Larry Kart

Sam Most - Flute Joe Farrell - Flute Bob Magnusson - Bass Jerry Steinholtz - Congas, Percussion Roy McCurdy - Drums Mike Wofford - Piano, Electric Piano Sam (he takes the first solo) sure was locked in rhythmically.

Yes, Frank's Blues is a good one. Under the radar, even by Strazzeri's standards, probably because it came out on an obscure label, Night Life. I stumbled across it one day, no doubt at the Jazz Record Mart, and took a flier.

Perfectly put. The instant I read it I could hear Wayne's voice.

Have always especially enjoyed the albums he made for Don Schlitten. Fine groups Schlitten assembled for him.

I like that phrase.

I'm in! You need a fine mesh strainer (fine enough to not let coffee grounds through), a metal one-cup measure, and a good-sized mug. Put the amount of ground coffee you think you might like into the cup measure (I go for two scoops), cover with water (not too much) and bring the coffee-water mixture almost to a boil on a burner; it should be bubbling but of course not over-flowing. Pour the coffee-near boiling water mixture through the strainer (you might want to stir the mixture as it's about to boil), which you've placed over the mug. Then pour cold milk through the grounds that remain in the strainer and into the mug, filling it. Then put the mug into the microwave and heat it; in my microwave about 1:40 does the trick. The result is rocket fuel. BTW, it helps to prevent spills and dribbles if you pour both the coffee-near boiling water mixture and the cold milk into the mug from a certain height above the rim of the mug, a few inches maybe, so that the stream of liquid is narrow. If this sounds complicated, the whole process takes just a few minutes once you get used to it. I do it each morning before I've had my coffee of course, and about the only other thing I can do then without coffee is stand upright. You could heat the milk before pouring it into the mug through the grounds that are in the strainer, but I decided that's too much work for me, and it doesn't yield different results, I felt, than if you run things through the microwave. Of course, if you don't like a coffee-milk mixture, no matter how potent the results are, this whole method is beside the point.

This tickles me, but then Reger often does (I know, there's medicine for that): http://www.youtube.com/watch?v=xzHPJ0UnU18

Delicious, potent morning coffee. I use a Scandinavian method, taught to me by a woman who lived for some years in Finland. Simple to make, it leaves you ready to ride a reindeer. I'll pass it along if anyone wishes.

http://www.cbssports.com/general/blog/pete-prisco/22385650/patriots-arrogance-on-full-display-with-tim-tebow-signing

A fair amount of what Perry plays sounds to me like he's stuck inside a snippet of a solo on "Donna Lee" being played by, say, Argonne Thornton and can't find his way out. Way more to him than that. Listen more, please. Yes, this one below from Perry has something IMO: but every time I've heard him in a "blowing" context FWTW (rather than as here, stating and sounding out an intense but more or less pre-determined structure) he sounds fairly well trapped to me, chewing over very similar figures and never getting much of anywhere. And his comping? I do have a fair amount on Perry on CDs as a sideman. Another taste of Perry: Speaking of getting somewhere, listen to the melodic flow of Ted Brown's solo.

Here is Hoffman in better company, a band led by Brian Lynch. Nonetheless, his lack of projection sound-wise suggests to me that he is playing a combination tenor saxophone/vacuum cleaner, while a fair number of his phrase endings just stop or trail away, as though the sequence of "correct" changes and substitutions he's been using as a road map has led him down a blind alley or to the edge of a cliff.

A fair amount of what Perry plays sounds to me like he's stuck inside a snippet of a solo on "Donna Lee" being played by, say, Argonne Thornton and can't find his way out.

While I'm certainly on Shorter's side in this (if that's the way to put it), I don't think that Konitz "knows as much maths as anyone" and I believe that he has stated as much in interviews. I recall one in particular with Ethan Iverson where Iverson went into what Brad Mehldau was doing harmonically behind Lee on one of the live albums they did, and Lee professed something like bemused bewilderment at EI's analysis. In any case, I think that Lee feels that his harmonic approach is essentially intuitive and in service of melodic impulses. That interview (I see that above I somewhat mis-characterized Lee's response, but the gist remains): http://jazztimes.com/articles/27721-lee-konitz-a-q-a-by-ethan-iverson

Well, there was that Branford blindfold test where he couldn't identify and/or misidentified Lockjaw, whom one would think was the most identifiable tenor saxophonist on the planet. But as odd and amusing as that glitch was, given some of Branford's remarks about The Tradition, I wouldn't build a whole edifice on it.

Places "Bix above Louis"? I would think that here we all could agree that Louis is Louis and Bix is Bix. Among other things, aside from the coincidence in time, I see nothing inherently rivalrous or competitive about their playing. It's not even like Coleman Hawkins and Lester Young, where at least there's the excuse of the latter coming along afterwards with a significantly different approach.

Afraid I can't watch or just am not up to it right now. The intro alone, plus the way Hoffman looks ("Like a zombie Woody Allen" is good) creeps me out. Also, if that's Sacha Perry on piano on Hoffman's video, his obtrusively busy, nervous-guide dog comping makes me want to scream. Actually, Barry Harris himself, given all his other virtues, was often not a helpful accompanist back in the day, in the same manner, though in Perry's case (if that is Perry) it's like somebody selling halitosis.

Just checked out the video of Hoffman's own stuff. Whatever he has to say about Wayne, he and his cohorts pretty much sound like zombies.

Don't take it down, I would say. I want to watch it/listen to it (haven't had a chance yet), out of sheer curiosity. Its presence here won't hurt anyone/anything, I believe. What are we afraid of? Surely not idiocy.

The first half of The Diamond Bikini by Charles Williams is excellent and he wrote a couple of other enjoyable caper stories. Makes me want to find more of his novels in his manic mode. He wrote some depressive ones too - conventional more-or-less noir. Read everything I could find by Williams a few years back. IIRC, I particularly liked "Man on a Leash."

Left out Pee Wee Moore, b. sax from the personnel on the above post. Can't believe I never heard this album before, though I knew of it. Fine charts by Golson and Gryce, fine solo work from Diz and Golson (deep in his L. Thompson/B. Webster bag), and sterling tasty drum work from Persip. Recorded NYC, December 17, 1957.

Dizzy Gillespie Octet, The Featuring Benny Golson ‎–The Greatest Trumpet Of Them All Label: Verve Records ‎– MG V-8352 Format: Vinyl, LP Country: US Released: 1959 Genre: Jazz Style: Tracklist A1 Blues After Dark A2 Sea Breeze A3 Out Of The Past A4 Shabozz B1 Reminiscing B2 A Night At Tony's B3 Smoke Signals B4 Just By Myself Credits Alto Saxophone – Gigi Gryce Bass – Tommy Bryant Drums – Charlie Persip Piano – Ray Bryant Tenor Saxophone – Benny Golson Trombone – Henry Coker Trumpet – Dizzy Gillespie

Mine will be in the mail today or Saturday.

That's the kind of belt I use, and in my case they do take noass for an answer (with a side order of nohips). I think you're right. Pay the money to the right person.

Other than walk around with my pants around my ankles, that is. Surely I'm not the only guy who at certain age finds that, probably because my ass is melting way, virtually every pair of pants I own (jeans especially) no longer stays put as I walk around in a normal manner, no matter how tight I pull the belt. If suspenders are the only solution, I'll have to shoot myself. Any thoughts/solutions, other than I should just shoot myself?