Larry Kart

Swan Silvertones Dig the passage that begins at about 1:12.

On a selective basis, and as different as they are, I like Richter and Pollini.

Love Irene Kral. Dig her here on "Forgetful' (the nutty/knotty song is by the nutty/knotty George Handy -- first sung by the great David Allyn with Boyd Raeburn): The above is a version from the late 1950s (Allyn with Johnny Mandel, I think). As for Ann Burton's Dutch-accented English, it just tickles me -- perhaps a la Marlene Dietrich's German accent. I dig Van Dyke on "It Never Entered My Mind," but his in-your-face funky licks on "I Can't Give You Anything But Love" don't seem to me to be doing Burton any favors.

I like this one better... My mom had this album. http://www.youtube.com/watch?v=sj_nMmOTb_E A gem, though I wish the pianist were less obtrusive. There's a lot of fine Burton out there.

Anita Gravine (great Mike Abene chart on "Road to Morocco," impressive tenor solo by Frank Vicari):

:tup OTOH -- sorry Phil -- I don't get Kristen Slipp at all.

Sue Raney Sadly no longer with us, but Ann Burton (dig that Dutch accent): Also no longer with us, Teri Thornton: http://www.youtube.com/watch?v=cZSXnP3NXnI

If by you "controlled by people who read the Torah" is an "ordinary mannerism," you must hang out in some interesting places. 'ordinary mannerism' is obviously a reference to the MUSIC Marsalis makes, not the racism inherent in the WORDS attributed to them (Marsalis/Crouch). As in -mannerism - in the manner of - or perhaps even an actual Jazz Mannerism as a specific movement, which it essentially was/is. Funny how this board is peppered with people who vehemently respond to the heightened racist tones of Black musicians and writers who transgress the 'brotherhood of man', when assertively claiming the music for their own or highlighting the unequal or exploitative practices of the past (and their current modes of White-out), yet fail to register that their own assertions or support for the reverse racism - or it's all a part of a whole' whinging of a bunch of peripheral self centred egotists are just as 'racially' vile as the shit they are outraged by. "'ordinary mannerism' is obviously a reference to the MUSIC Marsalis makes, not the racism inherent in the WORDS attributed to them (Marsalis/Crouch). "As in -mannerism - in the manner of - or perhaps even an actual Jazz Mannerism as a specific movement, which it essentially was/is." Sorry -- but it sure wasn't obvious to me that "ordinary Mannerism" was "a reference to the MUSIC Marsalis makes" rather than to the relative ordinariness among black musicians and the black community as a whole of anger against white society. In any case, though, do you mean something like "Marsalis' music is traditionally inclined in manner, i.e. in style"? I'm genuinely at a loss here. Also, what then are you referring to by "the greater truth [that Marsalis and Crouch] express," which is also a "universal Black truth"? I thought that you meant "the greater truth they express" and the "universal Black truth" to refer to anger against white oppressors. No?

If Wynton had said "Blacks have been held back by people, because the music business is controlled by money-grubbing Jews," that statement, ugly as it is, would have been an "ordinary" expression in many quarters. (BTW, what's with that distancing term "mannerism"? Makes it sound like something that's more or less beyond or below control -- like , "Hey, it's just a mannerism.") In any case, with "controlled by people who read the Torah," one enters a whole new world IMO, for several reasons. First, while "money-grubbing Jews" or the like certainly implies that all Jews are that way, it could be taken to mean that it's only Jews of that sort -- perhaps they are even taught to be that way and thus are not expressing their innate inner nature? -- who are the problem. Again, ugly enough. But "controlled by people who read the Torah" links the supposed vileness of the Jews with their reading of the religion's sacred book, which is Judaism's regular essential act. It is thus IMO not another ordinary or familiar complaint or expression of anger against Jews but a novel (at least in my fairly extensive experience) act of would-be defilement. It says, in effect, that what is sacred to the Jews is inseparable from (even the source of?) what is worst in them. I'm hard-pressed to think of an equivalent act of defilement that could be aimed at another religion. Perhaps if the supposed blanket bad guys were Catholics, some statement about the Virgin Mary that I leave to your imagination.

If by you "controlled by people who read the Torah" is an "ordinary mannerism," you must hang out in some interesting places.

Link to "Cats of Any Color" page with the Wynton quote: http://books.google.com/books?id=IIxc_9CKtPMC&pg=PA195&lpg=PA195&dq=Wynton+marsalis+anti-semitic&source=bl&ots=hDcGH93tuX&sig=BUzh4O2-o80P-aEBZlDSurTKjIU&hl=en&sa=X&ei=YneOUpCwHMrqyQHXrIDwAQ&ved=0CFUQ6AEwBg#v=onepage&q=Wynton%20marsalis%20anti-semitic&f=false On the same page there's one from Joe Zawinul in a similar vein.

Finished Robert Boswell's "Tumbledown." Terrific novel. Boswell takes some risky narrative chances toward the end and brings it all off beautifully (e.g. creates two divergent paths of the plot -- one in which a particular character commits suicide, another in which he does not -- and sustains them in rapid alternation almost until the very end). What a generous book, too. A lot of these people (many of them "clients" in a private mental hospital) are in significant, even dire, straits in life, but he isn't out to unduly punish them or us or to provide dubious uplift either. In particular, one semi-subsidiary character who comes across for a good while as a fairly annoying transcendental doofus eventually and quite believably comes to behave with a good deal of soulful good sense.

To assess the difference between those two coupled Argo dates, compare Stitt's playing on the two otherwise identical blues -- "Propapagoon" from the first and "I'll Tell You Later" from the second. "Propapagoon" is inspired, "I'll Tell You Later" is a fairly damp squib. (Let me modify that, having just relistened -- it's certainly got its moments, but is nowhere near as coherent.) This is "Propapagoon," despite what the YouTube clip says -- rather harshly transferred (fake stereo?) but still: This is "I'll Tell You Later": http://www.youtube.com/watch?v=deltpG3LOnI

Great news

And a very swinging solo it is, too: Rich was age 64 at the time, had five years left to go.

I understood that thread is about work of famous poets while this one was originally meant for work of the people who are member here? Well, that is why I've posted my musing here anyway. Hope that that was okay. OK by me.

And of course near the end of his life he added to his repertoire The Theme from Mash also known as "Suicide is Painless". Always wondered about that. You know a psychologist/psychiatrist would have had a field day with it. I find his penchant for "Emily" to be far more disturbing. Never saw the film it comes from and just checked the lyrics for the song itself. Can you give more detail on why for us young'uns? Because it too is by the Mandel and because IMO it's kind of a whiney/wimpy piece of music, as annoying in its own way as "The Shadow of Your Smile" -- though many talented jazz musicians obviously have felt otherwise. OTOH, the film itself is darn good IIRC, though I admit to having a soft spot for Julie Andrews -- as an actress, a singer, and as a person. Did an interview with her once -- a lovely experience. P.S. In general, I'm a Mandel fan. His Alban Berg-influenced score for "Point Blank" is something else. I'd like to file an official protest with the Organissimo Society for the Preservation of Pretty Tunes! Sure, everyone's entitled to their opinion on music, but when it comes to the aforementioned JM songs, the above opinions constitute a kind of blasphemy that must be dealt with by only the harshest punishments the OSFTPOPT has reserved for such affronts to its very core of belief. Certainly, the lyrics to said songs make one want to with their corn, but one listen to Kenny Burrell playing "TSOYS" on his "Night Song" LP, is enough to prove that sometimes you gotta say, 'screw the lyrics'. It's not just the lyrics of those songs that grate on me -- in "Emily" it's the almost whiney limpness IMO of the music that goes with the repeated title phrase. But obviously it is a song that has appealed to many talented improvisers.

Some of my favorite Stitt is this one: http://www.amazon.com/Burnin-Sonny-Stitt/dp/B001Q1ROPG/ref=sr_1_2?s=music&ie=UTF8&qid=1384788050&sr=1-2&keywords=sonny+stitt+argo In its LP form, there were no liner notes, just the same photo on front and back, and thus no personnel. Some have said that the rhythm section is Barry Harris, drummer Frank Gant, and bassist Wiliam Austin, who recorded a trio album for Argo at around this time (Harris' first, perhaps), but in fact the rhythm section is the Ramsey Lewis Trio; they're surprisingly effective too, though Lewis' solos are what one might expect. The give away is the quite distinctive bass work of El Dee Young.

Bears won in OT, showed considerable guts and a fair degree of skill (Alshon Jeffrey!) in doing so. That 43-yd. pass pass to Martellus Bennett in OT, which set up the winning FG was sweet on his part and McCown's, too. Re-awakened thoughts that maybe we won't and shouldn't re-sign Cutler -- because we're going to need so much money to rebuild the injured and aged defense and because if MCown, old lifetime backup though he is, can move the team this well, maybe Marc Trestman's offense would work well enough with any decent QB, not a guy whos' going to cost us $40-$50 million to re-sign.

Huge old tree in our backyard went down with a thunderous crack at about 4:45 p.m., tore holes in the roof of our neighbor to the north, is still resting there. It also took down some other trees in our yard, including a lovely Japanese lilac that we'd planted this summer.Too dark to assess all the damage.

Into necrophilia? I kid! No -- she'd have to be able to talk to me in that ungodly vibrant voice.

Thanks for posting that, uli. A fine tribute. Posted a comment there.

I'd do her if she'd have me.

Well, not that Emily.

And of course near the end of his life he added to his repertoire The Theme from Mash also known as "Suicide is Painless". Always wondered about that. You know a psychologist/psychiatrist would have had a field day with it. I find his penchant for "Emily" to be far more disturbing. Never saw the film it comes from and just checked the lyrics for the song itself. Can you give more detail on why for us young'uns? Because it too is by the Mandel and because IMO it's kind of a whiney/wimpy piece of music, as annoying in its own way as "The Shadow of Your Smile" -- though many talented jazz musicians obviously have felt otherwise. OTOH, the film itself is darn good IIRC, though I admit to having a soft spot for Julie Andrews -- as an actress, a singer, and as a person. Did an interview with her once -- a lovely experience. P.S. In general, I'm a Mandel fan. His Alban Berg-influenced score for "Point Blank" is something else. Okay, so not anything to do with the suicide thing....which is what I thought you meant...and couldn't figure it out. More a commentary on the song itself. I did kind of mean the suicide thing. "Emily" makes me want to slit my wrists.