Larry Kart

Hard to believe.

Look for it under the name on YouTube.

Another county heard from -- the original SM recording, with Richard Williams and Jaws(!) and a nice exposed passage by Jimmy Cleveland in the ensemble:

Didn't say that he hadn't made his mark before then, but yes to your citation of Iverson's phrase.

FWIW -- I found this 1995 Burrell album to be quite a snooze-inducer: http://www2.concordmusicgroup.com/albums/Lotus-Blossom/

http://www.wolpe.org/page10/page10.html#John Carisi Click "Back to the top" and you'll find lots of other interesting interviews about Wolpe, including ones with George Russell and Bill Finegan.

Here's where the problem is: No one knows who the fuck you are. So saying "yes I can" just makes you an internet tough guy with nothing to back it up. You'd be better off making your criticism and leaving it at that. Or telling us who you are and pointing us to <i>your</i> record with the superior version of "Stolen Moments". When you tell us who you are, I'm sure we'll be able to see that you're the modern-day KB, having racked up dozens and dozens of sideman gigs, where your particular bag is always technically perfect. sgcim --What do you think of Eddie Higgins' version of SM? http://www.youtube.com/watch?v=tDt11RY9CfM

Beautiful recording job, lovely music. I particularly like the knitted-together feel of the band and each piece, the sense that it all "speaks." Jim is just a genius with voicing the Hammond (if "voicing" is the right term for that), Randy is at once slick, soulful, and utterly relaxed, and Ralph is right in there. Food for the soul.

"..cool progressive, you dig?" I think Jones said. Oh, boy.

I'm grateful to those Bill Stewart dates for introducing me to the wonderful pianist Bill Carrothers.

Also, see p. 21-22 here (put Skrontch in the search box) about the origins and nature of the piece (an Ellington number): http://www.amazon.com/Duke-Ellingtons-Music-Theatre-Franceschina/dp/0786408561/ref=sr_1_1?s=books&ie=UTF8&qid=1362257683&sr=1-1&keywords=Duke+Ellington's+music+for+the+theatre

FWIW, Fats Waller's recording of "Skrontch":

Yeah -- that, too.

http://www.youtube.com/watch?v=EEanhqHKkuk Don't know why there's an image of Hall and Joe Pass on the above clip.

Chuck Wayne/Joe Puma "Interactions" Very good IMO. http://www.amazon.com/Interactions-Chuck-Wayne/dp/B006I01KFA Another guitar duo, Jim Hall/Pat Metheny http://www.amazon.com/Jim-Hall-Pat-Metheny/dp/B00000IFTK And another -- Eddie Lang/Carl Kress:

I don't particularly like (or perhaps that should be trust) the frequency and amount of what might be called "skrontch" (sp?) in his playing here, but there's certainly a good deal of agile thinking involved.

Try obvious flashy head-banger...not too much "bluesiness" to it all...but he insists that Miles insisted that he play that way, and like I said, I have no problem believing that so. "obvious flashy head-banger" -- right.

Something got lost in translation! There must be NO bass, NO drums, and probably NO piano.... Oops -- sorry. I'd just gotten up.

Mike Stern -- now there's a nightmare example of (dubious IMO) overt blusiness. About the tunes on this album, I liked some of them a good deal. Quirky and in some cases Ornette-ish, I thought.

Lucky Thompson trio recordings with Oscar Pettiford and guitarist Skeeter Best. Glorious.

Just curious, do you hear Scofield's note bending as being a manipulation of pitch, timbre, or both? Almost certainly both -- but then I'm thinking of stuff I heard Scofield play in person a long time ago, not much, if anything, that I have on record of his AFAIK.

The only Scofield albums I own are "Meant To Be" and "Quiet," both of which I like but which may give me a distorted picture of a guy who has recorded lots and lots of things. Very early on, in the mid or late '80s, I reviewed him in a club, and that's where I heard and was put off by what seemed to me to be the overt bluesiness. I just don't in general care for what strikes me as obligatory note-bending and the like -- obligatory in that what I think of as (or what ought to be) tokens of strong emotion are being slathered all over the place in a semi-arbitrary manner.

Just listened for the first time to this 1993 disc (with Steve Swallow and Bill Stewart) and was pretty much blown away by the intensity and focus of everyone's work here. Not being that well-versed in either of the co-leaders' musics (I enjoyed early Metheny -- interviewed him once, a great guy -- but didn't much care for much from his working bands; have tended to distrust what seemed to me to be the overt bluesiness of the little Scofield I know), I wonder what those who are well-versed in Metheney and Scofield think of this one.

&nbsp; I know the rule difference. My point was you can't even see if that foot was inbounds. But was there any doubt in the announcer's call, any controversy about the play?

Thinking again about my visit yesterday to RCA Carroll, her feel for '30s-'40s standards (e.g. "My Funny Valentine, "Autumn in New York") was exceptional. She improvised on them from the "inside" so to speak, never jazzing them up (this might account in part for Richard Rodgers beingone of her fans) but again really improvising. That approach was especially intriguing on ballads, where her tempos often were quite slow but forward momentum at those tempos was always sustained, melodically and rhythmically, with sotto voce lines often ascending to the upper register and being sustained there for longer than one would think possible; all this having (pardon the imagery) a sort of frost on the windowpanes effect.