Larry Kart

If they're playable, I'd hold out high hopes for the Tatrai Bartok. The Berg disc almost certainly not. The Concord Quartet's Ives String Quartets are unsurpassed, I believe. The Horenstein/Schoenberg is a gem, though it's not the only Chamber Sym, No. 1 you should have (it's full of beans and insight but on the s-l-o-w side); the pianist in the Milhaud is a favorite in that repertoire; the Messiaen might be quite good, based on other things I've heard from those performers. Don't know the Amati ensemble; the Juilliard comes from a good time for them, if the cellist is still Claus Adam. That Horenstein Mahler 6 is a bit lacking in orchestral execution but certainly worth a listen. The DFD Mahler is before he began to over-emphasize things, IIRC. All in all, quite a haul.

Peter is still around at age 94, unless something bad happened recently.

The Hopkins band was special, had a "tippin' light" flavor all its own. Hope the Potts Porgy and Bess album is in decent shape. It's probably the best assemblage of mostly NY studio cats of that time, period (with judicious additions like Sweets, Charlie Shavers, Marky Markowitz, and Earl Swope) and Potts' writing is very fine. The Wild Bill is intriguing. New to me.

Also, one 1957 track with them from "The Sound of Jazz." On YouTube.

Good music, but my copy has nasty sound.

https://jazzprofiles.blogspot.com/2019/03/chet-baker-jazz-musician-interview-by.html?spref=fb&fbclid=IwAR3qEjSzMevBi1wA3MkKgkuF-DFPDct5dw7bttZckyaeTT7MCsaxtcXtzv0

Bought that when it came out. Loved Elvin on brushes there -- I think he was the first drummer who played brushes like that,

I used to feel that way but underwent a major change of heart several decades ago.

28 or so. Not sure about Rex Stewart.

Circumstances were that I was the new kid at Down Beat (assistant editor I think was the title -- there were only two of us, Dan Morgenstern and myself, in the editiorial dept.), and Dan and I went to the Plugged Nickel to hear Miles. DB had wanted to do an interview with Wayne for a while, but with no luck. Dan figured that maybe if the new kid (I was my mid-20s) approached him, that might do the trick, so after the first set I went up to Wayne and asked. He was polite but said that he just didn't have anything to say. Meanwhile, Miles, from the short side of the room spotted us, and knowing Dan, must have figured out who I was/what I was up to, because he said forcefully, in that raspy voice, "Don't tell him anything, Wayne!" My back was to Miles, so this startled the heck out of me. Seeing my face fall in dismay, Wayne said, "Come by the hotel tomorrow afternoon and we'll do it," or words to that effect. When I got there the next day, hauling a big reel-to-reel tape recorder with an external mike, I'm not sure if I even got to ask Wayne a question; my memory is that he just picked up the mike and began speaking the words we printed (see above). And because it was all Wayne and perfectly lucid as is, we ran it under his name and paid him the fee we would have paid a freelancer for an interview. Why did Wayne change his mind? Thinking about that later on, my first guess was that Wayne is something of a natural contrarian, so Miles' "Don't tell him anything" had the opposite effect. My other guess was that Wayne was getting rather tired of Miles' imperiousness in general. In fact, an accurate account of the various psychological currents running through that band might be worthy of a novel.

Dexter Gordon had a bit part in the movie.

https://en.wikipedia.org/wiki/Phil_Moore_(jazz_musician)

This somewhat different album I've liked since it first came out. Costa on vibes, and some of the best "New Directions in Jazz"-period Bill Evans there is.

The booklet notes to the set are in my book.

Good news, good coverage.