Larry Kart

"P.S. On that interception....there is no evidence at all that it actually would be considered one from any angle anyone can find for it. Was it amazingly athletic, yes....was it really an interception?" College rules are that for an interception/reception one needs to have only one foot in bounds, not two as in the pros. You can't see that that's the case here?

The leading candidates that year (hey, why not Ryan Leaf?): http://www.sports-reference.com/cfb/awards/heisman-1997.html A Peyton Manning versus Woodson debate (click on those Woodson highlights, especially the interception): http://www.lostlettermen.com/did-peyton-manning-deserve-97-heisman/

Actually, I was comparing early '50s McPartland and early '50s Carroll. I agree with you about later McPartland and later Carroll.

Saw him play at the U. of M. He was something else.

I use Safari. And the problem I mentioned just cropped up yesterday or the day before. But maybe the answer is to just ignore the way the words break in the reply box because I see from this post that they don't come out with wrong word breaks in the actual post.

Has there been a change? When I type now, words break in the midst of words if they're at the end of lines, and when I hit the return key to prevent those wrong word breaks, the resulting post is full of short lines.

Listened to some of the RCA material, Jim, and while I much prefer it to the later Carroll, I doubt it would be for you -- my sense that she's precise and delicate might be your precious and finicky, and while I too normally would be in your camp along those lines, I can't quite say so far why Carroll often tickles/interests me. In part, it's that her touch is so nicely graded that one can't (I can't)tell where,for her, in the mix of touch/dynamics, harmonic vocabulary (somehow, at once adventurous and chaste), time feel, keyboard layout (this is big for her), etc. one element leaves off and the other begins.

IIRC she sings on a few things from the RCA period, but only a few.

Clifford Brown's solo on "Pent-Up House" from "Sonny Rollins Plus 4." There's one of Clifford's patented burbling grace-note passages there that I used to play over and over it was so damn joyful, even ecstatic. Here it is, beginning at 1:38 (actually the whole solo is like honey from the comb): Added: BTW, IIRC I suggested to Martin Williams (I think he asked for some advice on a few things when he was assembling the original Smithsonian set) that he use this track.

No, not in the Bud Powell sense. But more agile, or more to my taste, than say (to pick a name out of my moth-eaten Be-Bop beret) Billy Taylor? I mean, they're both arguably too clever for their own good at times, but Carroll seems less formulaic to me. I'll listen again when I get a chance and try to amplify if I can. Also -- and I don't bring up this name for the obvious reason but just because I picked up an album of Hickory House-era Marian McPartland a while back-- comparisons to contemporary or a bit later Carroll are much to Carroll's favor IMO. McPartland's boppish gestures are more or less gestures at that point, laid on top of other stuff; Carrol thinks and feels from within the bop sensibility and in a personal manner. Yes, it's a "light" manner by and large but genuine, intelligent, and again it bears the imprint of her own soul.

Don't forget Herbie's Chicago mentor Chris Anderson, who probably was the filter for Herbie's interest in Farnon and Riddle (Herbie may even have said that in an interview; Anderson was drenched in the world of film and vocal scoring). In any case, Anderson's trio recordings for Jazzland and VeeJay need to be heard with that in mind as well as for their own lovely virtues.

per a link by Marc Myers: http://www.youtube.com/watch?v=HgWwvaBeXf0

I bought the Richter, even though I have a lot of those recordings, just to get his Berg Chamber Concerto, a recording I've never been able to track down and that I've been told is superb.

Yes. I like her vintage '50s RCA-Victor work, even bought a box set of it; she had an agile mind and fingers. The later stuff, the little I've heard of it, I didn't care for -- cabaret disease. The box set (but I sure didn't pay that price for it): http://www.amazon.co...barbara carroll

Some very nice KD here, good Cannonball, too: http://www.amazon.com/Blue-Spring-Kenny-Dorham/dp/B000000Y7S

I have positive memories of Paul Oliver's "Blues Fell This Morning": http://www.amazon.com/Blues-Fell-This-Morning-Meaning/dp/0521377935/ref=la_B001HPFYHG_1_3?ie=UTF8&qid=1361759718&sr=1-3

Prince Lasha/Sonny Simmons "The Cry," with Gary Peacock and (on some tracks) the otherwise unknown (to me) Mark Proctor -- a lovely team who contribute much to a lovely album, along with drummer Gene Stone.

Until about ten years ago, I could never get more than a few pages into any Dickens book. Apparently, as I got older, someone changed the content of the books as I enjoy them now... Same thing happened with me about eight years ago with Trollope. Beginning with "The Eustace Diamonds" -- a lucky choice because the central figure, Lizzie Eustace, is such a fascinatingly detailed and psychologically plausible (by any standard) "monstrous" character that the notion that Trollope was complacent or a fuddy-duddy was instantly erased. Since then I've read a lot of Trollope with unfailing pleasure; he's one of the greats IMO. I'd read "Barchester Towers' in college because I had to and had no clue at the time; Trollope's probably not for guys in their early 20s. BTW, if anyone thinks of Trollope as too genteel to deal with the rougher/uglier sides of human life, the Lucinda Roanoke-Sir Griffin Tewitt subplot in "The Eustace Diamonds" is an eye-opener. Roanoke, a very athletic, somewhat mannish young American woman of means whose aunt is trying to marry her off to a titled Englishman, attracts the attentions of the seemingly eligible (by the aunt's standards) but brutish Tewitt, who is well aware that Roanoke, who detests most men, detests him in particular. But this is just the sauce that Tewitt's emotional-sexual tastes require -- well aware of Roanoke's feelings toward him, what he most wants to do is to dominate and figuratively, legally (even literally if it comes to that) rape her. And Trollope doesn't flinch in the telling or the resolution.

Turk Mauro story (don't know if it's the same incident): http://www.browardpa...s/the-underdog/ Good player IIRC.

Several from Baikida Carroll's "Marionettes on a Wire" (Omnitone), rec. 2000. Nice band: tenor saxophonist Erica Lindsay (new to me), pianist Adegoke Steve Colson (in adventurous form), bassist Michael Formanek, drummer Pheeron akLaff.

Hans, one of nature's noblemen.

Same. At the Plugged Nickel I was trying to set up an interview with Wayne Shorter, and Miles said hoarsely from across the short wall of the club, "Don't tell him anything, Wayne!"

Dickens' "Our Mutual Friend" Never got into Dickens before, but this one is doing it for me.

Sorry -- I deleted the wrong thread. Don't know how to repair the mistake. OK -- I restored it. Or did I? Help.

I heard Farlow in a club for the first time rather late in his career -- maybe mid-1980s -- and while quite familiar with his recorded work over the course of his career to that date, I was bowled over by near-incredible rhythmic fluidity (yes) of his playing, plus the inseparable-from-this rush of brilliant harmonic and melodic thinking. The first thought that came to my mind was Tatum-esque; the second was, again a la Tatum, that at times I barely could take in all that I was hearing. I say this BTW in full awareness that Farlow does have time problems on some of his Concord albums that preceded the engagement that I attended. Go figure.