Larry Kart

Different bari player every take! The whole saxophone section! The driver keeps missing the car seat so....fire the band. Maybe only one take a day? I thought that was part of the joke, reinforced by the increasingly compressed rhythm of the editing and the anxiety displayed by Jack Lemmon and Louis Nye at one point -- that the whole shtick was so elaborate that when they screwed up everyone had to start over from scratch the next day (with subs in the band being inevitable). Also, as a commentator on YouTube explains, when the actor finally lands in the seat properly, he takes a puff on a cigarette and says (in the English-language original), "Man -- that's coffee!" I need to see this movie. And the Hi-Los are fabulous -- that "shake"!

I'm too old -- b. 1942 -- to be on the damn thing.

Bernie Glow, probably.

By "echoes" you might not have meant anything about who came first, but Murphy (b. 1908) was a prominent arranger in the 1930s for the likes of Benny Goodman and Glen Gray -- when Russell and Melle and Levitt were in kneepants. BTW, I myself don't mean that Murphy influenced them.

But Will (in real life) sips a cocktail of Chardonnay and prune juice; it's called The Libertarian 'cause it makes your market run free.

Except for the Carisi material (previously unreleased), all of it was out on LP -- Russell's and Evans's on Hal McKusick's Jazz Workshop LP on RCA, Levitt's on his own RCA LPs (there were three IIRC). The Levitt albums would be a nice Mosaic Select, but I believe that Mosaic feels there would little market for it, very few people even knowing who Levitt was.

Interesting points, but let me come at this from another angle. Having heard Organissimo both live and on record, I've enjoyed all the various kinds of material the band plays (from the overtly funky to the more complicated) -- in part because you guys are just good but more important, in the context of this discussion, because you yourselves respect and enjoy the various kinds of music you choose to play. So I'd say that the key is (if you're also good): "Respect yourselves and the audience probably will respect you." Maybe that's the same thing as "Respect the audience and they will respect you," but maybe not. The latter approach, beyond the application of simple common sense (which as I'm sure you know will not at times turn out to be that sensible), seems to me like it might involve too much upfront tea-leaf reading, either by you or (if you have such resources, and this is where it can get tricky), producers, managers, promoters, and the like. In any case, having been a member of your actual in-person audience a couple of times, I never felt that I was being talked down to musically.

Weren't the above lines really taken from the collected remarks of Ross Perot?

FWIW, this is the source for this at times dubious ("Bobbi Humphrey, now a jazz great," etc. ) piece: http://www.theroot.com/id/47213?from=rss

And they left the Hustler at the hotel.

Especially couple no. 3.

On the other hand, here is the case being made when it could be made (those jitterbugs!):

I wish this thread was "ovuh."

Make of it what you can: http://www.trapsmagazine.com/index.html

Terrific band.

Just took a look at the weather radar. There's a block of heavy rain heading toward the Chicago area that's as wide as one-third of Iowa. Right now it's about to drench Davenport.

I'll probably be at this one: Wednesday, July 9th 2008 10:00PM at the Hideout, 1354 W Wabansia, 773.227.4433 ($6) A Fox Can Be Hungry : Matt Schneider, Jason Adasiewicz, Anton Hatwich, John Herndon Jeff Kimmel, Daniel Levin, Marc Riordan Schneider, leader of A Fox etc., is a guitarist-composer who blends '50s influences from guys that he happens never to have heard (e.g. Howard Roberts, Barry Galbraith) with a spaciness that's his alone. Kimmel is an excellent bass clarinetist, Levin is a cellist from the East Coast, and drummer Riordan, an emigree from Boston, is a fine, snap-crackle-and pop, listening player. Shoot me for exaggerating, but he reminds me at times of Joe Chambers.

I'm a big fan of her work, but her lyrics, as far as I can recall are not by and large vocalese: "In vocalese words (newly invented) are set to recorded jazz instrumental improvisations." Rather, Meredith mostly writes contrafacts ("a new musical composition built out of an already existing one") that are in their flow a good deal more like jazz instrumental improvisations than the song she's taking off from; but, unless I'm mistaken, none of her songs are set to recorded jazz solos by others. Because in her approach both words and music are contrafacts and are malleable by her in the workshop so to speak, and also because she so gifted in both realms, the fit between words and music is just about perfect. Also, unlike even good vocalese, her work is not about proving how hip you are. I said "by and large" above because IIRC Meredith's version of "Moon Dreams" does incorporate some of Gil Evans' arrangement; perhaps she did that a few other times too, but the contrafact approach is her main thing.

Happy Birthday! :party: You play great on the new album.

Don't want to come on like a grumpy old man, but it drives me crazy when I go to a club or bar where good live jazz (or any good live music) is being played, and the millisecond a set ends, recorded music begins, typically at a volume high enough to pretty much prevent conversation this side of shouting between people seated right next to each other. I know, I should either turn up or turn off my hearing aid.

I come to baste Caesar, not to marinade him.

Will you all be passing through a metal detector?

Sounds like a nasty recipe.

Sonny Criss in Fortune?