Larry Kart

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That Lily Tomlin played some mean bongos.

Taken from a FB post by Allan Chase: The list of Dyett's DuSable High School music program alumni is virtually a "Who's Who" of Chicago jazz. Among Dyett's students were: Nat "King" Cole (b. 1917)-piano, voice Von Freeman (b. 1922)-tenor saxophone Bruz Freeman (birthdate unknown)-drums George Freeman (birthdate unknown)-guitar Bennie Green (b. 1923)-trombone Dorothy Donegan (b. 1924)-piano Dinah Washington (b. 1924)-voice Martha Davis (birthdate unknown)-piano, voice Gene Ammons (b. 1925)-tenor saxophone *Victor Sproles (b. 1927)-bass Bo Diddley (Ellas McDaniel) (b. 1928)-violin, guitar E. "Prince" Shell (b. 1928)-valve trombone, piano, arranger Johnny Griffin (b. 1928)-tenor saxophone *Laurdine "Pat" Patrick (b. 1929)-saxophones, flute Richard Davis (b. 1929)-bass John Jenkins (b. 1931)-alto saxophone Clifford Jordan (b. 1931)-tenor saxophone *John Gilmore (b. 1931)-tenor saxophone, clarinet *Robert Barry (b. 1932)-drums Leroy Jenkins (b. 1932)-violin (flute and alto sax in high school) Donald Rafael Garrett (b. 1932)-bass (clarinet or saxophone in high school?) *Richard Evans (b. 1933)-bass, arranger *Charles Davis (b. 1933)-baritone saxophone *Julian Priester (b. 1935)-trombone, arranger *Ronnie Boykins (b. 1935)-bass Eddie Harris (b. 1936)-tenor saxophone Andrew Hill (b. 1937)-piano (mellophone in high school) Joseph Jarman (b. 1937)-saxophones Wilbur Campbell (birthdate unknown)-drums (* Musicians who later recorded with Sun Ra.)"

The leader of the outfit was/is particularly scary: http://en.wikipedia.org/wiki/David_Miscavige It's also nice that various celebrities involved, like Cruise, are virtual prisoners of the outfit because they know that all the highly personal s--t they've spewed out over the years in whatever they call those "sessions" has been recorded and can be used against them.

I'm taken with the balls-to-the-wall approach of Luis Bonilla:

Are we sure that Phil Schaap (of "Mahalia swears" fame) isn't involved? BTW, I'm reminded of a Billie Holiday rehearsal with Jimmy Rowles that was issued on a bootleg LP. Some run throughs of songs, but mostly IIRC it's Billie with her hair down, full of vulgar remarks and cursing up a storm. I mentioned this disc once in a somewhat approving manner to a musician, I think it was Dave Frishberg, and he more or less jumped down my throat, saying that issuing this material was a vilely intrusive, disrespectful act. May still have the disc but don't think I've ever listened to it again.

Interesting to realize last night that I don't find Roscoe fitting into the realm of the exciting per se, both in how his music affects me and, perhaps, in how he makes/conceives it. Incredibly intense, yes, but it's as though he and the music and its auditors are transported to a plane where things are at once coruscating, ordered, and even more or less calm, where the "flames" (so to speak) are not those of combustion but construction. To put it another way, there seems to be little or no sense of struggle or "outcry" involved. One is just, not so simply, invited to witness/participate in (again) an act of construction -- one that calls for an atmosphere of great heat, but it's not a heat that overwhelms the creator or us; it's just what's required to do what's novel and necessary.

See you there, I hope.

Read it -- pretty darn good.

I've heard some of Schnyder's jazz work on CD. Talented player and writer, but a whole lot would depend on the libretto. Lots of his classical work can be found on YouTube, all of it new to me.

Listened to the first track last night. Don't think I've ever heard a recording where the particular personalities of the players (insofar as I know them) was more evident. That may be a goofy way to look at it, but it's what I spontaneously thought -- that everyone was unclothed (so to speak), free of any desire or need to "present" themselves.

The immortal Russ Freeman-Andre Previn cover "Double Play!" http://www.amazon.com/Double-Play-Andre-Previn/dp/B000000Y93/ref=sr_1_3?s=music&ie=UTF8&qid=1427235862&sr=1-3&keywords=double+play

I'm a fan of the Dream Band but often have felt that Gibbs' own playing is too licks-oriented. That's why that solo on "Yardbird Suite" struck me; it was made up of long, lucid melodies, not hot licks.

Picked up a used copy on LP a while ago and discovered that it not only had some fine DeFranco (as I expected), but also (not being much of a Gibbs fan) something I didn’t expect — a delightfully lucid, long-lined solo from Gibbs on “Yardbird Suite.”

On its way to me.

Please -- not Hamelin's Busoni PC. Try Gunnar Johansen's. http://www2.broinc.com/search.php?row=0&brocode=&stocknum=&text=gunnar+busoni&filter=all&submit=Search

Just to be clear, the "too many genuine interests" passage was not mine but that of a good friend of mine who knew Charters well for some 60 years. I can't explain more precisely what he meant by that (and what he didn't say that might have stood behind what he said), except that my friend is a generous-minded person in general and, it always seemed to me, toward Charters in particular.

Would the world have been a better place without Sam Charters in it? IMO, no. Could Sam Charters have done what he did/tried to do in a more careful, scrupulous manner? IMO, yes. Other people have. The problem, I think, is that there are at least three ways or types involved here: 1) The romantic pioneer in the field who is rather fast and loose at times of arguable necessity (the Lomaxes, perhaps?), because there is so much underbrush to be cleared 2) The also pioneering scrupulous, honorable producer or scholar e.g. Nessa, Gushee 3) The guy who is in effect bouncing off of type #1 some years down the road in an imitative and at times self-promoting fashion, with his slap-dash moments being less a matter of the depth of the underbrush to be cleared away but of an "I don't want to be/can't be bothered" attitude. That IMO was Charters -- the good with the not so good or even the bad at times.

An educated guess on the bassist -- Joe Mondragon. Fine player who was on a lot of Granz's L.A. dates at that time. To hear him at his exposed best in one of the nicest rhythm sections ever, hear him on Harry Edison's "Sweets," with Ben Webster, Jimmy Rowles, Barney Kessel, and Alvin Stoller. https://www.youtube.com/watch?v=5B-8VIgCCao&spfreload=10

A bit more, Jim: Maybe I am bit too puritanical at times about some things (haven't measured my dick lately, though), but if so, I'm especially so about people who get into worthwhile areas that have been unjustly ignored and (see Charter's remark that Chuck quotes in post #5 above) then often proceed there as though that absolves them from the need to be scrupulous, careful, etc. (In effect, you might think of Charters as the anti-Nessa.) Aside from the moral side of this, the practical danger here is that the self-promoting, slap-dash would-be pioneer often establishes his fantasies and fabrications as "facts" that then are cited down the corridors of time until someone who really knows what's what takes the trouble to contradict them. E.g. See Allen's post #10 above about Larry Gushee on Charters' New Orleans work.

Don't know if that applies to those specific people, but I find the (what appears to be) general premise that one can have "too many" "genuine interests" and as a result be "never satisfied" to perhaps be questionable and/or Puritanical and or maybe just a little short-dicked. You tell me. I think what my friend meant -- and again he knew Sam and Ann Charters well for about fifty years -- was that Sam had so many interests that he often handled them in a rather slap-dash and/or half-assed manner. Or to put it another way, if you yourself were knowledgable about a field that Sam was/had been delving into, you might have doubts about how (and in some cases why) he was going about his delving. Further, speaking from personal if limited direct experience with Sam (see post #2 above), when confronted about his sometime fast-and-loose methods, he defaulted to the position that a man with his fingers in so many worthy pies shouldn't/couldn't be expected to pay that much attention to how the pies actually turned out/tasted.

http://www.amazon.com/gp/product/0595510906/ref=ox_sc_act_title_1?ie=UTF8&psc=1&smid=ATVPDKIKX0DER Anyone know this book? On Facebook, Ted Brown and others endorse it, but one person says that its portrait of Lee Konitz and Warne's feelings about him are false and scurrilous. I see now that on that FB thread Warne's widow Geraldyne has added this: "Warne loved Lee, I believe [he was] just upset they were not playing together as much as Warne would have liked. Warne knew everyone should play what they want and feel. He had a hard time letting go. Not everyone was as lucky as Warne, he always had backing from his mother."

This has my name on it, but it's John L's post from the other thread: "His [Charter's] encouraging Americans' appreciation of blues was certainly valuable in the 1950s and '60s. I remember Bob Koester leading him to Chicago musicians to make those Vanguard albums in 1966. But this obituary makes Bukka White, Sleepy John Estes, etc. appear important only because inferior musicians such as Bob Dylan, etc. sang their blues." Could merge that whole books on the blues thread with this one but not just a part of it, except by copying a post, as I've done.

It was mentioned here: One of my best friends knew Sam and his wife Ann (scholar of the Beat Generation) from 1966 on. He said earlier today: "It's the most laudatory obit I can imagine about Sam, whom I knew well since he walked in the front door of our house on Thayer St. [in Evanston, Il.] in summer of 1966, referred to us by [a friend] whom Ann taught at Colby and Jim Schwall (Sam was recording Siegel/Schwall Band). He and Ann were tireless self-promoters but they did publish 50+ books between them, and over the years I ran into many people who'd read some of them. "Sam was a hustler. He had genuine interests, but too many of them: blues, jazz, the Beats, poetry, Black Mountain, Swedish movies, Scandanavian classical music, women painters, etc., etc. What he and Ann wanted was more, and thus were never satisfied." I got crosswise with Charters once when he messed up the reissue of the 1950s Vanguard label jazz recordings that John Hammond made, scattering sessions between CDs, getting personal listings wrong, maybe even leaving off some tracks altogether,; I don't recall all of it now, but it was a flaming mess. So I wrote to some honcho at the Moss Music Group (I think it was them), going into detail about how Sam was doing the job in such a clueless way as to piss off the logical audience for these recordings and make it less likely that they would be purchased. Apparently this hit home, because they let Sam go in midstream. When I ran into him a while later at my friend's apartment, his attitude seemed to be IIRC, "How could you do that to me -- complain to a corporate guy? You and I are both fans, right?"

I hear it as ""the greatest song that Eckstine ever sung." Even if not, though, how would "minor sound" fit in with the rest? As a reference to the sound of a tune in a minor key? All the other references in the alternate lyric are much more specific than that and/or linked to particular musicians.