Larry Kart

You guys can start up this thread again, but NO political content allowed!

No. 1 is the Noble Sissle band (he and Eubie Blake are the song's co-composers) with lovely Bechet on clarinet. I guessed right off that it was from 1932 or so because of the time feel, but it's 1937. None of the rest have rung a bell so far, but I'll try again. Agree that there's something Monkish about #2, albeit in a kind of pop-jazz vein. Clare Fischer? Drums sound rather clunky there. I know who the singer on #5 is but just can't bring her name to mind.

Oistrakh K. 364

Yes Lou Donaldson Quartet Lou Donaldson (alto sax) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) WOR Studios, NYC, June 20, 1952 BN440-0 tk.1 Roccus (alternate take) Blue Note CDP 7 81537 2 BN440-1 tk.2 Roccus Blue Note 1598, BLP 5021, BLP 1537 BN442-2 tk.7 Cheek To Cheek (alternate take) Blue Note CDP 7 81537 2 BN443-0 tk.8 Lou's Blues (alternate take) - BN443-1 tk.9 Lou's Blues Blue Note 1599, BLP 5021, BLP 1537 BN442-4 tk.11 Cheek To Cheek Blue Note 1598, BLP 5021, BLP 1537 BN441-2 tk.12 The Things We Did Last Summer Blue Note 1599, BLP 5021, (J) BNJ-61008/10 * Blue Note BLP 1537, CDP 7 81537 2 Lou Donaldson Quartet/Quintet/Sextet* Blue Note (J) BNJ-61008/10 Various Artists - The Other Side Of Blue Note 1500 Series* Blue Note BLP 5021 Lou Donaldson - New Faces-New Sounds* Blue Note 1598 Lou Donaldson - Roccus / Cheek To Cheek* Blue Note 1599 Lou Donaldson - The Things We Did Last Summer / Lou's Blues Lou Donaldson Quintet Blue Mitchell (trumpet -2/4) Lou Donaldson (alto sax) Horace Silver (piano) Percy Heath (bass) Art Blakey (drums) WOR Studios, NYC, November 19, 1952 1. BN457-0 tk.1 Sweet Juice Blue Note 1609, BLP 5021, BLP 1537 2. BN459-1 tk.8 Down Home Blue Note 1610, BLP 5021, BLP 1537 3. BN460-1 tk.10 The Best Things In Life Are Free Blue Note 1609, BLP 5021, BLP 1537 4. BN458-5 tk.12 If I Love Again Blue Note 1610, BLP 5021, BLP 1537 * Blue Note BLP 1537, CDP 7 81537 2 Lou Donaldson Quartet/Quintet/Sextet* Blue Note BLP 5021 Lou Donaldson - New Faces-New Sounds* Blue Note 1609 Lou Donaldson - Sweet Juice / The Best Things In Life Are Free* Blue Note 1610 Lou Donaldson - If I Love Again / Down Home

More than few stories, too: Wikipedia: After the Eckstine band broke up, Blakey states that he traveled to Africa for a time: "In 1947, after the Eckstine band broke up, we took a trip to Africa. I was supposed to stay there three months and I stayed two years because I wanted to live among the people and find out just how they lived and—about the drums especially.”[ From another later interview: HH: Is it true that you lived in West Africa for a time? AB: No. I was only there for a short visit. I didn’t go there to play music, but to study religion. Oh sure, a lot of people said I went to Africa to play drums. African drums have nothing to do with what we do. Africans have nothing to do with us because they’re black and we’re black. We are Americans like everyone else, far removed from Africa.

Thanks, Peter.

BTW, by aggressiveness i didn't mean sheer or mere volume level but a tendency to interject more or less competing/stimulating rhythmic designs into and across those that the soloists were stating/proposing. From that point of view, Higgins for one would be more aggressive than Cobb usually was IMO. Bobby Jaspar on Elvin and Philly Joe: http://mosaicrecords.tumblr.com/post/46668849762/elvin-jones-philly-joe-jones-by-bobby-jaspar

Like Blakey, once Max was a bandleader he made few sideman appearances on any label. Blakey's last sideman appearance on BN was IIRC on Lee Morgan's "Lee-Way" (1960). Max's, again IIRC, was on Thad Jones' "Detroit -New York Junction" from 1957, unless you count his appearance with Ellington and Mingus on "Money Jungle." Max is on Tommy Turrentine's Time album, but that was Max's band of the time, under Tommy's name. Also, there was Sonny Clark's Time trio LP. Blakey is the ostensible leader on "A Jazz Message" (Impulse) from 1964, but that's more or less a Sonny Stitt quartet date. No doubt others fill will fill in the blanks, if they exist. P.S. Time was a Bob Shad label, which might account for Max's appearance there, since Max had been with EmArcy. FWIW, I just found out recently that Shad was writer-director-comedian Judd Apatow's maternal grandfather: http://blog.superflyrecords.com/storyboard/judd-apatow-bob-shad-was-a-true-innovator/

Did/does anyone here fail to understand that "more cojones" as I used it above referred to my opinion of Cobb's forcefulness/aggressiveness as a drummer versus the forcefulness/aggressiveness of other drummers that Lion used a good deal, that there was no intent on my part (how could there have been?) to cast aspersions on Cobb's manliness or whatever? If anyone was or is still offended, I apologize.

Sorry, I must have been thinking of Mickey Roker's recent death. As for saying it to Cobb's face, while that is my opinion and I'll stick by it -- do you honestly think that Cobb was as forceful a player as such Lion favorites as Philly Joe, Blakey, Higgins? -- what would be the point of that? Again, BTW, the issue was not Cobb's abilities as a drummer per se but why Lion might have preferred other drummers.

Good point. Also, though I like Cobb by and large, I think that Alfred liked drummers who had more cojones than Cobb did.

Thanks for the tip.

See below: Found asleep at the wheel, car not moving but motor and lights on. He blew 00.0 on the breathalyzer test but failed the field sobriety test. It almost certainly was drugs, prescribed or not. Not sure what 3 a.m. means. If that's when you're found whacked out, you still can be whacked out on pain medication, not alcohol. Should you not be in a car at 3 a.m. with pain medication in your system? Absolutely. http://www.cbssports.com/golf/news/police-report-reveals-tiger-woods-was-asleep-at-the-wheel-confused-unable-to-walk/

It's not a major work of his, but Stravinsky may never have made a better recording than this "Jeu de Cartes" with the Cleveland Orchestra:

Seems like it was prescription drugs, probably doled out to help him cope with the effects of his recent back surgery. Still, if you're whacked out on pain killers, getting behind the wheel is a bad idea. I believe he was found in the car literally asleep at the wheel; one hopes the car wasn't moving.

I'm no expert, but "Elis and Tom" is pretty special IMO.

All I'm saying is that until I hear or read testimony from Cuscuna to the contrary, I'll think that the label's name was not primarily a tribute to that Blakey album but rather a reference to the goal of assembling a mosaic of recorded jazz. BTW, I should mention that my shrink tells me that one of my most annoying flaws as human being is the need to have the last word.

When it comes to some of the late symphonies, I prefer Britten (snap up the set depicted below if you can) and Klemperer, but Bohm works for me overall and isn't far behind in any. I'm not an anti HIP person per se but have yet to hear any symphonic HIP Mozart that wasn't caught up in getting the instrumental timbres right (or "right" and/or 'authentic") to the neglect of other no less, or more, important musical matters. Also, when when we get to Mozart I'm no longer sure that, with some exceptions (e.g. the basset clarinet in the clarinet concerto, natural horn in the horn concerti perhaps), timbral authenticity is as big a deal as it arguably is in, say, Vivaldi.

Well, the co-founder of Blue Note Records did write "The Protocols of the Elders of Lion."

The Australian label Swaggie. Like the sound of it and have a number of pleasant associations with their recordings, particularly those of the great Dave Dallwitz and his associates.

Maybe so. But wasn't the title of the album "Mosaic" almost certainly meant to refer to "a collection of images"? If the label was named after the album, I'm sure that, as is the case with "True Blue" (the album), a play on words was intended -- i.e. the mail order shop was a place where one could buy true (i.e. genuine) jazz merchandise, while the tune that gave its title to the album was full of true (i.e. genuine) blues feeling. Dial always had a nice ring to me. Also like the way Nessa just lays it cards on the table.

It's Mosaic as in "a collection of images that form a larger pattern or design." Why you would think that it's Mosaic as in Jewish (Moses) is beyond me.

Gryce arranged 15 tracks; however, quite a few are different takes from different nights of the same pieces -- e.g. four takes of "Nica's Tempo," four of "Smoke Signal." I haven't found this to be annoyingly repetitous, others may disagree.

This Aebersold label Jimmy Raney play along album has some excellent Raney -- not tame at all: http://www.musicarts.com/Jamey-Aebersold-Play-Duets-with-Jimmy-Raney-Play-Along-Book-and-CD-MAIN0066745-i4695488.mac

I think you might have been better off with this one: https://www.discogs.com/Don-Abney-Jimmy-Raney-Oscar-Pettiford-Kenny-Clarke-Jazz-Rhythm-Records-Music-Minus-One-Alto-Sax-Vol-/release/9479287 Or the one below that -- with Hank Jones, Chuck Wayne, George Duvivier, and Charlie Persip.