Larry Kart

Many thanks. It never gets redundant from where I sit. You're right about Wilbur Campbell; he was a remarkable, soulful, wise person as well as a great musician.

If "investor class" means rich, I'd say there is not much to this opinion. A person loses a shit load of money from investments gone bad and he's now going to want to pay more in taxes? I think the opposite would be true, as they would want to hang on to even more of what they're making. To explain (quoting from the post linked to above): "While there are a lot of different components to the modern Republican coalition, one major component is the so-called country club Republican. This is the kind of person (I know many of them) who doesn't particularly care about social issues or neoconservative adventurism, but votes Republican primarily because he doesn't want to pay any more taxes than absolutely necessary. Many of these people have also rationalized their continued support for the Republican party by convincing themselves that the Republicans are better stewards of the economy, at least the part of the economy they care the most about: our capital markets. "But no amount of GOP spin is going to put money back in their brokerage accounts. If the market doesn't turn around soon, it's going to force many of them to question their assumptions. An email posted on CNN tonight summed it up pretty well: 'Republicans lowered my taxes, and will keep them low. But the value of my home has dropped 20%, my health insurance costs have doubled, gas costs $4 a gallon, and my investments are in the tank. Please, tax me.' "Now, I'm not sure how typical that response is, but at the very least, there have to be a lot of typically Republican voters out there right now who are questioning the Republican party's knee-jerk aversion to the kinds of sensible regulation that could have averted this economic meltdown. And at some point, some of these folks may question how much tax cuts are really worth to them if their investments aren't growing at all and the government is sliding into an ever more precarious financial state."

Interesting (to me) post that suggests that the GOP may be in the process of losing a good portion of the votes of what the poster calls "the investor class": http://www.anonymousliberal.com/

Thanks for the video. Happy-intense music. BTW, I just ran across a Rich video of "Joy Spring" from '83, about the time (I believe) that the famous tape of Buddy tearing into band members on the bus was made. Hearing this edition of the band, I can understand why Buddy was angry. There is a big drop off in quality and in understanding of how to play the music from his bands of the '70s.

Actually, Dave MacRae, so I discover: http://en.wikipedia.org/wiki/Dave_MacRae

My bad -- That almost certainly was Dave McRae on organ rather than Kiener; McRae is on a "Mercy Mercy Mercy" video from Berlin from that same European tour: http://www.youtube.com/watch?v=LDhKty0gz6Q

In a similar vein (but no organ), a very up "Straight No Chaser" by the Rich band from '71: http://www.youtube.com/watch?v=4rm-A6bGhiE...feature=related Dig Buddy's cymbal on hi-hat figures behind the trumpet solo. There was a lot of Buddy in Philly Joe, I believe.

http://www.youtube.com/watch?v=1JbvAeDm000...feature=related

Maybe this has been mentioned before, but to check out these performances ("Half Nelson," Godchild" and Subconscious Lee") from "The Subject Is Jazz" show, got to You Tube and plug in "Billy Taylor" and "Warne Marsh." Warne in particular is in great form; it's fascinating to take in his physical relationship to the horn -- so loose and free.

Jack Wilkins on guitar, Jimmy Maeulen on congas and Anthony Jackson on bass. Pretty scary record. Take a look at the album cover: http://www.amazon.com/Very-Live-at-Buddys-...e/dp/B0002VL006 Liner notes by Buddy's daughter.

Was talking to a normally unflappable, conservative-minded, very experienced stockbroker today, and he agrees with Chuck.

Ah, yes -- and Tony Little Sun Glover and Dave Snaker Ray. And don't forget Bukka Greenspan.

I agree, though I don't know that Storyville date. The reason may be that Rouse came up with a series of formulas/licks that allowed him to negotiate Monk's pieces on virtual autopilot (Rouse being a rather formula/lick-inclined player anyhow). On the other hand, there are moments with Monk when he is inspired or at least fully engaged (much of "Live At The It Club" IIRC, but then Monk himself is inspired there). Also, Rouse is in very good form on Art Taylor's "Taylor's Wailers" date, which includes several Monk pieces, and, again IIRC, on some of the Sphere albums, where Monk pieces are a near constant. Maybe it was less the pieces themselves and more Monk's habits as a comper during the years Rouse was with him that led Rouse to sound so formulaic so often.

I vote for Al Cohn as the tenor player. (Too bad they only show his hands during the solo). As I recall, Scott was married to the featured singer Dorothy Collins at the time. Took home two healthy paychecks from that show... Too jowly for Al at that time, I think, also looks about 10 or more years too old for him, and it sure doesn't sound like Al -- a kind of proto-Sam the Man Taylor vibe. Maybe Al Klink, who could sound like anyone on cue. Boy, I used to think Dorothy Collins was cute, which is kind of pathetic in retrospect -- going for that scrubbed, nice-girl image and the rabbity slight-overbite. An extension of the teacher's crush, but what are you going to do at age 12 or so? IIRC, the Collins-Scott marriage ending in severe strife.

The question I've always had (and this is serious, not the ususal 'me being a smart ass') is, how can recorded music be familiar to me if I've only heard it on crappy speakers? Am I just fooling myself and going for the speakers that color the music in a way that I'm used to, or what? I know that this is sneered at, and if you are used to properly reproduced music, I can understand that, but isn't there some value in comparing stats, in order to find equipment? Help! The answer is that if the music is familiar to you, no matter how crappy your speakers are, you'll almost certainly be able to tell that it sounds better on better equipment. Then once you're familiar with some reasonable level of "better" within your price range, you can sort out which equipment within that price range is the "best" better for you.

A fair bit of Scott on YouTube. Check out his "Night in Tunisia" with Ben Webster for one, his "Summer Love" with Victor Feldman for another.

I wondered about him -- nice break toward the end.

Just to be clear, the credits say "music arranged and conducted by Frank DeVol," not that he himself wrote the music. Also, Gil Fuller was pretty notorious back in the day for farming out work to ghosts and billing it as his own. Finally, DeVol wrote a pretty scary song (words and music) for no less a film than "Kiss Me Deadly" -- "I'd Rather Have the Blues Than What I've Got.' Check out the version on Audrey Morris' album "Film Noir": http://www.audreymorris.com/discog.htm

http://www.chicagotribune.com/news/opinion...0,4840856.story

Agreed.

Sure this wasn't earlier? He began to claim his name was Dylan by '61. I was class of '60, entering in the fall of that year. The dorm room thing might have happened in the fall-winter of that year. Bob Zimmerman was how he was addressed/introduced himself; Dylan never came up. I'm sure of that because when I heard of him/went to see him in NYC at Folk City a while later, I was aware then that Bob Dylan was the guy I'd heard before as Bob Zimmerman. If he had made the change earlier, perhaps he didn't yet use Dylan under all circumstances. It might have been, now that I think of it, that one or more of the people he was playing with at the U. of C. knew him from before, and Dylan felt funny about telling them that the guy they already knew as Bob Zimmerman now called himself Bob Dylan. It might have sounded pretentious and also, since most of the people in that dorm room were Jewish, like an uncomfortable attempt to disguise/deny his background.

Some of my darkest memories, though I did escape to hear Coltrane at McKie's.

I heard Dylan play in a dorm room at the U. of Chicago in 1961-2, when he was still Bob Zimmerman, later at Gerde's Folk City in NYC when he had just become Dylan. He was far from the best player in that dorm room (there was a yeasty old-timey folk scene, a la the Harry Smith anthology, on campus), but those playing with Dylan that day sounded better than usual, probably because he had some leadership genes. His own music -- lyrics in particular -- makes me want to throw things/throw up. But then I've never known what is happenin' here or which way the wind is blowing.

So I even got it wrong that the non-film composer was "the East Coast" John Williams. No, you were right. It's that they're both John T. Williams; the film composer's middle name is Towner, don't know what the other Williams's "T" stands for. Can't find it now, but the Getz sideman John Williams eventually moved to a Florida city of medium size (Vero Beach, maybe?) and became parks commissioner. There is a park named after him.

John Williams the film composer is John T. Williams. The "T" stands for "Towner," and he was billed on some early recordings (Kapp label stuff, for one) as John Towner -- maybe to separate himself from the other piano-playing John Williams (who was quite a fine, distinctive player; Towner himself was nothing special IIRC), maybe because he was already getting his toes wet in the film-scoring world and didn't want be typed there as a jazz guy.