Larry Kart

His sound and time (everything about him, actually) has a lot of personal knots and whorls in it. He could be a nice test case of the difference between being quite personal and expressive within a more or less given style and not being that way -- a test case because what makes Kindred so personal and expressive, so himself, will not be familiar to most listeners, while most others who are personal and of his vintage (or younger) will be recognized up front and this probably will influence one's judgment.

Interesting player, to say the least. That "Sunburst" album with Henderson is a gem -- as you say, some of of the best Henderson there is.

Ordered and just got his Milan label album as a result of Allen's initial post. Very fine -- thanks.

It ain't literally HIP, but the best I know is Gidon Kremer on ECM.

Can't count this as a great game because all the Ranger pitchers after Holland left the game looked like they had some significant degree of fear in their hearts (though Feldman overcame that until he didn't). Yes, the Cardinals who got those hits got those hits, but those Ranger relief pitchers seemed to me to more or less spit out the bit, which for me removed this game from the "titanic struggle" category. Still hoping the Rangers win. Too much about the Cardinals I don't like, starting with those evil zombies LaRussa and Dave Duncan.

That was weird.

I know what you and the Indian percussionist are referring to about "Sound," but having heard that music at the time, and in the context of live performances by those musicians, I never felt any amatuerishness or even "chaotic looseness" there; rather, the sheer will, skill and precision involved seemed striking in itself and by comparison to a lot of other music. This I think is especially true of "Ornette" and "The Little Suite" -- not a wasted motion anywhere (that I can hear). A possible exception would be Maurice McIntyre's solo on "Sound," which does have something of a jumping off a cliff quality, but given what he achieves....

I'm kind of glad that I got the Chu Berry set, for Chu, but as the liner notes point out in frustratng detail, the Calloway band often was in poor, half-assed shape in the recording studios. The contrast with the how the Lunceford band plays on that great Mosaic set is almost shocking, but then the Lunceford band was something else by any standard.

Fascinating post, ep1str0phy.

Stephan Fetich had that problem.

Nothing representative by Rigby on YouTube, just some conventional sideman big-band crap, but his entire album "The Sage" (2008) can be found on Spotify, featuring the same group I heard but with Gerald Cleaver on drums.

Funny you should mention Trentham because my old friend (since high school) Bob Chatain (spent a lot of time with him in NY, as I always do) was an good amateur drummer at Columbia U. back in the '60s (modeled himself on Jimmy Cobb), and their regular sessions really came together when Cameron came on board. Bob has often told me what a terrific player Trentham was, but he seems to have vanished from sight many years ago.

I'm back. Was in NYC. Caught some fine music, especially tenorman Jason Rigby at the Jazz Gallery with Russ Johnson (tpt), Mike Holober (pno), Cameron Brown (bs), and Mark Ferber (dms). Also caught vibist Chris Dingman at the Cornelia St. Cafe. Nice but a bit bland for my tastes. And I hate the Cornelia St. Cafe. One problem with jazz in NYC is too many clubs are run by arrogant assholes who seem determined to alienate their customers.

I'm a fan, almost without reservation. Yes, WW does have an intervallic "system," but it seems to consistently inspire him, especially rhythmically, which one wouldn't necessarily expect. I would never think of WW as being related Eric Alexander, other than that they play the same instrument.

until I get back.

Not the best player but the best name. Conrad Gozzo is OK name-wise, but he's no Lyman Vunk IMO. I mean if we didn't know Gozzo's playing, that might be the name of some lounge lizard with a pencil moustache, but Lyman Vunk has to be a guy who weighs at least 250 lbs. and has a neck as wide as his shoulders.

The late Nelson Hatt had a good name for the job, too.

Leyland and Washington sure are a pair of old coots.

For certain Chris Albertson is older than I am, but is he the oldest here?

Lyman Vunk (with Charlie Barnet and others -- even better if he played lead)

Sorry, Jack. Just a guess because I know you've been around for a while. BTW, who among us here is the oldest? I'm 69 -- surely it can't be me? Ted O'Reilly, perhaps?

More brilliant Pepper and Marsh, from Ted Brown's "Freewheeling" (Ted doesn't solo on this track): http://www.youtube.com/watch?v=eMhsHhDtsxY Bill Perkins and Pepper (the balance of Art's solo):

From "Smack Up": Staggering Pepper and Warne Marsh from 1956 (their exchanges at the end!) http://www.youtube.com/watch?v=vU2tDmTM8M0&feature=related

Simply because there aren't that many people on Organissimo who are old enough to have heard that band? Stereojack perhaps. As for early and late Pepper -- several things. First, truly mature Pepper doesn't arrive until the mid-1950s, by which time he'd been a figure of some note for a good while with Kenton. Second, IMO the perilous equilibrium that Pepper reached from then until his incarceration in San Quentin (on the Tampa Quartet album and "Smack Up" on Contemporary, to name two favorites he recorded as a leader) is enough to make him a jazz immortal. Finally, moved though I am by some of the more overtly expressionistic post-return Pepper, and as much as I understand the necessity for him of what he was trying to do during those years, no way that compares to what he achieved on the Tampa "Besame Mucho" and "I Surrender Dear" (both of which can be found on You Tube). http://www.youtube.com/watch?v=9INTajBBis8 http://www.youtube.com/watch?v=VV8-h8HhvQM

Saw him many times. Standard Stitt mostly, but as I mentioned earlier on this thread, I caught him once with Mal Waldron in the rhythm section and Stitt paying attention to Mal's motivic comping, and that was something else. I had a nice between-sets conversation with Mal, too.