Larry Kart

Got mine today -- great. Speed correction especially welcome. Fine liner notes. And the music!

I showed this thread to a musician friend of mine and he pointed out that you probably confused Larry Ridley with Larry Gales. According to Robin Kelley's bio, Gales was nursing an injured hand and Steve Swallow filled in for him. I believe that it was about four years later that Larry Ridley joined Monk's group. Right. But all us guys named Larry look the same.

I don't get the impression from my friend the chocolate-cake fanatic that the above is true. Her approach -- and I've observed her at it -- is highly empirical; nothing comes out quite the same twice. I'll ask my chef friend to explain what he thinks the differences are.

Actually, no. As someone who is a very good cook explained to me, cooking and baking are two very different worlds/mind sets. That may be why most upscale restaurants have a chef and a baked goods person (whatever the term for the latter is).

It was baked for me, by a woman who's obsessed with making the perfect chocolate cake. I think she got it.

Me, too. "Easy, Don't Hurt"!

Good birthday. Best piece of chocolate cake I ever ate.

:tup

A number of vintage recordings by the late Adelaide, Australia-based Trad (for want of a better term) composer-bandleader Dave Dallwitz are sublime, particularly his "Ern Malley Jazz Suite" and "Gold Fever," both on Swaggie, both seemingly hard to find these days, though you might have some luck in Oz. Dallwitz was a composer in the Morton class -- I'm not kidding.

The eccentric George Handy at his most interesting: http://www.amazon.com/Pensive-George-Handy-His-Orchestra/dp/B000N2H8HI/ref=sr_1_2?s=music&ie=UTF8&qid=1337265230&sr=1-2 Great album, but in its own sphere I wouldn't say it's overlooked... Right, but there a lot of people who are out of that sphere who would be knocked out by it, I think.

Very good Lion, unbelievable Luckey Roberts: http://www.amazon.com/Luckey-The-Lion-Harlem-Piano/dp/B000000XOA/ref=sr_1_1?s=music&ie=UTF8&qid=1337262349&sr=1-1

Thanks, all. I'm told that 70 is the new 50.

Interesting -- OTOH that passage sounds so Wayne-like, but it is a modified quote, right now I hear as much or more "Out of Nowhere" in it as I do "Beyond the Blue Horizon" (i.e. in what Wayne plays, not in the Star Trek theme). BTW, check out Jeannette McDonald's rather alarming recording of BBB; she owned the song: http://www.youtube.com/watch?v=1lz4kLiuPf4

Oliver Nelson's "Afro-American Sketches" doesn't seem to get the credit it deserves, aside from an enthusiastic LeRoi Jones (or was it A.B. Spellman?) review in Kulchur when it first came out. Substantial soulful compositions, strong solos, stunning work by the ensemble.

Ah, yes -- 1625. Who could forget it: Mar 27th - Charles I, King Of England, Scotland & Ireland, ascends English throne Apr 4th - Viceroy Frederik Henry marries Amalia countess von Solms-Braunfels Apr 7th - Albrecht von Wallenstein appointed German supreme commander May 1st - Portuguese & Spanish expedition recaptures Salvador (Bahia) May 1st - Prince Frederik Henry appointed viceroy of Holland May 11th - Boers besiege Frankenburg estate in Upper-Austria May 15th - 16 rebellious farmers hanged in Vocklamarkt Upper-Austria Jun 2nd - Prince Frederik Henry sworn in as viceroy of Holland/Zealand Jun 5th - Spanish troops under Spinola conquer Breda Jun 13th - English king Charles I marries French princess Henriette Aug 6th - Earl Earnest Casimir appointed as viceroy of Groningen Aug 16th - Earnest Casimir of Nassau-Dietz appointed viceroy of Drenthe Sep 13th - 16 Rabbis (including Isiah Horowitz) are imprisoned in Jerusalem Sep 24th - Dutch attack San Juan, Puerto Rico Oct 8th - Admiral George Villiers' fleet sails from Plymouth to Cadiz Dec 9th - Netherlands & England sign military treaty Also, I love it when ruses open their legs.

I defer to the experts, but I still dig it -- and on rhythmic/phrasing grounds.

Should have said that I meant his time before the doubled-up section that begins at about the .43 mark -- after that it does get hectic, although probably on purpose, in the name of musical fun as it was then conceived. If you've got problems with how George is playing before that, I don't hear any. In particular, the way he leans into/sort of slurs and glides through the title phrase seems marvelous to me.

Same performance, better sound, no video though:

Whoa -- it's $95!

Same here! He's good. With his music, I see the piano as an expressive tool divorced somewhat from Tradition, but with energy and soul to spare. He's also a very nice person. Plays with Mike Watt (Minutemen)! Does being divorced somewhat from tradition mean that he (or any of these out cats) have to be subsidized in some way to make up for that? Can they stand on their own feet? Am I being too harsh? Q Have to be subsidized, no -- IMO. Should be, yes -- on a selective basis. Factors involved would be the actual quality of work (this to be judged in the usual crapshoot manner, but fingers-crossed, as soundly as possible), how costly specific ambitious projects might be, etc. Why any of this, you ask? Because over my almost life-long contact with jazz (57 of soon to be 70 years), such artists have been of great value to the world at large, whether or not the world at large knows it. Further, if I'm right about that, and if such figures need or can significantly benefit from subsidized support but don't get it, then some/much/maybe all? of what we otherwise would get from them and benefit from, we would not get. It would be lost, at a cost that can't of course be quantified, but I think it might be immense.

Roebke Octet was excellent. Personnel was: Josh Berman Mars Williams Keefe Jackson Matt Schneider Jason Roebke Jason Adasiewicz Mike Reed (But that's only seven; Jeb Bishop must have been on the road.) Band sounded tightly rehearsed, the unannounced original pieces (I assume all Roebke's) all swung hard, except for one slow-motion ballad. Exceptionally striking was a medium tempo piece that sounded like a Monk-Dameron collaboration -- maybe two-thirds the former, one third the latter, and as solidly put together as the proverbial brick outhouse -- with daunting changes that were not an obstacle course but in effect traced out a subsidiary melody. Guitarist Schneider took a long, soberly brilliant, very linear solo here; his playing throughout the first set was striking, as an accompanist as well as a soloist. Wish he'd get a chance to get something of what he can do on record; my stored-in-my-memory collection of top notch Schneider is a large one; he's special and unique. Jackson was in fine form, too; more straight ahead at times than he usually is, which fit the material, though I certainly like him when he's not straight ahead.

Like "Na -BOH-kov"

I thought Allen's point was that Cecil's verbal behavior was affected by the degree of respect he felt for the person he was talking to, not for the degree of respect that the other person demonstrated toward him. Not the same thing or theme, no?

Probably the Jason Roebke Octet at the Hungry Brain: Josh Berman Jeb Bishop Jason Stein Keefe Jackson Matt Schneider Jason Roebke Mike Reed (But that's only seven?) Usually, it also includes either Mars Williams or Dave Rempis on saxes. Jamie Branch will also be there sometimes instead of Berman.

FWIW, that's Peter Kostakis and Art Lange.