Larry Kart

Unedited version of Desmond’s inspired solo on “The Way You Look Tonight” from “Jazz at Oberlin” (further information in second link): https://www.youtube.com/watch?v=vDweQDpDEUs http://www.jazzhistoryonline.com/Paul_Desmond_unedited.html

Plan to catch them at Elastic tonight. Very fine. A well-honed group by now -- Lonberg-Holm and Zerang contributed tellingly. The relationship between Swell and Ullman is something else -- very together at times but when they pull apart, so to speak, it's like they're still connected by elastic bands (no play on the name of the venue intended); one can almost see where these stretching lines of force are, and their existence becomes part of the dialogue. P.S. It may seem like I’m describing in the “elastic bands” business something that’s fairly common among groups with two alert horn players, but the sense that something like this was going on here was notably vivid, I thought. Picked up up a couple of CDs, Ullman’s Mingus tribute and another Ullman with Swell, a bassist, and B. Altschul. Was tempted to buy one of just about everything, but my wallet was on pause control. Ullman is an agile, clever player — at once free and not that free (he has his patterns, which are again seemingly clever, perhaps a bit clockwork-like), but those patterns are then handled (at least when he interacts with Swell) in a relatively free and alert to the context manner. All that strikes me as coming from a rather European sensibility — perhaps, because it’s on my mind after sampling some early '50s Hipp recordings, like a distant offshoot of Hans Koller.

Maybe Costa's best: http://www.amazon.com/House-Blue-Lights-COSTA-EDDIE/dp/B006GHC3II/ref=sr_1_1?s=music&ie=UTF8&qid=1442935611&sr=1-1&keywords=eddie+costa+house+of+blue On Bud Powell, I'm very fond of "Time Waits": http://www.amazon.com/Time-Waits-Amazing-Powell-Vol/dp/B00000K4GM

This is the Duke Jordan album I mentioned, has a lovely version of "They Can't Take That Away From Me": http://www.amazon.com/Trio-Quintet-Duke-Jordan/dp/B0042UJWDA/ref=sr_1_7?s=music&ie=UTF8&qid=1442895458&sr=1-7&keywords=duke+jordan I prefer the Sonny Clark Trio album on Time to the one on Blue Note, fine as that is: http://www.allmusic.com/album/sonny-clark-trio-time-mw0000320204

Off the top of my head: Horace Silver's Blue Note trio album Kenny Drew's Riverside album (now on OJC) with Paul Chambers and Philly Joe and his "Pal Joey" album, also on OJC, with Wilbur Ware and Philly Joe The Duke Jordan trio half album that originally was on Signal, with Percy Heath and Blakey; the quintet half is fine too. The Dick Twardzik Trio More to come when I have more time to think.

Have had a VPI for maybe 20 years or more. In my estimation, it's paid for itself (can't remember what it cost back then, maybe $300-400?) many times over, especially if you buy a fair number of used LPs, which I do. If the VPI used properly doesn't help a good deal, there's little or no hope. Damn thing just keeps ticking too -- hope that doesn't jinx it. At one point I acquired a new device (better than the old one) to spread the cleaning fluid on to/work it into the surface of the LPs; otherwise I'm still in the same place with it. I see that they go for about $650 now: http://www.musicdirect.com/p-7658-vpi-165-record-cleaning-machine.aspx

J You guys need, like, an Irish Queen or something. Hey -- they had Oscar Wilde.

Plan to catch them at Elastic tonight.

I'm cultured; you, perhaps, are not. And I get to decide if you are.

Five strings, too, I believe. P.S. Sorry -- I ment that in 1966 he began tuning his bass in fifths. https://en.wikipedia.org/wiki/Fifths_tuning FWIW, although I admired Mitchell's early work, his latter-day playing pretty much drove me nuts -- horn-like "accompaniments" often played obtrusively in the same register as the horn soloist and solos full of what seemed to me to be self-regarding gestures (swoops, slides, and phrases swaddled in vibrato).

On their way: Garner — Complete “Concert By the Sea” Christoph Bernhard — Geistliche Harmonien 1665, Herman Max (CPO) Bernhard was a Heinrich Schutz disciple with his own voice. I have a 2-disc set of of Bernhard's complete Geistliche Harmonien (sacred concerti), but it has some less than top-flight singers (the works are very demanding in terms of range); this one disc selection comes highly recommended. Alexander Goehr — Since Brass, nor Stone…, Nash Ensemble (NMC)

Josh Berman Trio (Jason Roebke, Frank Rosaly) at Constellation tonight to introduce Josh's new album "A Dance and a Hop" (Delmark) -- disclaimer; I wrote the notes. Torrential rains on the way into the city from the north, great set. Josh's rhythmic sense/phrasing, it dawned on me part way through the set, is f---ing corpuscular -- it's that internal and intimate, not unlike Ben Webster. And every note counts.

A Grammy nomination would be good. Also, as someone who was at the concert, the recording captured all of its impact and clarified (without any sense of dial twisting) some details that I didn't quite catch at Constellation.

I placed an order on Aug. 26, after they said they'd come back to life. It hasn't arrived yet. I got in touch with them by e-mail a week or so ago, and they said that they'd received my order but were still having some problems getting back in gear and I should sit tight -- this said in a pleasant manner. I'll wait. Heaven knows how much I've bought from them over the years. My guess is that they received a glut of orders from Berkshire addicts like me when I placed my order.

OK -- something about the way you put it seemed elliptical to me, as though "Spirits" already had been mentioned.

From Wikipedia: "In 2002, Grimes [was found] alive but nearly destitute, without a bass to play, renting a tiny apartment in Los Angeles, California, writing poetry and doing odd jobs to support himself." Mosca’s case probably was not comparable, or not that comparable, to Grimes': http://www.theguardian.com/news/2007/aug/09/guardianobituaries.usa1

Joel Weiskopf -- stylistically not quite in my bag (or bags) but definitely a talented guy. Several interesting albums on Criss Cross. I particularly like this one, with John Patitucci and Eric Harland: http://www.amazon.com/Devoted-You-Joel-Weiskopf-Trio/dp/B000NVLABY/ref=sr_1_4?s=music&ie=UTF8&qid=1442362630&sr=1-4&keywords=joel+weiskopf

Likewise, of course, upon his return to the scene Henry Grimes was unaware that Albert Ayler no longer was alive.

Was what "Spirits" with Konitz? "Spirits" was a circa 1970 small group album on Milestone, which I reviewed enthusiastically in Down Beat when it came out. BTW, Dan Morgenstern, my boss at DB, saved me from getting egg all over my face in that review. I'd referred to the piece "Hugo's Head" as a blues. Bluesy though the performance was IIRC, as its title suggests, the piece is based on "You Go To My Head." Eeesh. FWIW, that review led the teenaged Bill Kirchner back in Youngstown, O., to buy "Spirits" and then resolve that one day he would go to NYC and study with Lee, which he did -- Bill then writing his first recorded arrangements for Lee's Octet. I only found about this from Bill years later.

Some may not be familiar with them, so let me mention these two Sal Mosca solo albums (one recently issued, rec. in 1991 at a concert at the Bimhuis): http://www.amazon.com/Talk-Town-Sal-Mosca/dp/B00VNVXGNI/ref=sr_1_1?s=music&ie=UTF8&qid=1442327995&sr=1-1&keywords=sal+mosca the other recorded at a concert in 1979: http://www.amazon.com/Sal-Mosca---pianist/dp/B000056VIO/ref=sr_1_2?s=music&ie=UTF8&qid=1442328134&sr=1-2&keywords=sal+mosca The 2-CD Bimhaus set, beautifully recorded, is not quite what one expects (or I expected) from Mosca — by this point he’s rather Teddy Wilson-like, even Tatum-esque at times, little sense of a Tristano connection — but the basically meditative tone is definitely Mosca-esque. In any case, I can think of nothing else quite like it. The 1979 album, more like earlier Mosca, with more Tristano echoes, and recorded well enough, is more to my taste at this point, but the Bimhaus set is quite a chapter in Mosca's evolution.

The Valburn album, says Loren, "was called '1940' and has air checks of Armstrong, Andy Kirk and others."

No -- Loren said it was issued by Jerry Valburn "many moons ago." So this was on one of those JAZZ ARCHIVE LPs? I'll try to find out.

No -- Loren said it was issued by Jerry Valburn "many moons ago."

By way of Loren Schoenberg's Lester Young blog, from a 1940 broadcast:

(or so I think) from the 1998 album "So What's New?" (Telarc):