Larry Kart

See this article by Randy Sandke: http://jjs.libraries.rutgers.edu/index.php/jjs

Berkshire order: 1. CDA 67637-HYPERION Roslavets, Nikolay [1881-1944]: Violin Concerti 1 & 2. (A... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 156321 2. CDA 67484-HYPERION Roslavets [1881-1944], Chamber Symphony; In the hours of ... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 138093 3. CDA 67841-HYPERION Achron, Joseph [1886-1943]: 'Complete Suites for Violin a... Format: CD, Qty: 1, Price: $7.98 ($7.98 ea.) Code: 156332 4. CDA 67579-HYPERION Vaet, Videns Dominus; Conditor alme siderum; O quam glori... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 139873 5. CDA 67854-HYPERION Schoendorff, Philipp [c.1565-c.1617]: Missa Usquequo Domi... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 153156 6. CDA 67658-HYPERION Monte, Philippe de [1521-1603]: Missa Ultimi miei sospiri... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 158204 7. CDA 67733-HYPERION Vaet, Jacobus [c.1529-1567]: Antevenis virides; Missa Ego... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 156363 8. CDA 67749-HYPERION Josquin [c.1450-1521], Mente tota. Adrian Willaert [c.149... Format: CD, Qty: 1, Price: $6.99 ($6.99 ea.) Code: 157096 4-8 are all by the Viennese-based vocal ensemble Cinquicento. Listening on Spotify suggests they're terrific.

At Elastic: THU APR 17 9PM $8 MARS WILLIAMS Mars Williams - solo saxophone A rare solo set by one of Chicago's best known reed masters. MAZZARELLA/WILDEMAN/NIEKRASZ Nick Mazzarella - alto saxophone, Albert Wildeman - bass, John Niekrasz - drums This one-off grouping features a new generation of rising stars within the Chicago improvised music scene. Mars was in good form; Mazzarella was outstanding. Hadn't heard him in about six months, said to him afterwards: "You go away for a while and find that someone's burned the house down." His level of intensity now reminds me of Akira Sakata's, and that is intense! New recordings from Nick may be coming soon.

Off the top of my head, it's a dead heat.

Classical: The 1310s and the 1470s Jazz: When Madame Zajj was at home

How could I have failed to mention "True Blue"!

Speaking of "The Legendary Hassan": https://www.facebook...nvited&source=1

Speaking of "The Legendary Hassan" (from the thread about favorite albums from the 1960s): https://www.facebook.com/events/223473984527614/?ref_notif_type=plan_user_invited&source=1

Also, at one point I was all hung up on: Introducing Wayne Shorter (Veejay) Rec. 11/1959, which I think makes it likely to be an early 1960 release.

Sorry -- the track from "Out of the Cool" I kept playing is "La Nevada" of course. BTW, contrary to what many might think, I believe that I read somewhere that the drummer on that track is Charli Persip, not Elvin Jones, who is instead on miscellaneous percussion.

Like the idea of also mentioning ones that I played the crap out of at the time: Bill Evans -- Live at the Village Vanguard Gil Evans -- Out of the Cool (the title track, over and over) Coltrane -- Live at the Village Vanguard ("Chasin' the Trane,” over and over) Tina Brooks — True Blue Steve Lacy — Evidence Ornette — The Shape of Jazz To Come Freddie Redd — Music from ‘The Connection'

Been thinking about LOTS of others. That was a good decade for music.

A wee bit single-minded but: Roscoe Mitchell — Sound Lester Bowie — Numbers 1&2 Roscoe Mitchell — Congliptious Eric Dolphy — Out To Lunch The Max Roach Trio featuring the Legendary Hasaan

http://www.newmusicbox.org/articles/matana-roberts-named-among-2014-herb-alpert-award-winners/

There was a time when he didn't have any savings, dead broke, used to take "personal appearance" gigs, a hundred bucks to show up at a party and pretend to be an invited guest, a "friend" of the host. I'm of the impression that the man had no good business sense whatsoever about what to do with his money after he made it. None. So, 18K is something of a pleasant surprise, really. It's not so much that he had no good business sense as that he had big, expensive, self-destructive appetites -- like eight wives and a huge gambling problem.

You're kidding, right? If not, I'd say that such a book, like this new one about Bud Powell http://jazztimes.com/articles/97283-the-amazing-bud-powell-black-genius-jazz-history-and-the-challenge-of-bebop-guthrie-p-ramsey-jr would be worthless unless it too had "an attitude rooted in critical-theory aesthetics."

Yes. This was an excellent trolling venture - and they did it without adding Kenny G! By the way, I think you could make a case that Wynton, the Metternich of jazz, really does belong on this list. Nobody said the influence had to be positive. Don't think that Wynton has been influential on the music per se (name a significant player whose music owes a debt to Wynton's) but on how the music has been perceived and marketed. Don't you think a lot of jazz recorded/played in the 1980s "went in a certain direction" because of his prominence/influence? Maybe that's the same thing as what you're saying. Yes, but I don't think it was for musical reasons but for political/rhetorical ones. That is, I don't think that any/many actual musicians listened to Wynton's music and said, "How lovely/interesting that is -- it inspires me to create some music of my own in that vein." Rather, it was more like "That's the correct way, or the way that we're being told is correct and seems to be regarded as correct, so here we go." I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential. Off the top of my head: Enrico Rava, Paulo Fresu (there seems to be a whole 'school of Miles' among Italian trumpeters), Erik Truffaz, Roney, Eric Vloiemans, Donald Byrd had a Miles phase, Johnny Coles (Gil Evans used him as a stand-in for Miles). Some of it I'd class as 'imitation', some of it stands on it's own merit. Miles is in there unquestionably. Also, Eddie Henderson, John McNeil and I'm sure if I went downstairs and leafed through all of my CDs, I could come up with a long, long list. Henderson unquestionably. Maybe Kenny Wheeler in his earlier days. The early Art Farmer, although LeRoi Jones once memorably wrote that those who confuse Farmer with Miles need "ear Braille."

Yes. This was an excellent trolling venture - and they did it without adding Kenny G! By the way, I think you could make a case that Wynton, the Metternich of jazz, really does belong on this list. Nobody said the influence had to be positive. Don't think that Wynton has been influential on the music per se (name a significant player whose music owes a debt to Wynton's) but on how the music has been perceived and marketed. Don't you think a lot of jazz recorded/played in the 1980s "went in a certain direction" because of his prominence/influence? Maybe that's the same thing as what you're saying. Yes, but I don't think it was for musical reasons but for political/rhetorical ones. That is, I don't think that any/many actual musicians listened to Wynton's music and said, "How lovely/interesting that is -- it inspires me to create some music of my own in that vein." Rather, it was more like "That's the correct way, or the way that we're being told is correct and seems to be regarded as correct, so here we go." I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential. Off the top of my head: Enrico Rava, Paulo Fresu (there seems to be a whole 'school of Miles' among Italian trumpeters), Erik Truffaz, Roney, Eric Vloiemans, Donald Byrd had a Miles phase, Johnny Coles (Gil Evans used him as a stand-in for Miles). Some of it I'd class as 'imitation', some of it stands on it's own merit. Miles is in there unquestionably. Also, Eddie Henderson, John McNeil and I'm sure if I went downstairs and leafed through all of my CDs, I could come up with a long, long list.

Yes. This was an excellent trolling venture - and they did it without adding Kenny G! By the way, I think you could make a case that Wynton, the Metternich of jazz, really does belong on this list. Nobody said the influence had to be positive. Don't think that Wynton has been influential on the music per se (name a significant player whose music owes a debt to Wynton's) but on how the music has been perceived and marketed.

I don't understand Miles in this list of the pantheon of most influential. Miles is sui generis as you put it for Duke. What trumpeters after Miles sound like Miles? Maybe I'm missing someone but they all seem to come from Dizzy/Clifford or Freddie Hubbard. I think Bud and Clifford have to be on the list of most influential. A whole lot of trumpeters were influenced per se by the Miles of 1955-65, it seems to me (not that it's all one Miles from 1955-65), and further there's the whole modal bag that he innovated/popularized around the time of "Kind of Blue," which became the lingua franca of a lot of jazz for a good while, for better or worse.

Louis Armstrong, Lester Young, Charlie Parker, Coleman Hawkins, John Coltrane, Miles Davis, Bill Evans. In terms of influence, these guys seem in a class of their own. Most influential BTW does not mean "the best" in my book. Evans's influence has been immense, but he seems a flawed player to me. The list cited in the first post seems semi-absurd in some cases. I love Mingus, but "most influential"? Marsalis? Ellington is a giant, but how much that's that great has flowed from him? He's sui generis by and large. Goodman influenced a lot of clarinetists, but how much of a major impact did any of them make themselves? Hawkins, by contrast, gave rise to near numberless players of high stature and individuality. Coltrane somewhere in between I suppose -- near numberless players have been influenced, some of them individual, many not so much. I wonder about Bix. Influential for sure and in highly individual, subtle, lovely way, but influential enough? Also, was the Bixian strain of influence perhaps a bit elusive in nature compared to that of Parker, for example? P.S. Bud and Rollins, too, maybe Clifford Brown.

That was my reaction, too.

Like my Rega RP1.

Which contributions were obtrusive, in your opinion? IMO, his playing on that Ruby Braff duo album (compare it to Ellis Larkins' sublime partnership with Braff), and I'm not that crazy about with work with Terry and Brookmeyer, although it is energetic. Perhaps "obtrusive" is not the right word BTW; better would be "much trickier than I tend to prefer." Braff and Terry-Brookmeyer probably were quite happy with his playing. Well, Braff and Larkins were born to work together. I think maybe, if memory serves, Kellaway has the harder touch of the two pianists. Perhaps he's more prone to throw things in that rocked the boat more than Larkins. It that makes him tricky maybe so. Never heard the recording. Anyway, my memory of Kellaway on various dates is far from stellar. I meant he plays busier than Larkins. Actually don't think Kellaway's touch that hard, it's just that Larkins's is so sublime. Anyway, is that what you meant by 'tricky', overly busy? I'd have to listen again to be completely sure, but "overly busy," yes. Also, I think, sometimes bordering on cute-clever.

Definitive word on that McGlinn-conducted You Tube "All the Things your Are," from Miles Kruger's liner notes to "Broadway Shopstoppers" (Angel) which I just picked up: "Performed in the musical as a double duet with chorus during a rehearsal in the show-within-a-show [in "Very Warm for May"], the song is here recorded in its original form for the very first time, with its gracious Robert Russell Bennett orchestrations."