Larry Kart

Thanks

Where can this be found?

I meant the later one with Geo Daly,

A good one

Surpriingly (given my expectations) good.

On of the things about Lafitte that I find unique and attractive is that on ballads he begins improvising during the theme statement and never stops. It's not that he gets all "swingy" right from the start; rather it's that he almost immediately creates new ballad-like lines that are continuous in mood and shape with those of the tune he's playing. This is especially evident on his superb version of "Blue and Sentimental."

Fiunny thing about that book. I was among. the last people to have contact with Hawkins before he died -- I put him on the plane that took him back to NYC after his appearance in Chicago for that that WTTW broadcast the previous day with Roy Eldridge; and there was some contretemps at the gate about them letting him on the plane and taking him to his first class seat. I rather angrily settled that, after which Hawkins gave me a sign of thanks. But Chilton changed what I said about this episode when he interviewed me into genteel Britishisms. For instance "I'm normally diffident in the face of officialdom." I never would have said that and didn't.

The obvious secret of Rouse's long and often tedious solos with Monk is that they relieved Monk of the responsibility of filling up all that space himself.

Thanks Chuck and Jim. Some of those albums are rather pricey, over $30, but I took the plunge. Beautiful to discover a player like that. BTW, I already have the Bill Coleman/Lafitte at Montreux album. Hey, how about a Guy Lafitte Mosaic? 🙂

Any recommendations for this excellent French tenorman (1927-1998)? I ask because I like very much what little I've heard of him but suspect/hope that there's a Lafitte motherlode somewhere -- a single album or a collection of his best work. He's a bigtoned very swinging player out of Hawkins/Webster with very personal habits of accentuation, somewhat like LockJaws' or even those of semi-forgotten altoist Pete Brown.

I'm in the "ungeneral" audience category by and large and am not ashamed of it, if only because I respond to many topnotch recordings that are or seem to be in the general audience category. Life is like that.

I've been a Griffin fan from the first but don't particularly cherish his work with Monk. Seems to me that he often got wound up filling all the space afforded to him with virtuoso licks. Of all the saxophonists who played with Monk, I think one of the best was Lucky Thompson, though there's not a whole lot evidence of that pairing. Rollins too, of course.

Have that one and it was among the things that led me to the Fresh Sound album. Noto is in great form on both, though on. the Carmelo's album Andy Simpkins' bass is also too prominent IMO. Noto intrigues me. He came out of Clifford and Dizzy I think, but he's got his own thing -- as I said in a previous post, for a player that hot he's very thoughtful -- his lines really make sense and at times will become meditative in the midst of fiery flurries. A plus for Carmello's is Strazzeri -- a great comper and interesting soloist.

Based on my somewhat partial experience of Latin percussion supporting and/or interweaving with a jazz soloist, if it had been, say, Ray Baretto and friends, everyone would have been happy, including me. What fooled me initially was the album title, a great Dameron tune, I went right to the track and thought "meh" -- what's with all this seemingly non-functional tuned percussion "interference?" so to speak.

The producer or Milton Cardona himself; and then there's Ronnie too. Also, maybe, whoever mixed the date. But then Hutch Fan (above) likes it. De gustibus