Larry Kart

A friend of my folks (the son of the eminent rabbi in their old neighborhood in Chicago -- my mother used to push this guy around in his baby carriage) is married to a woman whose first husband was Ron Popiel. She was a so-called hand model in her (so to speak) salad days, and the rest of her was pretty nice too, albeit in a rather lacquered style. Not to stray too far afield, but Ron's father Sam (in the same business) was the big deal Popiel when I was young. IIRC Sam and his son had a big falling out and went their separate ways, with son eventually eclipsing father in the national memory bank.

Good to see that someone other than myself has switched to suspenders.

Donald Clarke's "Wishing On the Moon" is, as Chuck said, one of the great jazz bios. It definitely helps that the author is a terrific human being. And damn smart too.

But it has stopped on this thread. If you're thinking that JSngry's long response about "soft jazz" and its real history was a form of bullying, you're way off base IMO. For me, it was among the most informative recent contributions to Organissimo.

Jim A. can disagree, but "say what you mean, mean what you say" should cover it, with this perhaps tricky footnote -- try to bear in mind who one is talking to. That is, the problem on this thread arose IMO because the odd specific circumstance of a newbie getting yelled at, with profanity right off the bat, could well leave the newbie with the impression that that is the tone of this whole place; and that we don't want to do, right? In effect, the first poster forgot that in this circumstance he might be regarded as speaking for all of us. Likewise (or not likewise exactly, but close enough for jazz), one pretty much knows who here can be provoked and in what ways and on what grounds. That doesn't mean don't ever provoke, because sometimes what people say arguably earns/deserves that, but it does mean at the least that disingenuousness about having said something that provokes someone ought to be out. And Lord knows we've seen lots of that, none of it IMO doing anything for anyone but eat up time and space and make it clear that some very smart people can act un-smart. Of course, one can at times provoke someone without intending to do so, but once the horns clash and the saliva starts dribbling, who can then claim not to get what's happened/happening? And why then not back off, unless one feels genuinely that what you said/meant was misunderstood and needs to be clarified? How many arguments that reach the level of butting-heads-in-the-arena ever go anywhere else? Or am I being a pompous twit about all this? Go ahead -- provoke me.

There were some 16 2/3 LPs on Prestige IIRC.

Jim -- Among many other things, you know how to take your time.

More well-covered than Cab's ass (see Chuck's post above).

How so? Anita sings it like this (all caps emphasizing how she accents, which is tricky in the first two lines but on the money, I think): There's not ONE boy for me - I must HAVE two or three, I need Four. First, the man who's the type to like slippers and pipe at the door. Then, IF at all possible I'd like the kind WHO's not very bossable But knows his mind. If you ADD to these few one that KNOWS how to woo dogpatch style Then this man of my world will be spangled and pearled with his smile AND though it's incredible I've found it's true That my four-in-one boy is nobody else but you. Lightweight perhaps, but I much prefer this to (in my no doubt minority opinion) Hendrick's usual over-wordy farrago.

Storage space and amount of sonic information that can be put on one, but what else that I'm not thinking of? I still believe that the properly recorded analog LP (or 78 for that matter? but my experience there is limited) with the proper playback equipment can sound as good as a properly recorded digital CD with etc. Some would say sounds better than, but I've never done the necessary scrupulous A/B comparisons, usually preferring to listen to music.

My brand of choice is Cherry Kijafa. Just before I hear nothing, I hear everything.

It's one of the albums I use to monitor the system when I feel like doing that for one reason or another. It's good enough so that things should sound like the band is right there in the room.

And I've seen people on the expressway, mostly women but also some men, combing their hair with both hands -- one hand combing, the other smoothing/patting things down. Also, of course, I've heard tell from one of the parties involved (quite reliably IMO) of a guy getting oral sex while driving at highway speeds. Let's pass a law on that one.

The stereo version of "There Will Never Be Another You" from Louis Smith's "Smithville" (Blue Note) -- what Sonny Clark, Paul Chambers, and Art Taylor get into during Clark's piano solo. And I'm not the world's greatest Paul Chambers fan; here (to me) he sounds more like Doug Watkins, an incredible "tippin' light" feeling.

Texting and other fruits of technology make the impulse to do several things at once behind the wheel that much more dangerous, but it must have been 25 years aqo while on the expressway on the way to work that I saw a guy in the next lane -- traffic moving in the 35 to 55 m.p.h. range, with fits of stop and go -- reading a fully-opened, non-tabloid newspaper that was propped up against the steering wheel. Holy Gutenberg! It was the Wall St. Journal, I think, because I could see only type, no photos. I got away from that guy as fast as I could.

Don't have it yet to compare, but I'd be curious to hear Adam Rogers' version of "Let's Cool One" from his most recent trio CD, "Sight." Rogers' version of Bird's "Cheryl" on his album "Time and the Infinite" (Criss Cross) was something else IMO.

I've liked Broom in other settings, but based on the samples I've heard from this one, once the heads are played, you wouldn't really know what piece Broom is playing on, which is not what one wants (or rather what I want) when Monk's music is on the table. What I hear from Broom is mostly a lot of discreet slippery grease and fancy-pants chordal manuevering (that last trait often invading the heads as well).

Passed on the information to Davis, who also said thanks and added that he wanted to know because All About Jazz is doing a feature on him (i.e, Davis), in which he said that Swing Lee was one of his early influences. Davis knew him only by that name, though, and wanted to properly identify him if possible.

Thanks. It was Charles Davis who wanted to know.

or anything further about him? A fellow Chicago saxophonist of that time had asked me to inquire.

Was there a point in your life when you thought wineries cared for you? :lol: Ripple did. So did Morgan Davis.

Picked up Solti's 1984 CSO set on LPs at a thrift store yesterday and was stunned by what I heard compared to my much-vaunted echt HIP recording with Andrew Parrott. Margaret Hillis' CSO Chorus is beyond belief, and as for Solti, the opening "Symphony" was proof enough -- some actual damn shaped but not over-shaped MUSIC rather than marking time for the vocal stuff to begin. Finally, comparison between Solti's Kiri Te Kanawa and Parrott's Emma Kirby -- Te Kawana, without being at all operatic, has so much more voice, plus the ability to actually express the text, versus Kirkby's almost wholly instrumental fluting. Same goes for the other soloists, though I've yet to hear a contralto that's completely on top of her arias and recitatives in the Messiah; some of that stuff seems to border on the impossible in terms of asking for long legato phrasing and penetrating vocal power (and in tricky areas of the register for most contraltos, too).

Buddy DeFranco, John Potaker, Sid Block and Alvin Stoller - NYC, late '45. I have a copy somewhere, left by a neighbor who exited via shotgun. I've learned that it's Abe Most on clarinet. What is your source for the Abe Most ID? Remember, we're talking about the Vogue quintet recording, clarinet credited to DeFranco by several sources, not the later Tommy Dorsey big-band recording.

My memory is that that Atlantic date was something of a dud, as were a good many of the ones that Brit mainstream critics like Albert McCarthy and Stanley Dance A&R'ed over here for Atlantic and Felsted at around that time. The Coleman Hawkins Felsted was the great exception, but my sense is that the Brits were perhaps too deferential in the studio and/or not hard-headed enough about choices of personnel. By and large, the Prestige Swingville dates were more successful.

J.A.W.'s list is great, but IMO this Sleepy John Estes collection (listed there) is essential: http://www.amazon.com/Aint-Gonna-Worried-M...boutThisProduct