Larry Kart

Previous post removed because board policy is that we post links to copyrighted print media material, not the material itself. Thus: http://www.nytimes.com/2009/06/01/arts/mus...bard&st=cse

I disagree. Geography/isolation is not relevant. We [at least I) are talking about something else. Location don't matter to the "music". FWIW, that's not Terry's point of view in his chapter on jazz in Australia and Canada in "The Oxford Companion To Jazz." Don't have it to hand right now, but I'll look for it and quote/summarize some unless you already know it because his POV makes sense to me. In particular, his argument is that Australia's geographical and cultural distance from the U.S. and relative lack of contact with recordings and visiting U.S. musicians in the '30s, then explosive contact with U.S. military personnel in the war years (which were in any case a time of much stress/upheaval in Australian society), plus pre-existing oddities in Australian culture ("oddities" is not the right word, but I'm tired), stoked the development of a music that was Revivalist in one sense but quite new in another -- and not really similar in P.O.V. or musical quality to the Revivalist movement in the U.S., in part because in Australia in the '40s this music became part of the society's "cutting edge," culturally, artistically, even politically, in much the same way bop was in the U.S. To be, say, Ade Monsborough and transmorgrify Tesch, Dodds, et al. into something rich and strange was to express who Ade was in his world in ways that were not open to any U.S. trad player of the time in his world, as far as I know. Was Ade more talented than, say, Ellis Horne? Yes, but it's more than that. Was Ade more talented than Bob Wilber or, later on, Kenny Davern? Maybe not, maybe so, but Ade was almost unavoidably playing his life by playing the way he did, and the reason he was had a lot to do with the cultural situation he was in. You can see it at work the other way around too, as quite striking/quirky (when young) Aussie figures like trumpeter Bob Barnard move to Sydney to become bland recording industry "pros," sounding like maybe Rusty Dedrick. As for Canada, its geographical and cultural proximity to the U.S. virtually precluded the development there of any distinctively different from the U.S. ways of playing jazz. When talented Canadian players arose (Oscar Peterson, Maynard Ferguson, etc.), they soon become (in most cases) part of a U.S. scene that they already in effect belonged to.

And there's a fourth different thing (or maybe it would be a special case under Chuck's "growing a living music") -- a la Dallwitz and some others of that generation of Australians, falling in love with an older style or styles and inventing some music that's kind of in the style of but is essentially new, expressive of your own reality, and as rich in purely musical terms as, say, the best of Morton. Sounds damn unlikely, but it happened. May never happen again, not until and if we colonize other planets or galaxies (or vice versa). Now you are talking about developments within "playing within a style". This is not too far removed from the "HIP" classical movement. If you want to be kind, you can call it "neo-something" but it is still a sort of nostalgia thing. I don't think of Dallwitz's "Ern Malley Suite" that way, for one, and it's not the only such thing from those vintage Down Under people. Isolated stuff, arguably (it has its day and goes away), and also the product of a certain kind of geographical/cultural isolation (and thus at least potentially free from the trappings of nostalgia) that may not exist on the planet anymore. The best of what they created is not imitative, though, or so it seems to me. I agree about the HIP analogy -- if you believe, as many do, that one of the semi-hidden goals of the HIP movement (semi-hidden even from many of its practitioners) was to create in effect a new "old" music as much as it was to discover how that old music really was (and thus ought to be) played, which was the cover story. But I can think of so many annoying or boring HIP performances and nothing from that realm that's as musically creative as Dallwitz or Ade Monsborough or Bill Munro. Also, the HIP performances that really work for me pretty much work in about the same ways as really good non-HIP performances do. They get "informed," and then they still have to just play.

I think Braxton's cooking something up for that eventuality. ... But then Sun Ra came here from there.

And there's a fourth different thing (or maybe it would be a special case under Chuck's "growing a living music") -- a la Dallwitz and some others of that generation of Australians, falling in love with an older style or styles and inventing some music that's kind of in the style of but is essentially new, expressive of your own reality, and as rich in purely musical terms as, say, the best of Morton. Sounds damn unlikely, but it happened. May never happen again, not until and if we colonize other planets or galaxies (or vice versa).

Over time (a lot of time, in my case -- spring 1954 to the present) I've come to feel that understanding and enjoying what is going on in such transition periods is the beginning of historical/aesthetic wisdom in jazz. While "progressivism" among musicians and among listeners is not the same thing, it has pitfalls for both groups, especially for the latter, and there are overlaps. One thinks of all the talented modern and/or mainstream clarinetists who not only can't abide but also can't even begin to understand Pee Wee Russell or Johnny Dodds (not that Russell and Dodds are the same thing). A postscript about musicians: up to a certain point in his life (maybe until the end) Coleman Hawkins essentially was a progressive: I recall a Blindfold Test where he was played either "One Hour Tonight" or "Hello, Lola," and his response was that the music (including his own work) was essentially primitive and unlistenable. Primitive, yes, in one limited but important sense -- the drive toward certain sorts of technical refinement and sophistication (or "sophistication") will never cease, nor should it; but otherwise (on a case by case basis and being careful not to confuse certain kinds of roughness or lack of "sheen" with lack of skill), hell, no! I'm reminded of a passage from the liner notes of the 1978 album "Everybody Stomp" by the fine French revivalist band Charquet and Co., lead by cornetist-arranger Jean-Pierre Morel (who after a a gap of a decade or more has returned as the leader of Le Petit Jazz Band and Les Rois de Fox Trot -- search the board under my name for links to terrific YouTube clips of Charquet and Co.). I should add that in their case (and the case of the great Australians like Dave Dallwitz), "revivalist" isn't really the right term; it's new music born from the "old." In any case, the liner notes say: "Morel felt French traditional jazz in the 1960s was often a 'fake and a cheat,'' and he preferred to work with the arranged music that preceded the Swing Era, from hot and sweet groups which produced highly imaginative scores and projected (in Morel's phrase) 'richness, contrasts in sonorities, picturesqueness and vital rhythmic discoveries that totally disappear in Swing.'" The proof is in the listening, but without doubt IMO some vital things got (and always do get) plowed under as "progressivisms" do their business, and there is much to be learned (and much pleasure to be had) by accurately perceiving how specific nodes of the past worked and felt before they became "The Past." Among other things, it almost certainly will enlighten you about the relationship between the present and the possible future(s).

http://people-vs-drchilledair.blogspot.com/ Sublime IMO.

My mistake, but this morning I read it as "Cheney's good record day" and wondered what sides he might have picked up. Something by Al "Hurt"? A Spike Jones rarity? Dave Tough? Johnny Board?

What the fuck? That's horrible. I'm offended. Me too. The bandana isn't big enough. According to the story, her opponent did complain but didn't get anywhere with the referee. The problem, I would guess (and Larcher de Brito cited this), is that there have been a lot of grunters and yellers before this, and rarely if ever have they been penalized. Larcher de Brito further noted that her opponent complained only after points she had lost. Knowing f--- all about tennis, I would say that while Larcher de Brito may not be the loudest of the noise-makers, there's virtually no way that her piercing semi-siren scream isn't 98 per cent cooked up, rather than a natural extension of genuine physical effort. The solution? Let the Williams sisters corner her in the locker room and beat the crap out her, perhaps until she starts making the identical sounds. Or better yet, tape Larcher de Brito and provide her opponents with copies of her noise-making that are automatically actuated during play whenever they hit the ball. I bet she'd shut up fairly soon, though by that time there'd be no one left in the stands.

Many thanks for this. I checked out Off the Record/Archephone transfers online and could hardly believe what I was hearing. And that was online! When my order arrives, I'll be hearing anew music that I thought I knew very well.

I'm certainly no expert, but Googling under "TP sensor" brings up several sites, and a glance at this one: http://www.automedia.com/Throttle_Position...ccr20040701ts/1 suggests that you almost certainly have a TP sensor problem. As to whether you can fix it yourself by adjusting what you have now or by buying a new TP sensor and installing/adjusting it, you're probably an accurate judge of your general capabilities as a mechanic and can measure them against what this site (and others) say about TP sensor work. Good luck.

This clip too (from later in the same match):

Check out the story (first link), then (second link) the actual sounds she makes. Wonder if she's like that when she has sex, if that's happened yet: http://www.nytimes.com/2009/05/30/sports/t...0tennis.html?hp http://www.youtube.com/watch?v=_gpVtVz0Bm4

Got the Bluebird box, too. Benefit of being old.

Thanks. That's pretty early Buddy, age 23. I thought that guy might go somewhere.

A Vogue picture disc: http://www.nme.com/video/id/KZ_E5LeAqvA/search Wonder who the rest of the group is, especially the clarinetist.

$30 here - http://www.cduniverse.com/productinfo.asp?pid=1382607 Still a pretty penny, but perhaps a bit of a bargain compared to $40. I just downloaded it from Amazon for less than $5... Yes -- but did you get the "melodicaljy fluid" version?

It was a fairly beat up copy of the original vinyl and always unusually brittle IIRC. In any case, I just ordered a copy of the Japanese CD. I was hipped to this one way back when by an enthusiastic/accurate Martin Williams Down Beat review, which was reprinted in one of his collections (maybe more than one) -- Martin interestingly not being a much a Getz admirer at the time but converted by this album. As he rightly points out, the almost forgotten Jerry Segal's unique, loping, "long" time feel -- sort of a cross between Stan Levey and early Louis Hayes (though Martin heard Philly Joe) -- probably had a lot to do with the success of this date. Some great stop-time playing from Getz on IIRC "Down Beat," and the grooves on "All The Things You Are" and "To The Ends of The Earth" are other-worldly (appropriately so for the latter tune, I suppose).

Don't know if it's been mentioned on this thread, but a semi-forgotten gem is "The Soft Swing" from 1957, with Mose Allison, Addison Farmer, and Jerry Segal. Some of the most rhythmically relaxed. melodicaljy fluid Getz I've heard. I still have my old LP, but a smallish triangle-shaped chunk fell off a while back, which renders the first half of the first track on each side unplayable. It's been reissued in Japan, but the last time I checked it cost a pretty penny -- maybe $40. May have to spring for it before it's too late.

Serge Chaloff's "Body and Soul" New Orleans Wanderers' "Perdido St. Blues" Sonny Rollins' "St. Thomas" (from "Saxophone Colossus") Count Basie's "Taxi War Dance" Konitz w/Kenton "Lover Man" -- aircheck from "Lee in Sweden" (Dragon) Luckey Roberts' "Inner Space" Coleman Hawkins/Charlie Shavers "Hawk Eyes" (title track from the album) Roscoe Mitchell's "Nonaah" (alto-saxophone quartet version) Louis Armstrong's "Struttin' With Some Barbecue" (Decca big band version) Warne Marsh's "317 E. 32" and "Subconscious Lee" -- from "All Music" (Nessa) Jazz Messengers' " Nica's Dream" Ornette Coleman's "Beauty Is A Rare Thing" Sonny Clark's "Cool Struttin'" (title track from the album)

I know that they are in good part personal choices, but: Ellington's "The Sergeant Was Shy" Monk's "Little Rootie-Tootie" The Miles-Cannonball "Autumn Leaves" Other recordings by these people are arguably better/greater, but these never fall to delight and fascinate me. Also, I'm not normally a great Cannonball admirer, but that's one heck of a solo and just a magical mood-drenched performance by everyone. Wonder what an Ashley Khan book about that date would have to say, though I believe there are only two participants still with us -- Hank Jones and RVG. In particular, I would love to know about the role Alfred Lion played on this date, and not only because of Miles' immortal, "Is that what you wanted, Al-fred?"

Happy Birthday. You're doing great work on your home-remodeling project.

Rediscovering, actually -- Elmo Hope. Listening to "The Last Sessions," from 1966. The immediacy of his playing on, say, "Somebody Loves Me" is a rare thing. Can't think of much music that's as wholly "in the present" as Hope's is. In one sense, it's very edgy and risky, in another sense it's not; it's just Hope being himself; no intent I think to dramatize, it's just what is going on. Precious and still as "modern" as can be.

I had never heard that before...is that a misprint? I mean, ok, I'm not the biggest Bill Evans fan in the world, but I sure as hell respect him. And John bunch too, albeit for different reasons. In the end though, props is props & Bunch not having props for Evans is kinda... Is that a misprint? Maybe, my English makes this a bit confused; mind that English is not my mother tongue. The booklet reads: Tony got the idea that he would like to do an album with with me and Bill Evans together playing behind him. Well, I didn't feel that I was in a class with Bill Evans, and frankly, I tried like hell to discourage him from that ( John Bunch) That clears it up. Bunch thought that Evans was in a higher class than he was, and therefore the two of them (Evans and Bunch) playing together behind Bennett wouldn't sound right.

How did they develop? Were certain things, er, 'overexposed'? It seemed cool last I looked. In particular, Stan's daughter, Beverly Getz, made it clear that a number of the posts on this thread, including at least one of mine, were very hurtful to her, as well as (she said) cruel/spiteful in intent and factually inaccurate. There were other issues as well IIRC, but for me that was enough. I could see no way that any of this could be resolved (or "resolved") in this world without creating more unhappiness all around than it was worth.