or particularly interested in that part of the discussion.
  9. Bob Dylan corner

    My point is simply that the accentuation Lennon chose for that phrase was not "any damn kind of an accentuation" but was meant to stick out/be (again, I hate this term) anthemic. That is, its rather lunging divergence from speech-like accentuation in general, whether or not that actual phrase would/could ever be spoken in any setting, is part and parcel of why it is what it is. No problem with that, but I think it is and aims to be unorthodox in effect. If it were not, I don't think the song would be the song it is.
  10. Bob Dylan corner

    'Larry, your premise seems to be linked to the notion that the words "strawberry fields forever" would be spoken in that order, together as a phrase, as a part of "normal speech", and...huh? Where does that happen?" Not exactly, but if one can imagine some sort of normal speech setup in which that phrase would occur -- e.g. "What sort of strange-looking reddish landscape is that?" "Strawberry fields forever." -- then the accents probably would not fall like this: "STRAW-berry "FI-elds for EV-er." I pretty much agree with "Point being just that 3 over 4 is a standard emphatic gambit," but I would excise "just" and perhaps "standard." The point that Lennon makes/is out to make with this gambit in this song is not only emphatic but also (and I swore I'd never use this term) anthemic. The phrase is meant to be something like a flashing (somewhat psychedelic?) neon sign. "Toto," it more or less says, "were not in Kansas anymore." Which is just fine -- that's the way the song needs to/has to be. Spector sure, but to me it seems to be a fair bit more unorthodox than Smokey's line.
  11. with this evocatively titled Eddie Sauter piece: here by Billy Butterfield’s Orch. from 1946? Just picked up a Hep CD by Butterfield’s orchestra and so far am very impressed by the band as whole (excellent reed section), by much of the writing, and by Billy too, of course.
  12. Bob Dylan corner

    The accents in that line from "Tracks of My Tears" are certainly more dramatic/drawn out than they would be in normal speech -- all to marvelous effect -- but I don't hear them falling in PLACES other than where they would in normal speech, as was the case in the songs/recordings I mentioned. Actually that line in "Tracks of My Tears" reminds me a bit of "There'll be no one unless that someone is you/I intend to be independently blue" from "Love Me or Leave Me." Or "I've got a house, a showplace/Still I can't get no place with you" from "I Can't Get Started." In both those cases, the framework is that of normal speech, but the lyric makes room for some doubling back rhythmic/sound-alike byplay: ""intend to be/independently"; "showplace"/"no place" within the overall rhythm scheme -- a la "my makeup"/"my break up." IMO, the genius of "Tears" is the placement of the words "I wear since."
  13. Revisiting (more or less) jazz c. 1995-2016

    My Bostic experience is somewhat limited -- I know the Bostic hits that almost everyone knows because they were so much in the air for many years, but the only Bostic album I have is "The Complete Quintet Recordings" with Groove Holmes, Joe Pass, et al., which I like a lot, though I probably couldn't handle it as a steady diet. My remark was a way of saying that in the face of Carter's IMO garish freak show one might need/want to hear player like Bostic, who genuinely, as you say, has "the impact of being run over by a concrete mixer."
  14. Bob Dylan corner

    I didn't say that speech-like word setting (which that line from "Tracks of My Tears" is a lovely example of) disappeared from pop music after the "Standards" era began to wither away/dry up/what have you, just that non- or less speech-like word setting became more common because a lot of pop music had other fish to fry.