Larry Kart

I should have said reed players, and even then I would have missed on the flutes, etc.

Higgins and the rest are all saxophonists.

May have been introduced to him on Tommy Turrentine's Time album, which is the Roach group under Tommy's name. Immediately clear that he had his own thing, so damn melodic. Caught him once live in 1984 at a Chicago club. Sounded great. Review of that performance (with a typo): http://archives.chicagotribune.com/1984/06/29/page/197/article/turrentines-soulful-saxophone-speaks-a-sound-all-its-own

If you're looking for an all-out (and arguably rather batty) assault on Zweig, here is a diatribe from poet-critic-translator Michael Hoffmann: http://www.lrb.co.uk/v32/n02/michael-hofmann/vermicular-dither I don't know enough Zweig to have an opinion, though I have been enjoying his biography of Balzac.

Roland Kirk beat them to it: https://www.youtube.com/watch?v=Mk0mSclnUQQ&list=PLhz4DmR11tW5gJyd5R0DogH_eGlfhuAhM&index=3

I like the way Albam weaves "Hot House" into the string writing.

My friend Bill Kirchner says that Albam told him he got the strings to swing pretty much (I think they do a heck of a job, and their role is more than decorative) by having them phrase like they were playing Baroque music. Sounds like he had them cut way back on vibrato, too, which probably goes without saying.

Found this for $2 at my local Half-Price Books store: http://www.amazon.com/Meridian-String-Quart-Hank-Jones/dp/B000089Y9K/ref=sr_1_2?s=music&ie=UTF8&qid=1450218560&sr=1-2&keywords=hank+jones+meridian Hank is in inspired form and gets to stretch out a good deal, Manny Albam’s writing for the string quartet is exceptional and handsomely played (I remember the album he did with Hal McKusick, four cellos, and rhythm in the mid-‘50s), bass and drums are Rufus Reid and Dennis Mackrel, fine recording job by Jim Anderson. And it’s on a Sonny Lester label — go figure.

I tried Casella's Symphony No. 3. Quickly slips into bombast, it seemed to me. By contrast, the Symphony No. 5 (with its "orchestra tuning up" beginning) of Karl Weigl (1881-1949), an Austrian composer of the same vintage as Casella (1883-1947): https://www.youtube.com/watch?v=kPBrFKJVZbY

I like this one: http://www.amazon.com/Bach-HERREWEGHE-COLLEGIUM-VOCALE-GHENT/dp/B004OGDW4C/ref=sr_1_2?s=music&ie=UTF8&qid=1450194444&sr=1-2&keywords=herreweghe+bach

Link "Booyah" goes to an illegal download. That post has been deleted.

The best to you!

This 1988 concert from Germany isn't solid gold -- Arnett Cobb, a year from his demise, is a bit wavery at times -- but the interaction between Joe Henderson and Jimmy Heath is pretty special. Each man seems energized by the presence/playing of the other -- Henderson leading off on "Steeplechase" with a highly engaged solo, to which Heath responds in kind, and so it goes. One wishes the album were longer than 44 minutes, but there is a "Tenor Tribute Vol. 2," with the same line up, which I've yet to hear. http://www.amazon.com/Tenor-Tribute-Vol-1-Arnett-Cobb/dp/B0038M2W8U/ref=sr_1_2?s=music&ie=UTF8&qid=1450045528&sr=1-2&keywords=tenor+tribute Here's "Steeplechase" (YouTube says it's "Cottontail," which is on Vol. 2, but it's "Steeplechase"): https://www.youtube.com/watch?v=4gwIBsb3CGI

Likewise, in spades.

I'm on Safari on an IMac.

Looks perfectly normal on my screen.

Literally or figuratively?

Capsize the thread? How? Why?

Speaking of Lester and "the war," reposting this from 2013: I'm at my desk at the Chicago Tribune in the mid-1980s. The phone rings, and it's Stanley Crouch; he's at the Ragdale Foundation in north suburban Lake Forest, an artist's colony a la Yadoo, working on a book. He starts to chat about jazz (we've never met before), and he obviously knows something about my background because out of nowhere he launches into a steamroller attack on Lester Bowie, making a point that I think he already had made or would make in print -- that he had heard Bowie play "Well You Needn't" and Bowie used the much simplified bridge that Miles came up with for the tune way back in 1954 rather than the bridge that Monk actually wrote, and that this was proof that Bowie was incompetent, a fraud, etc. I immediately sensed (or so I thought) what Crouch was up to -- it was not so much that he wanted agreement from me on this but that if he could spew out this attack on Bowie with me on the line and I didn't stop him, he could think, maybe even say, that I had agreed with him. So I broke in to say that I thought that Lester Bowie was a remarkable musician etc., that Miles had come up with that simplified bridge, just as he had simplified the bridge to Benny Carter's "When Lights Are Low," because in both cases those simplifications were better suited to what Miles wanted to play when improvising on those pieces, etc. Hearing that, Stanley, without a further word, hung up the phone. Details on the difference between Miles' version and Monk's original one: http://uebergreifen.blogspot.com/2012/10/the-bridge-on-monks-well-you-neednt.html

So would someone just post them for those who don't chose, for whatever reasons, to buy album? Like scan them in or, however tedious it might be to do so -- but how the long are the notes anyway? -- just sit down and type them in. That certainly would be a serious contribution to fruitful future debate. Tone it down? Just stand still while I rip your throat out!

Perhaps apropos to some of all this: My 15-year-old stepson, a member of his high school marching band, has begun taking classical alto sax lessons from a private teacher, who at his last lesson gave him the melody of Coltrane’s “Impressions” to practice and play. My wife then asked me to dredge up an actual recording of “Impressions" for my stepson to listen to — that, the iconic one, would be from “Coltrane at the Village Vanguard” — and when I played it myself yesterday afternoon for the first time in some time I felt a surge of emotion (in part remembering all the times I heard Coltrane live and what a blessing it was to have had that experience when so many people, given Coltrane's passing in 1967, would never have that experience -- and believe me Coltrane live was not the same experience as Coltrane on record, any record, studio or live; the actual dynamic levels for one thing of, say, Coltrane at McKie's Disc Jockey Show Lounge at 63rd and Cottage Grove, playing on the other side of the room's narrow bar, are/were in my experience beyond accurate reproduction). In any case, feeling what I felt after listening to "Impressions," a semi-remembered quote lingered in my head, one that however I couldn’t track down. Today I did. It’s from Wordsworth’s “The Prelude,” and there refers to his memories of the impact the French Revolution had on him: Bliss was it in that dawn to be alive But to be young was very heaven!--Oh! times, In which the meagre, stale, forbidding ways Of custom, law, and statute, took at once The attraction of a country in romance! See, BTW, here's that unwanted quote thing happening again. Won't try touch it this time though or the whole thread almost certainly will go poof. In any case, the quoted passage above does make some sense to me.

You're right, great uncle. Interview with Rusty: http://www.chicagojazz.com/magazine/feature-interview-rusty-jones-290.html

This from Neil Tesser: "The veteran Chicago drummer Rusty Jones passed away Wednesday evening, having collapsed the day before. He was 73. I have no further details at this time." Veteran of many groups, he spent much time with George Shearing and pianist-vocalist Judy Roberts; he was an excellent player and a wonderful soulful human being, with a great wry sense of humor. His uncle was bandleader-composer Isham Jones.

I think my time as a moderator is at an end.

Damn it -- I did it again, deleted the whole new Wooley thread. And this time I know what happened. I was adding a post, and it quoted my previous post, which I didn't want to do. I couldn't get rid of the quoted passage, so I painted it and hit delete -- and the whole thread disappeared!