Larry Kart

Almost certainly they were worked out beforehand.

Perfectly, natch. Actually, while I don't dislike much of anything that I liked back then, I do like some things now that I eventually turned my back on in the mid- to late-'50s -- e.g. a fair amount of things that bore (and probably deserved) the West Coast Jazz label and the roughly equivalent contemporary products of the East Coast studio scene, e.g. stuff that paired Hal McKusick and Art Farmer, charts by Manny Albam, etc., etc. All this, again, without giving up on the Blakey, Silver, Rollins et al. that led me to turn up my nose back then at the aforementionend more "polite" stuff. Further, I haven't given up on any of the Jelly Roll Morton-up-to-bop music that I loved backed then and have added a fondness for many of the popular Swing Era bands that I used to be a bit snotty about without much real knowledge or understanding e.g. Tommy Dorsey.

Trader O's with boysenberries and milk, Splenda on top.

Mike Reed, Matt Bauder, Jeb Bishop, and Matt Schneider last night at The Hideout. Before, one of the bandmembers told me that they'd been in the studio for three days and still hadn't figured out what they were doing to his satisfaction -- free improv on a dance-tune base, it seemed, with Reed the leader providing sketches of the dance bases. Well, they sure got it together on the stand last night. Very coherent and sometimes explosive, Bauder in great form on tenor and clarinet, careful listening by everyone in what one has come to expect as the Chicago Scene manner. Kudos to all but especially, I would think, to Reed for assembling these four guys, whom I don't recall playing together much it at all before, other than Bishop and Reed. Of course Bauder isn't around to play with these days, unless he's here on a visit. He's always impressed me as a kind of latter-day Shorter -- at times in terms of sound but mostly in terms of spirit, the early Shorter, the Masked Marauder.

Now that I think of it, "That's All" is a nagging tune.

Closing the circle: Far from comprehensive Amazon search yields two other contemporary covers of "The Outlaw," neither of which I've heard. Joe Chambers: http://www.amazon.com/Outlaw-Joe-Chambers/dp/B000E40Q6K/ref=sr_1_9?s=music&ie=UTF8&qid=1333543717&sr=1-9 Danny D'Imperio: http://www.amazon.com/The-Outlaw-Danny-Group-DImperio/dp/B00000JFRP/ref=sr_1_1?s=music&ie=UTF8&qid=1333544183&sr=1-1 The Chambers is a Latin version -- sounds interesting but hard to compare with others. Deep's band, as one might expect, just nails it. Got to get that album.

"More importantly probably, the whole hard bop rhythmic language and feel of the '50s/'60s is just very, very difficult to reproduce..." Sure is. Just listen to the Davis Quintet play "Tadd's Delight" and imagine any group of players today getting that feel.

Lee can play anything. I once heard Roscoe Mitchell and Maurice McIntyre play the crap out of "Happy Birthday" and not at all in a joking manner. P.S. I see that Colin and I think alike.

There's a very nice version of Silver's "The Outlaw" on the SF album. Did anyone else ever cover that excellent composition? Two nice covers of "The Outlaw" come to mind: Trumpeter Brian Lynch recorded it on "Peer Pressure" (Criss Cross) in the mid' 80s with Ralph Moore, Jim Snidero (out on this track) Kirk Lightsey, Jay Anderson and Victor Lewis. http://www.amazon.com/Peer-Pressure-Brian-Lynch/dp/B000A1QMSI/ref=sr_1_23?s=music&ie=UTF8&qid=1333476135&sr=1-23 It's on youtube here: Then there's the Blue Note 7, a band formed in conjunction with Blue Note's 70th anniversary in 2009 (Ravi Coltrane, Steve Wilson, Nicholas Payton, Peter Bernstein, Bill Charlap, Peter Washington, Lewis Nash.) I thought the studio record they made was dull, but "The Outlaw" was one of the stronger tracks. More interesting: I heard the group live after touring for a while with the material and by then it was animiated, loose and a lot of fun. Here's a taste of their "The Outlaw" from youtube. Don't care for either of those versions. Like Dameron's "Tadd's Delight," with its similarly shifting accents, it's a hard tune to get right rhythmically, and Horace and Louis Hayes do both times -- on the original recording with Art Farmer and Clifford Jordan and at Newport in 1958 with Blue Mitchell and Junior Cook. Indeed, by comparison with Hayes, the normally fine Victor Lewis sounds quite "off" and jumpy to me with Lynch's group -- perhaps through lack of enough rehearsal time. Also, particularly on the original recording the horns get a lovely "glide" feel going; the accents are hit but also are somehow sort of slid into/rounded off. I think that's what the piece calls for. Horace was something else.

Handsome "Someone" by Brookmeyer here, followed by Zoot's lovely "My Old Flame": http://www.youtube.com/watch?v=1M0adkRMFP0

A Child is Born It's like jazz's Send in the Clowns or even its Feelings

I agree, but I've heard at least two interestingly varied remakes by Shearing himself (a Latin interpretation on his live from San Francisco Capitol album, another on Telarc) -- he of course being quite aware of the need to shake up the recipe. That particular Capitol edition of the quintet was tasty BTW -- Dick Garcia, Warren Chaisson, Al McKibbon, and Vernel Fournier. Particularly nice to hear Fournier in a context other than Jamal, and Garcia could really play. There's a very nice version of Silver's "The Outlaw" on the SF album. Did anyone else ever cover that excellent composition? Oops. This is the correct personnel for Shearing's "San Francisco Scene" (Capitol ST-1715): Shearing (p), Warren Chiasson (vbs), Dick Garcia (g), Wyatt Ruther (b), Lawrence Marable (d), Armando Peraza -1 (congas). Recorded Live at the Masonic Temple, San Francisco, April 28, 1960 The Be-Bop Irishman I'll Be Around - Jumpin' With Symphony Sid - Cocktails For Two -1 - Lullaby Of Birdland -1 - The Outlaw - When April Comes Again - Monophraseology - This Nearly Was Mine (solo p) - My New Mambo -1 -

Don't forget Moe -- Roger Kellaway.

I really dig the Helen Merrill/Dick Katz version of Lonely Woman. Much to "arty" IMO.

I'm not as down on the bossa nova as some here, especially when the songs are performed by Brazilians (especially the songwriters themselves), but "Chega de Saudade" ("No More Blues") and "The Theme from 'Black Orpheus'" can be hard to take.

The original recordings of "Lonely Woman" and "Ramblin'" are great, but I can't think of any non-Ornette ones that are much good. The Joe Daley Trio "Ramblin'" is like a root canal, aside from Russell Thorne.

Many don't know the name of the piece, but this snippet from "Entry March of the Gladiators," the old circus band number that Gerry Mulligan used to end a lot of performances in the days of his sextet especially, was known to cause psychosis: http://www.amazon.com/Entry-March-of-the-Gladiators/dp/B007L16Q9A

Its heyday is long past, but at one point "Bernie's Tune" could make you scream. The same with "Lullaby of Birdland."

At one time I got very tired of "Walkin'" and "Bag's Groove," but you don't hear them that much any more. "'Round Midnight" performed well remains great, but performed by rote, which very often is the case, it's a drag. "Just Squeeze Me" in its vocal form gives me the willies. The same with "Don't Get Around Much Any More." "Footprints" has been played into the ground. Likewise with Dorham's "Blue Bossa." Perhaps it doesn't really count, but "The Theme." I'm a big fan of Horace Silver, but "The Preacher" wore out its welcome almost immediately IMO.

I actually heard the source version of Stella By Starlight (the 1944 supernatural film The Uninvited) prior to hearing a jazz version of it. When I first heard the Miles version from 1958 Miles I was like...oh yeah, I've seen that! The Uninvited is a fine spooky movie, and Stella fits the dramatic situation nicely. Another song that kind of grates on me is The Way You Look Tonight.

Stella by Starlight kind of grates on me. Also, When Sunny Gets Blue.

Your "desire for all this to come about" sounds kinda like a semi-political protest -- e.g. "my desire to rid my world of as much shit and bullshit as was not put here for me or by me or to be good for me but instead is here solely to serve somebody's notion of what my notion of what I should be should be." ( I'm reminded some, albeit in an inside-out way, of Bob Dylan's "...because something is happening here but you don't know what it is do you, Mr. Jones?") I admit that some music, or the promotion of said music, can have the effect of the sort of alien and alienating social nudging (or worse) that you dislike, but how this fits into "I look to hip-hop as a hope for it to be the 'popular' conduit for doing to metric texture and rhythmic dimension what Coltrane & McCoy did to tertiary harmony, and all the implications thereof" escapes me. Music can become a form of social nudging, but desiring/expecting music to (seemingly primarily?) fight back against social nudging (or worse)? Like that Dylan lyric, it reminds me of Woody Guthrie's "This guitar kills Fascists." No -- and new horizons in "metric texture and rhythmic dimension" don't kill them either.

I'm no expert here, but why does there have to be some meaningful musical-social relationship between hip-hop and jazz (of the past, present, or future) or between jazz and hip-hop? Is it merely/essentially because (to use Peter Pullman's term) they're both af-am musics in origin? If so, there are plenty of popular and artistically significant non-af-am musics that never had much (or that much) to do with each other (e.g. the waltz, Italian opera, Rembetika, Gamelan, Ragas, etc., etc., and no one got their panties in a knot over their "failure" to have musical commerce with each other. Of course, anyone is free to try if they themselves feel within themselves a viable musical reason to do so -- I think, for one, of what the members of Air did with ragtime way back when -- but otherwise? Or are we really talking about some blend of marketing and social engineering?

Dompan

Klemperer's recording of "The Magic Flute."