Larry Kart

Afetr all this time, do we not know the forum rules about linking to bootlegs? In a short while, this thread goes bye-bye.

That's it.

In case anyone really wants to know about "fair use" and not throw it around like a slogan (like so many people do with "free speech"), here's a link -- get it, a link? -- to a very useful guide through the morass: http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter9/index.html

He had been admonished many times, has agreed to never do it again at least once, and has not AFAIK been threatened with banishment until now. (Banishing someone, you should know, is not something I can do myself; that's Jim's decision.) As for 'the policing of this rule being inconsistent," the moderators, despite what you may think, are human beings who have lives to live outside the boundaries of Organissimo, and thus we can't monitor every damn thing on a board that is brimful of posts everyday. We go on what we see ourselves and also rely on the reports/complaints of board members. Speaking for myself, the latter is the case at least half the time. Speaking for myself again, each of Aloc's missteps (or what you will) is like having a toy poodle drop his little craplets on your lawn twice a week while its master stands to one side, either lost in space or with a sly grin on his face (who can say?) It's not the biggest crime in the universe by far, but if you've been enough of a fool to accept the moderator role, it make you wonder what the f--- you're doing and why the f--- you even bother. Welcome to 2012, I guess.

In December alone, Aloc (who is a he) posted copyrighted articles in full seven times. Each offense may or may not seem trivial; the accumulated record of indifference/refusal to pay attention/whatever the hell is going on here -- this despite being warned and having agreed to abide by the forum rules -- is not.

Alocis -- You were warned not too long ago about posting entire articles, which is contrary to forum rules (and that was far from your first offense). You said you would never do that again; you just have. Tell us why you should not be banned from Organissimo forthwith.

My ballot in what used to be the Village Voice Jazz Poll (full results will be posted on Rhapsody.com the second week of January): Best New Releases 1) Warne Marsh-Ted Brown, "Live in Hollywood 1957" (Marshmallow) 2) Anthony Braxton-John McDonough, "6 Duos (Wesleyan) 2006" (Nessa) 3) Roscoe Mitchell, "Before There Was Sound" (Nessa) 4) Chet Baker, "The Sesjun Radio Shows" (Out of the Blue) 5) Les Rois du Fox-Trot, "Fireworks" (Stomp Off) 6) Allen Lowe, "Blues and the Empirical Truth" (Music & Arts) 7) David Binney, "Graylen Epicenter" (Mythology) 8) Bill Carrothers Trio, "A Night at the Village Vanguard" (Pirouet) 9) Alex Sipiagin, "Destinations Unknown" (Criss Cross) 10) Nick Mazzerella Trio, "This Is Only a Test" (Sonichla) Best Reissues 1) Julius Hemphill, "Dogan A.D." (International Phonograph) 2) "The Complete Jimmy Lunceford Decca Sessions" (Mosaic) 3) Von Freeman, "Have No Fear" (Nessa) Best Vocal album No choice Best debut CD No choice Best Latin jazz CD Alexis Cuadrado, "Noneta Iberico" (bju records)

Haven't heard that much of him (some on record, live last year with a small ensemble at the Chicago Jazz Festival (which was grim). Neither his pieces nor his playing have struck me as memorable by the standards of any ragtime composer I'm aware of. Probably the story behind Robinson's McArthur is the same as is the case fairly often there, or so it seems -- he's basically a human-interest story, plus for him there also was the home-town element.

Not wholly pertinent to your question, but this excellent Lee Konitz album, mostly with Swedish musicians, includes a "Lover Man" with the Kenton Orchestra from a concert in Sweden that is an out-of-body experience: http://www.ebay.com/itm/Lee-Konitz-Sweden-1951-53-RARE-Jazz-Vinyl-LP-Dragon-/400058309940#ht_1370wt_700

There's some beautiful late Leggio on this Eddie Bert album (though he takes even better solos there than the one on this track): http://www.youtube.com/watch?v=E9nGBYPcf1g

You might have better luck if you spelled his name correctly.

Not that representative of Leggio at his best, I think -- too fast for his melodicism to really shine though. He was a lovely swinging player.

Chewy -- Your dyslexia leaves me sturned.

Also, "Don't touch the mikes!"

We don't do bootlegs here.

Not particularly, to me.

Nicely put, but one man's creepiness in another man's... But then there's the story that someone recently told us.

And why do you think that romance and creepiness are mutually exclusive?

Formulaic, yes, but I like the formula, in part because it speaks to me so clearly of its time. How old where you in 1958? I was 16. Sounded romantic to me then.

Maybe I'm an idiot -- no, don't answer that -- but I find Kenton's own charts on the 1958 album "The Ballad Style of Stan Kenton" (if they are indeed his charts, as billed) to be seductive and intriguing, though one of the chief points of interest for me, the flowing, slow-motion writing for sax section, may owe or may not a debt to the Ralph Burns of "Summer Sequence" and "Early Autumn." Not a masterpiece, but the work of a significant and AFAIK individual voice. The Kenton "sensibility," if you will, counts for something -- however disparate (bombast-aggression, pretentiousness, Graettinger, ballroom 'tenderness," Holman-esque swing, et al.) its various parts may be. Take away Kenton from his time, and it wouldn't have been that time. The cultural historian in me takes account of that.

Excellent Glasel here from 1959, and the Westchester Workshop portion of the program, also from 1959, is fascinating, too: http://www.freshsoundrecords.com/the_westchester_workshop__the_john_glasel_brasstet_-_rare_studio_recordings_by_two_outstanding_jazz_ensembles-cd-3547.html

If the music's any good, I usually find myself closing my eyes while listening.

Hildegarde!

Johnny Richards was a "buffoon"? I'd say, instead, that he had an often maniacal sense of humor, though I do vastly prefer his writing for his own bands to anything he did for Kenton, even to the movement of "Cuban Fire" that has that lovely Lucky Thompson solo.