Larry Kart

Bruce Anderson, the very good bass player who was the head of our very good (informal) high school jazz band back in 1959, was the son of Rev. O.V. Anderson, then head of the Missouri Synod Lutheran Church. Bruce became a Lutheran minister himself and remains a very good bass player. The band's vocalist BTW was cheerleader Ann-Margret Olson -- yes, the Ann-Margret. Somewhat studied and showbiz-like as a vocalist, she was immensely decorative.

Evelyn Jones

That's Moses Asch, not Moses Ash. And I don't think Lennie Niehaus is a landsman.

Saw this tonight. Fine set, place was packed. Group's first album is fine too. MIKE REED’S PEOPLE, PLACES & THINGS Drummer Mike Reed formed this quartet last year to explore the rich but neglected trove of local postbop made between 1954 and 1960.... the tunes Reed tackles on the new Proliferation (482 Music) [are] associated with Sun Ra, John Jenkins, and Wilbur Campbell, among others.... Reed, reedists Greg Ward and Tim Haldeman, and bassist Jason Roebke don’t try to make People, Places & Things a repertory band: though the buoyant rhythms and rippling melodies in these deeply soulful songs remain intact, that’s not because they’re played straight. The group pushes against the swing feel, and Ward and Haldeman, who steer clear of the traditional string-of-solos approach in favor of electric multilinear improvisations, abstract bits of the tunes—stretching and transforming them, stripping them down and reconstituting them.... 10 PM, Hungry Brain, 2319 W. Belmont, 773-935-2118, donation requested. —Peter Margasak http://www.mikereedmusic.com/

A link (with sound samples)to Morel's Elmer Schobel CD "TNT." The group is called Les Rois du Fox-Trot: http://www.jazzbymail.com/ViewAlbum.aspx?i...+Schoebel+Blues

Two more from 1978 that have been posted by me before but might have been forgotten, plus a brief account (not by me) of the band's fate: Charquet & Co in Laren, Netherlands in 1978. The band was founded in 1967 as Reverend Charkey's Congregation, which was eventually shortened to Charkey & Co,, then finally Frenchified to its final form. Charquet was, of course cornetist Jean-Pierre Morel, who had an admiration for the work of New Orleans trumpeter Sharkey Bonanno. During the more than 10 years of its existence the group developed a repertoire of 450 tunes, of which some 215 were arranged by Morel. In the band here are Jean-Pierre on cornet, Jack Cadieu tb, Alain Marquet cl, Marc Bresdin bar sax, Bernard Thevin piano, Michel Bescont tenor, Lionel Benhamou bj, and Gerard Gervois tuba. In the late nineties Morel kind of regrouped and calls his new excellent band "Le Petit Jazz Band." P.S. It's Le Petit Jazz Band, not as I said in my prior post, "Les Petit etc." I heard Le Petit at the Chicago Jazz Fest a few years ago (Terry Martin pushed to bring them in). IIRC correctly, tenorman Bescont said that he was great admirer of Wardell Gray.

If by "there and then" you meant France in the '70s, I would say yes too, probably. The concert audience for "Rumba Negro" seems to be good-sized and enthusiastic.

Indeed it is. Was there actually "a market" for this type of there there and then? I'm deeply impressed by how immersed everybody is, if a little weirded out at the notion of doing it full time. Was this type thing all those guys did/do? Sure was a market. For example, check out on YouTube (conveniently) the Bennie Moten's Orch, 1929 recording of "Rumba Negro": which is as one would expect great in its own right, though I love them both. Also, you'll recognize that several of these pieces were mainstays of the early Fletcher Henderson Orch. It should be said that every piece played by this band and its marvelous, still active successor Les Petit Jazz Band (six or so CDs on the Stomp Off label) is arranged by (in most cases) cornetist Morel; these are not off-the-record transcriptions but personal in-the-spirit-of reshapings. I believe that all or most of these guys were and still are amatuers or by now retirees from their day gigs; after Charquet and Co. (that group's final name) broke up in the late '70s, Morel dropped out of music for at least a decade, no doubt in part because of the demands of his other career (don't know what that is, but I wouldn't be surprised if he taught school). No doubt you've noticed, but with the exception of one Stomp Off CD by a larger Morel-led ensemble that is devoted to the music of Elmer Schoebel, there is no drummer.

can be found here: http://www.youtube.com/user/JIEF43 Great stuff. Some different players too, in addition to stalwarts Alain Marquet, Michel Bescont, and Daniel Huck, e.g. cornetist Emmanuel Hussenot. "A Gypsy Without a Song" with Jean-Pierre Morel on alto horn is lovely. And clarinetist Marquet is often on fire. What a player. P.S. When you click on the link, you need to put "Sharkey" in the search box.

1) No -- If had dated her I'd be dead or in the bin. 2) Fat lot of good that did 'em.

On our first date she said with much feeling, and seemingly from out of nowhere, "Promise me you'll never hurt me." What a red flag that should have been. Two or so years later (Lord!) I broke up with her to save my soul and skin, and boy did she make it clear that I had hurt her. It was like being a character in someone else's play (though I'll admit that the encompassing sad drama of this woman's life was very dramatic).

I once told someone -- unbelievably believing that this was true -- that paramedics were medical personnel who parachuted into war zones and disaster areas. This to a person who had enough of an investment in me being intelligent that she thought at first that I must be feebly putting her on. Wish I could have caught on soon enough to play it out that way, but no. And I'd begun it all by insisting that her correct use of the term was wrong.

She looks like a walking STD.

Per that, and one of Jim's recent posts on this thread, I would love to read a knowledgable, inside account of what some of the classic recording studios were like as "rooms" -- Columbia's 30th St. Studio, RCA's Webster Hall, the place (don't recall the name) where the vintage John Hammond Vanguard recordings were made, the Los Angeles Police Academy Auditorium where IIRC both Pacific Jazz (the Cy Touff-Richie Kamuca album) and Contemporary (the first Hampton Hawes trio album?) did some nice work, RVG Hackensack and RVG Englewood Cliffs, etc. -- and I'm sure I'm forgetting ten or twenty times that many places. I don't mean how these rooms looked, unless that's relevant, but how they sounded in general, before a specific talented engineer went to work shaping what the room gave him to work with. Were there traits in common? Significant differences?

Before I'm too late -- Happy Birthday.

Thank you all. I'm really surprised by how common my experience is, especially that odd but probably revealing twist about being able to respond to live music but not to recordings. (Maybe I'm just listening to the wrong recordings and should put on some John Cage. Actually, I'm not kidding about that. I have a set of Atlas Eclipticalis and Winter Music at hand.) In any case, I'm trying to take some steps to deal with the overall/overriding situation here along lines that several of you have suggested.

Thanks, Peter. That's just what wanted (and I think needed) to know -- that someone else has had much the same experience (actually it seems identical). The fact that both of us still could listen to live music while gagging at recorded music, that's really interesting. Maybe it's that anything that is recorded is in one sense "over," and you were (and I am) trying to deal with something else that is at an end and found that that perfectly normal aspect of recorded music was standing in for what you couldn't (and I can't yet) accept. Joe -- Yes, classical too.

After listening to music of many kinds with great pleasure for at least 53 years (I just turned 66), about six weeks ago I suddenly found that I could hardly listen to anything anymore. This was recorded music BTW; I still find myself able to go out and hear things in clubs, etc., but listening to a CD of any kind of music ... well, it's hard to describe, but it's almost a physical aversion, probably with some sort of emotional component to it. I'm guessing it might be a symptom of depression, and my mood certainly has been low (my wife died six months ago, and it's been hard), but I wonder whether any other longtime listener has suddenly found himself totally on the outs with recorded music? I should add that this feeling of aversion seems to be linked to the feeling that I already know just what the music is going to sound like and that to actually listen to it then would be like having someone else's stale experiences stuffed down your throat. Further, I have this feeling even if the music on the CD is something I've never heard before and even if I go on to actually listen to the thing; almost immediately it sounds stale and predictable, and I have to stop.

If all goes according to plan: 10:00PM at the Hungry Brain, 2319 W Belmont, 773.935.2118 Jason Adasiewicz, Nate McBride, Mike Reed A Fox Can Be Hungry : Matt Schneider, Jason Adasiewicz, Anton Hatwich, John Herndon

Given what Jim said about Lennie, Warne, and Lee, and given that I agree with some of what he said, I think that Lennie's "problem" (and this probably was inseparable from his difficult personality) was that he was blind, and that he was a pianist. About the latter, pianists can do it by themselves, as hornplayers cannot. Further, while this is certainly not true of all great jazz pianists (think of Bud Powell, for one), meaningful "irrationality" of phrasing ("irrationality" as in "between-the-cracks irregularities, rhythmic and harmonic too, that really work) is something that Tristano tried to achieve through more or less "rational" means -- e.g. by layering one or more time feels and/or length and shape of phrase on top of another. In this, a comparison between the speeded-up "Line-Up" and the later, non-speeded-up "Becoming" is revealing. The meaningful irregularities of the rather slow-moving but still-moving (and mostly low register) "Becoming" from "The New Tristano" are impressive but pretty clearly "rational," in the sense mentioned above. But the (to the ear, or to most ears) dazzlingly "irrational" irregularites of "Line-Up," if slowed down to the tempo of "Becoming," which probably is close to the tempo at which Tristano recorded "Line-Up" before he then speeded-up the tape, sound less dazzlingly irregular and "irrational" than they do when sped-up. Here, I think, Iverson's mention of Nancarrow's player-piano pieces makes some sense. Likewise, many of us know how rhythmically mind-boggling a Coleman Hawkins record can sound if it's sped up so that the pitch of the horn is in the alto saxophone range -- this of a player who is not often felt to be a great purveryor of meaningfully "irrational" rhythmic thinking. I should add, so as not introduce a chimera, that "C-Minor Complex" from "The New Tristano" shows that by that time Tristano could achieve the meaningful irregularities of "Line-Up" all by himself, with no tape manipulation.

I didn't think it was possible not to. OK, but I don't recall her looking quite that way in the movies I've seen her in ("Lost in Translation" and some others whose names I don't recall).

I didn't think it was possible not to. Well, this side of Dolly Parton, I never really know for sure (given the wonders of modern garment technology) until I actually see them, and I don't recall seeing that much of Johanssen before.

So nice the way the right side of the sweater is taped to just the right place on her chest, almost but not quite. Is there a name for the people who do that kind of work? It can't be easy. Seriously, I had no idea that Johansson was that breasty.

Following Jim's lead, I'm not much into drawing lines except in obvious cases -- spammers, trolls, seemingly dangerous nut cases, etc. EDC strikes me as one of a kind; in fact, his persona seems to have been carefully crafted to create that impression. Obviously intelligent, with a good deal of varied experience, and with lots of frequently self-consciously provocative opinions, which he typically states in a self-consciously provocative manner, at times he just flies right into a wall at high speed and goes splat, covering himself and all those within range with smelly goo. In part because I tend to agree with EDC about many things, I've often found his posts, stimulating, illuminating, even amusing, but this piece of ugly, seemingly out-of-nowhere behavior ... well, it's the smelly goo problem, perhaps. How much of it can and should be endured? If the rest of us can wipe it off and go on, I say that EDC should be allowed to come to his (or his persona's) senses and go on, too -- though perhaps the above will really set him off. I hope not.

Chuck's instincts yesterday were correct -- Please stop this, everybody.