Larry Kart

Searched on Google under "what classical music organissimo." A link to a post appeared, but when I clicked on it I got "We could not locate the item you are trying to view," plus an error code.

I noticed that, too. Don't know why it happened, but if it was like the other vanishing thread episode from a while ago. it's gone for good. Better start a new one.

Got it. Precious stuff.

Five economists weigh in: http://www.theguardian.com/business/2016/jan/12/rbs-forecast-doom-global-economy-2016 One of them says this, which is why some of us have reacted the way we have to the cry of "Sell Everything!!!" “This is a scary warning from RBS but it doesn’t seem sensible to spook investors. As Keynes made clear, consumer and business confidence matters – he called them animal spirits. Volatility is high, but a great collapse doesn’t seem to be in the air. It doesn’t make sense to talk down markets as that can become self- fulfilling." (My italics)

So talk about it -- say something other than this RBS guy says the sky is falling.

A compliment from Donald Trump -- well that settles it.

Although the RBS warning seems to be genuine, in the sense that a RBS honcho said that, the site on which this "news" appears, Info Wars, is run by this conspiracy theorist: https://en.wikipedia.org/wiki/Alex_Jones_(radio_host)

Something like that. But then I have a low threshhold for women expressing anger; Dexter perhaps had a high one. And/or their relationship was that of Ferdinand the bull smelling the flowers under a cork tree and a matador with a sharp sword and a long schedule.

I once spent a late afternoon/early evening in a Chicago hotel suite with a relaxed and friendly Dexter and a Maxine who was slamming stuff around in the bedroom because she was very ticked off at him for some reason -- I think because she wanted him to be ready to go someplace else at a certain time, while he continued to talk to me about Hank Mobley, etc. in order, at least in part, to fend her off. Believe me, I wouldn't want to get crosswise with Little Red.

That would be both the late Corey Haim and Corey Feldman: http://hollywoodlife.com/2013/10/21/corey-feldman-sexual-abuse-childhood-star-new-book/

There are exceptions, which may apply in this case: http://www.bloombergview.com/articles/2016-01-04/bill-cosby-s-past-may-yet-be-heard-in-court http://www.huffingtonpost.com/kevin-sali/this-will-be-key-issue-in-the-bill-cosby-case_b_8899646.html http://www.newyorker.com/news/daily-comment/the-central-question-in-the-bill-cosby-criminal-case

Don't know why you'd feel that way. Hope it doesn't last, though.

Re-reading previous reactions to Laubrock, especially Allen Lowe's "..she is good, but lacks....passion...there is a lack of urgency in her playing which is strangely typical of a lot of what I hear these days," what I heard last night at once does and does not fit into that framework -- mostly does not, though. First, based on what I heard last night and what I heard from her before in-person (at the Chicago Jazz Festival a few years ago with a Mike Reed ensemble playing material based on Sun Ra sketches) it's mostly a matter of temperament, and one's temperament is pretty much who one is. Laubrock does lack most of the signs of overt expressionistic (if you will) passion, but she strikes me as quite urgent at best, especially on tenor, albeit urgent in an unusually clear and orderly manner. But I like clear and orderly if it's genuine, and her clear and orderly sure seems to be. Second, when she works in a duo with Rainey, the two of them (but I was unsure about this) seem to have some prior agreement, either fairly definite and/or seat-of-the-pants, about mood and material for each piece -- if so, this is not really or not quite as much "free" playing as most of us know it. Further -- and again I'm unsure about this -- I wouldn't be surprised if Laubrock at one point had fairly deep roots in changes-based hard bop; on several medium-up pieces with steady tempos that were just the other side of a "groove," it was as though I were hearing an abstracted version of Tubby Hayes or Sal Nistico in full flight (a definite sense of "shadow" changes being responded to), albeit (again) with few signs of expressionistic heat but with a good deal of urgent thought. Further (probably in my imagination) reference points along those lines -- Hans Koller in the attractive (to me) relative dryness of her tone on tenor and her calm motivic orderliness -- also, in much the same bag, Oliver Nelson. Second set brought some new possible information. Bass clarinetist Stein and Laubrock didn't go well together at first -- he's a significantly louder, shaggier, and much more (that word again) expressionistic player, and working in much the same register as Laubrock on tenor, he tended to cover her up. This she pretty much failed to respond to for a good while, but things changed for the better when she switched to soprano, where her basic liquid sound is quite lovely, though she stayed in the far upper register too much for my taste. Interesting, I thought, that it took so long for Laubrock and Stein to work things out/respond to each other (and in the event it was mostly, so it seemed to me, up to her to do the responding because Stein typically just does his own good thing; and she could have, I thought. just by shifting to the tenor's upper register, where she's played quite effectively in the first set). Made me wonder that perhaps she's not that responsive to the immediate context, except when it's she and Rainey in their duo, because one typically hears a good many good "free-ish" players sort out such group things quite swiftly. But then, as I said above, Laubrock may be, in terms of temperament and musical roots, just a different kind of player. And a very good one, I think.

Gotcha. Thanks.

Re: "Consent and enforcement tend to be equally difficult to establish." I think I understand" "consent" in this sentence but not "enforcement." Enforcement of what and by whom? And how would whatever "enforcement" means here be "established"? Maybe I'm just a bit thick-headed on New Year's Day, but...

About Cosby "probably did feel justified in his actions," how does one feel justified about (all this admitted by Cosby in the civil suit deposition, if it turns out to be admissable) acquiring Quaaludes and then giving them to women in order to render them semi-unconscious so they could not effectively resist his having sex with them? His only defense, I would assume, is that these women knew he was giving them Quaaludes and that they wanted to have sex him while they were in a drugged state. Good luck with that.

Special to Allen Lowe: Sunday, January 3rd 2016 9:00PM at the Hungry Brain, 2319 W Belmont, 773.709.1401 (Donation) Ingrid Laubrock, Tom Rainey Ingrid Laubrock, Jason Stein, Josh Abrams, Tom Rainey I'll try to make it and report.

With a rhythm section: bass and drums were Matt Ulery and John Deitemyer (Chicagoans), plus NYC-area pianist Matt Mitchell. I remember your post, and your wife and I agree.

Last night: at the Hungry Brain, 2319 W Belmont Russ Johnson, Jon Irabagon I've had more fun having my teeth drilled. Will someone please tell me what Irabagon's virtues are? (And I've heard him several times before, both in person and on record.) Disjointed, instantly "hot" diddling plus "expressive" whoops and cries, IMO. He even, at least in the first set (I left after that) pretty much negated the normally estimable Johnson. The re-opened and nicely redesigned Brain was packed, though.

The credit line on the Henderson article says "Cynthia Shearer is the author of two works of fiction." Make that three.

I dropped out of the NPR poll several years ago because I felt I wasn't hearing a decent cross section of new releases.

Yup -- L&A Stationers in Winnetka, Il.; they had a nice stock, jazz was popular then. Actually, there were very few record stores per se in my area in the '50s. Another place where I used to get 45s was a TV and appliance store. Remember buying the Basie-Joe Williams "Smack Dab in the Middle" there -- "Gimme oodles of butter, gangs of meat, gallons of coffee, and somethin' sweet..."

Too late now.

Always liked this track: Cleveland could be lovely on ballads. When I bought this album as a high school sophomore back in 1957-8, the clerk in the record department of the stationary store (an attractive and seemingly very grown up senior girl) said to me after I'd played this track that she really liked it, doing so with a certain romantic vibe that suggested she liked me too for playing it. I walked out of that store on a cloud. Getting back to Cleveland on ballads, check out his "If You Could See Me Now" and "Ballad of the Sad Young Men" with Gil Evans. https://www.youtube.com/watch?v=Nnxt8AK69iY

Yes, he's excellent. And let me add someone I've known about for years but whose music I just recently reintroduced myself to -- the late Eddie Higgins. His album "Haunted Heart" (Sunnyside) is a particular gem.