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. What vinyl are you spinning right now?? are the best I know.
  2. Roscoe Mitchell - Littlefield Concert Hall

    They have to be orchestrations for at least two reasons -- the improvisations they were orchestrated from were the work of a piano/drums/reeds trio, not the album's largish ensembles; and if this album is at all similar to "Ride the Wind," the orchestral pieces are a good deal longer than the trio pieces from which they were orchestrated. How that orchestration process worked, I have no clue, although the results are stunning.
  3. Michael Brecker In Late-1960s Bloomington, Indiana

    And Mike's combo bandmate at Bloomington was Randy Sandke. Mike appears on Randy's excellent first album.
  4. Return Of The Film Corner Thread

    Don't miss Powell and Pressburger's magical "I Know Where I'm Going" (1945), with Wendy Hiller.
  5. Roscoe Mitchell - Littlefield Concert Hall

    I'll go for the Littlefield.
  6. Return Of The Film Corner Thread

    LOVE that movie. Was fortunate enough to see it in the age of innocence, before I knew that movies were "art." It plucked my little heartstrings and still does every time.
  7. Roscoe Mitchell - Littlefield Concert Hall

    I was stunned and delighted by "Ride the Wind" but found "Discussions"(with Mills College personnel by and large) to be worthwhile but somewhat less successful; I assumed that was because most of the orchestrations on "Ride the Wind" were done by Roscoe while all the the orchestrations on "Discussions" were done by others. Who did the orchestrations for the Littlefield Concert Hall album?
  8. Now reading...

    I'm a big fan of Furst -- the early books up through "The Polish Officer" more than the ones set in France, as entertaining as those books are -- but no, I don't think that he captures the reality of the Vichy regime and the Occupation that well. For one thing IIRC his later books are mostly Paris-centric, and the social-political realities of Vichy France and the Occupation -- in terms of what the French did and did not do, how they adjusted to, accommodated to, etc. the Vichy regime and the Germans -- IIRC are just not his focus. From the jacket blurb for Gildea's book: "In France, the German occupation is called simply the 'dark years.' It is remembered as a time of hunger, fear, cold, and the absence of freedom, when the French population was cruelly and consistently oppressed by the enemy. There were only the 'good French' who resisted and the bad French' who collaborated. Marianne in Chains ... uncovers a very different story, one in which the truth is more complex and humane. "...Gildea reveal everyday life in the heart of France. He describes the pressing imperatives of work, food, transportation, and family obligations that led to unavoidable compromise and negotiation with the army of occupation. In the process, he sheds light on such subjects as forced labor, the role of the Catholic Church, the 'horizontal collaboration' between French women and German soldiers, and most surprising, the ambivalent attitude of ordinary people toward the Resistance, which was often dismissed as a bunch of bandits who were militarily irrelevant." Further, and strikingly IMO, Gildea delves into the intense post-war French myth-making about who did what during the time of Vichy and the occupation and why. "[After June 1944] the gospel of Resistance and Liberation was already overlaying the complexities of the Occupation, and it would be a long time before [one might say, if ever -- even to this day] all the truths were out."
  9. Now reading...

    An enlightening, highly detailed book is Robert Gildea's "Marianne in Chains: Daily Life in the Heart of France During the German Occupation" (Metropolitan Books, 2003).
  10. Now reading...

    "As far as I can see the Vichy govt. was a pure puppet of Germany and had zero credibility or independent decision making power." Tainted as it was by links to Nazi Germany, that government was in tune with deep strains in French society, ones that still vigorously exist.
  11. Branford slams Miles

    I like some Garrett -- IIRC "Songbook." Other more recent Garrett (don't recall the titles) I found kind of semi-simplistic, even pop-ish.
  12. Branford slams Miles

    I'm quite familiar with the music of both Wynton and Branford. Your characterization of Wynton's music is accurate as far as it goes -- I would say in a straightjacket rather than "straight ahead" -- but while Branford's music is freer/looser in style than Wynton's, by contrast with a whole lot of other jazz artists of recent times, Branford seems to me to be very concerned with coloring between the lines, even if he draws the lines in different places than Wynton does. His comments on Miles not following the musical "rules" as Branford understands them are an example of this, no? I'll add that Branford might be right about Miles's relation to the beat on the piece he cites in that DB interview, but in the context of Miles' relation to the music of that group and Miles' relation to the music in general -- give me a break.
  13. Branford slams Miles

    Any citation for the Marsalis/Carter/Drummond story?
  14. Caught this Baltimore-based band, Heart of the Ghost, last night at Constellation in Chicago. I knew Gilgore, in his mid 20s, from several years ago with Jamie Branch. Impressive then, he's grown by leaps and bounds, and this band is superb. Gilgore, while he's his own man, might be described as a cross between Jimmy Lyons and Ayler (he's that powerful); Stewart is a rock solid, very deep-toned bassist, and McColm is on everything. A set of three parts, about 30 minutes each, lots of variety of mood -- intensity almost beyond belief and a consistent air of joy and freshness. As John Litweiler once said, I haven't been so much fun since the pigs ate my little brother. BTW, I wouldn't, as the writer below does, call Gilgore "skronked-out." There's an underlying, even over-riding, purity to his sound even when things get fragmented and "talky." Jarrett Gilgore - alto saxophone Luke Stewart - bass Ian McColm - percussion “For the past two years, few improvisation units have been as omnipresent in the D.C. area as Heart of the Ghost. For good reason: The trio of alto saxophonist Jarrett Gilgore, bassist Luke Stewart, and percussionist Ian McColm is something of a trinity of the finest free jazz improvisers in the region. If you’ve seen Heart of the Ghost in concert, then you know—Gilgore, Stewart, and McColm’s performances feel like a kind of séance, with the trio locked into a musical conversation with one another. Though Gilgore’s skronked-out sax wailings anchor the tracks, no one part is greater than the sum of the whole. McColm’s inventive percussion techniques feel like a rhythm from another world, and Stewart—easily one of the most prolific and talented bassists in the region, if not the entire country—takes his instrument to new dimensions.” —Matt Cohen/Washington Citypaper “…But free music is about right now, wherever you are at, anyplace that the right players get together and play. If you have a chance to hear Washington, D.C. trio Heart of the Ghost, rest assured that you’ve found another portal into the creative vortex that spontaneously lifts hearts, minds and bands off the stand. Their freewheeling improvisations tap into the same defiant spirit decanted by Mingus and the Minutemen, which is to say that the freedom is in the playing, but it’s also a conscious reaction to the ways in which people are not free. You can hear protest in alto saxophonist Jarrett Gilgore’s brays and peppery interjections. You can hear mourning and defiant creation in bassist Luke Stewart’s continually shifting frameworks of woody-toned dark motion. And you can hear the moment-to-moment dance necessary to keep it moving or just keep standing in drummer Ian McColm’s shifting tonal surfaces and rhythmic cascades.” —Bill Meyer/Dusted