Larry Kart

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?

Check will be sent shortly.

Better than I expected. Definite traces of Earl Bostic.

Then there's Weisberg's recording of Wolpe's most jazz-involved piece, the Quartet for Trumpet, Tenor Saxophone, Piano, and Percussion:

I'll listen when I have time, but the late Weisberg was a terrific conductor. His recording of Wolpe's Chamber Piece No. l for Nonesuch is one of the best of any piece of "modern music" ever -- locked in and on fire: He also did a heck of a job on Wolpe's Symphony -- not flawless (it's a live recording)but appropriately passionate: A girl I knew from high school, Carol Buck, was in the cello section on that one.

I should compare the Brandeis recording of Babbitt's "All Set" with the 1974 one that Arthur Weisberg did for Nonesuch. Also, FWIW, the flute player on the Brandeis concert, Robert DiDomenica, was an excellent composer in a very individual post-Alban Berg manner. http://www.bostonglobe.com/metro/2013/05/25/robert-didomenica-needham-composer-and-flutist-was-dean-teacher-new-england-conservatory/5ataKd4HauLh2K97Ez6xtL/story.html http://www.amazon.com/Robert-DiDomenica-Three-Orchestral-Works/dp/B00000DCRJ/ref=sr_1_2?s=music&ie=UTF8&qid=1370182844&sr=1-2&keywords=robert+didomenica http://www.amazon.com/First-Performances-Piano-Robert-Domenica/dp/B000005VXJ/ref=sr_1_3?s=music&ie=UTF8&qid=1370182800&sr=1-3&keywords=robert+didomenica There's also a piece by him on Spotify.

sgcim -- Yes, to Teddy Charles presence at Brandeis. Complete personnel here: http://www.discogs.com/Bill-Evans-Gunther-Schuller-George-Russell-Brandeis-Jazz-Festival/release/2148930 Whenever I hear that prancing, medium-up, walking-bass bassoon part, I come close to losing my cookies.

Quit in about 1980, smoke a pipe about five or ten times a year, mostly because I still have some nice pipes from 40 or so years ago.

The British have a term for things like "On Green Mountain" -- "twee" ("affectedly or excessively dainty, delicate, cute, or quaint)." And the awkwardnesses/contortions that Jimmy Knepper and Hal McKusick (on tenor) are subjected to! P.S. I like "Suspensions." Simple to the point of being a bit simple-minded but forceful --- an extended, doggedly-solemn shout chorus.

Me, too.

Ran across this video today, after looking it up a year or so ago. This guy's method works, but the video as a whole is a piece of stone American semi-insanity.

IIRC, I was there. I believe Chuck was, too, and that he may have played a significant role in getting/keeping things on the rails. I vaguely recall some behind the scenes turmoil, perhaps involving Al Haig.

One of his finest outings was Oliver Nelson's "Afro-American Sketches." http://en.wikipedia.org/wiki/Afro/American_Sketches

I really like these two, from 1979 and 1982 respectively. Fine work from original Savoy Sultans tenorman George Kelly, who says Francis, "played piano for Mamie Smith when he was 12 years old." Kelly also did an album around this time under his own name for Stash. It's a gem. http://www.amazon.com/Panama-Francis-Savoy-Sultans/dp/B003YWW7S4/ref=sr_1_17?s=music&ie=UTF8&qid=1369433648&sr=1-17&keywords=panama+francis+savoy+sultans http://www.amazon.com/Panama-Francis-Savoy-Sultans-Grooving/dp/B004C3MOZ0/ref=sr_1_2?s=music&ie=UTF8&qid=1369433527&sr=1-2&keywords=panama+francis+grooving Kelly album ("Plays Don Redman"): http://www.musicstack.com/item/1097522 http://www.ebay.com/itm/33RPM-Vinyl-JAZZ-record-George-Kelly-Plays-Don-Redman-Stash-ST240-Mint-Minus-/330819322585?pt=Music_on_Vinyl&hash=item4d065e42d9 Kelly ((31 July 1915–24 May 1998) gets a chapter to himself here: http://www.amazon.com/Mainstream-Chip-Deffaa/dp/0810825589/ref=sr_1_1?s=books&ie=UTF8&qid=1369434463&sr=1-1&keywords=0810825589