Larry Kart

Glad that they let Roscoe speak for himself. A heck of a lot more information and context in what he said than there would have been in almost any "profile."

Tovey not only wrote about music but he also was a composer. This piano trio and solo violin sonata are fascinating -- the former like a lost work by Brahms, the latter unique. Performances are excellent. Haven't listened to the piano quartet yet:

Great to hear Jeb again, back in town from Boston for a visit. Mars was strong. Phillips, the leader, new to me, reminded me some of Joe Morris. There may be louder drummers than Hamid Drake, but probably no one hits a drum harder -- if that distinction makes sense. Hamid and Jeb were really locked in.

9:00PM at the Hungry Brain, 2319 W Belmont Chicago Edge Ensemble : Hamid Drake, Jeb Bishop, Mars Williams, Dan Phillips, Krzysztof Pabian

"Brittle"? Never had that thought about Tete. I'll listen again. BTW, on some tracks of this album, he swings with a propulsiveness that brings Wynton Kelly to mind.

Some damn fine Tete:

I'll have to listen again to "Sings, Sobs," but I'll be surprised if "Circle Waltz" doesn't remain in first place.

Maybe the most modal piano trio album ever, but none the worse for that. Friedman was a special soul.

I wouldn't have listened to them either, but IIRC Nic Hodges was pointing in their direction, and I thought that was worth following up.

Except for his vintage (1959?) concerti disc with Kletzki, I don't care for his Chopin or most anything else he's done, but oddly enough (oddly so even to me), I recall liking his late Schubert sonatas.

I like this version of Parker's "Cheryl" by Adam Rogers. https://www.youtube.com/watch?v=PIdXr_Yxvt Rogers' version of "Dexterity" is also nice:

No -- it sounds like a shortcut to what Thalia probably liked to do best. BTW, are you as struck as I am by how different Osie Johnson sounds here than he does on all those RCA studio dates he did in those years?

No doubt "Jack the Bear" was still fresh as a daisy in Pettiford's mind. Further, Jerome Richardson's tenor solo would have left Thalia Menninger flat on her back with her legs up in the air.

Sure sounds like Gryce to me on the theme statement of "You'd be So Nice To Come Home To." Otherwise, compare the solos on the two side-one versions of "Nica's Tempo." On the former, it not only sounds like Gryce, porcelain-toned, albeit more fluid at times that one is used to from him (which seems to me to be the case throughout), but the announcer also names Gryce as a soloist. On the latter, it's clearly Quill -- that characteristic hoarseness of timbre, for one.