Larry Kart

I would guess the "undisguised" was decided by the label, not Mulligan. I don't see why. They play the melody of "Love Me or Leave Me" straight out, not the "Apple Core"/"So What" line.

Always wondered what would have happened with it if we hadn't had the Hawk's classic one. Was the Eldridge-Berry the first one with one chorus (or was it just the bridge?) played uptempo? F That's the one. Lee Konitz adapted and played Roy's solo on his 1969 Milestone album "Peacemeal," having first asked Roy for permission. I'm pretty sure that Eldridge solo was one that the Tristano-ites pored over.

Yes, that's it -- "So What" is "Apple Core," on "Love Me or Leave Me" changes. Mulligan clearly liked them; he recorded "Love Me" undisguised with Brookmeyer in concert in Paris in June '54. That affinity reminds me that some of Mulligan's musical instincts, rhythmic ones especially, were rooted in the '20s.

Can't put my hands on the LP right now, but IIRC "So What" is a typically catchy Mulligan line on "Love Me or Love Me" changes.

Great story, Randy. Cuts several ways at once.

Yes indeed.

The definition of "trollish-ness" is in large part saying something in an attempt to wound and thus provoke to anger someone else. As for the intent to provoke -- Do you think that Yanow would have sent the same "private," supposedly "in jest" message to Allen if he didn't know that we all participate in this public forum? That e-mail is private in the same way that someone kicking you under the table so no one else at the table can see it is private.

IMO the private e-mail thing is a crock. The point of this little note can only have been to stick a finger up Allen's nose in an attempt to provoke him. Pure trollish-ness. Witness the utter disingenuousness of this: "I just wanted to thank you for all of the kind words that you've said about me on the Organissimo threads. It's greatly appreciated." And of this: "I'm just curious as to the strategy."

Eaton was at Indiana Universitry from 1971 to 1991 or thereabouts. He's written a lot, but I don't know how much is microtonal. He did make use of synthesizer called the Syn-Ket that has microtonal capacities.

Clem -- Threadgill would be a fine choice. The point is (or one of the points is) to give the dough (a) to someone who's really good and (b) who probably has ideas/plans that without the dough he/she couldn't realize to the same degree or even at all. Threadgill has (a) in the bag and probably (b) too. 7/4 -- Eaton (b. 1935) is a prominent microtonal composer but from another part of the cultural forest than Partch or Young, so if you dig them, it's not unlikely that you wouldn't know of Eaton. He also made a jazz album for Columbia in his 20s.

I like Al Francis's "Jazz Bohemia Revisited" a lot and reviewed it for the Chicago Tribune when it came out, which led to a friendly phone conversation with Francis. Sadly, I lost track of him.

Winter/Spring '62 for Dylan/Zimmerman's visit would fit. Actually, Spider John Koerner and Dave "Snaker" Ray had been around the U. of C. campus (singly or together, I can't be sure) shortly before or after Dylan/Zimmerman arrived. IIRC they made a better impression musically, but because Big Joe Williams was also present fairly often, certain differences were clear.

Top clear up any confusion, I meant that the guys that Dylan played with that night were much better musically than he was IMO.

I heard Dylan play in a University of Chicago dorm room back in 1960 or '61, when he was still Bob Zimmerman. The U. of C. had a very active folky scene back then, which gave rise to the justly celebrated U. of C. Folk Festival, and a lot of those players were very good, doing their personal offshoots of stuff on the famous Harry Smith Folkways label anthology -- much better musically than Dylan-Zimmerman, I thought. On the other hand, the guys he played with that night sounded noticeably better when they played with him than they normally did, which even then I assumed he was somehow responsible for. On the other hand, not one bit of Dylan's own songwriting, lyric writing, playing, and singing that has crept over my transom in all the years since then has appealed to me in the least. In fact, if the CIA wanted to get me to talk, twelve hours of Dylan would do the trick, easy.

Paul, I know that Earl Warren intro, and I think it's being puritanical to call it "corny." For one thing, Warren's '30s lead alto timbre and time-feel work perfectly in the context of the arrangement IMO, in terms of setting up what follows. I doubt that's an accident. I think of Warren's intro as a salute to the vintage of the tune itself and its ballroom dance team associations before Thornton and the band swing it so damn hard. BTW, isn't it great how much rhythm momentum she develops while IIRC never deviating from the long-meter format?

Whittle, who's English, made his name with Ted Heath in the 1950s. I know him from a Johnny Keating record on Dot (Keating was a Heath arranger, the band is mostly Heath's) from about 1957. Whittle IIRC struck me as pleasant but rather faceless; I preferred the album's other tenorman, Duncan Lamont, woud sounded like "Long Island Sound" vintage Getz might have if he were sucking a lemon. Ot to put it another way, not unlike Gil Melle on tenor. Attractively weird.

As further testimony to Teri Thornton's genuine hipness, a composition by her ("Teri's Tune") can be heard on Johnny Griffin's "Way Out" (OJC).

Dave and other Zoot on alto fans -- try to get a copy of John Benson Brooks' "Folk Jazz U.S.A." (VIK), from 1956: http://classicjazzguitar.com/albums/artist....jsp?album=1064 If it's not on Fresh Sound or the like, it's a prime candidate for this thread. It also has Al Cohn on baritone, and Nick Travis on trumpet. Brooks was the composer of "You Came a Long Way from St. Louis" and other pop songs; later wrote "Alabama Concerto" (OJC) for Cannonball, Art Farmer, Barry Galbraith, and Milt Hinton; and was a close associate of George Russell.

2 LPs on 1 CD: Betty Bennett/NOBODY ELSE BUT ME (1956)/Lurlean Hunter/BLUE & SENTIMENTAL (1960). NOBODY ELSE BUT ME: Personnel includes: Betty Bennett (vocals); Shorty Rogers (arranger, trumpet, flugelhorn); Andre Previn (arranger, piano); Jimmy Giuffre (baritone saxophone); Barney Kessel (guitar); Ralph Pena (bass); Shelly Manne (drums). Originally released on Atlantic (1226). BLUE & SENTIMENTAL: Personnel includes: Lurlean Hunter (vocals); Jimmy Giuffre (arranger); Bud Freeman (tenor saxophone); Harry Edison (trumpet); Rudy Rutherford (clarinet); Jimmy Jones (piano); Jim Hall (guitar); George Duvivier, Trigger Alpert (bass); Don Lamond (drums). Originally released on Atlantic (1344).

Here's a good Hunter album, from about 1960, with charts by Jimmy Giuffre and a band that includes Harry Edison, Bud Freeman, and Jim Hall: http://www.amazon.com/exec/obidos/tg/detai...04WJZR?v=glance There's another earlier Hunter on RCA, "Night Life," with charts by Manny Albam and I think Al Cohn, from about three years earlier that's a jot better as I recall, but I believe you'd have to pay a prohibitive price for that one. BTW, the first Hunter album is shared with one Betty Bennett, Andre Previn's first wife, who is not unlike Jeri Southern in vocal quality and manner, though more girlish than worldy-wise. Good West Coast players behind her.

Teri Thornton's "Devil May Care" is a beaut: http://www.amazon.com/gp/product/B00000I8Z...0979942?ie=UTF8 She had a gorgeous voice, deeper than most female singers (reminiscent in this of her Chicago predecessor Lurlean Hunter, whose work is also worth checking out if you can find any), fantastic time, and no "hip jazzy" mannerisms, even though she could reshape a melody at will. I would avoid the "comeback" album Thornton made before her death. Based on what I've heard, it was sadly too late.

Lee Wiley -- Night in Manhattan, etc. (Collectors' Choice) -- Sings Gershwin and Cole Porter (Audiophile) -- As Time Goes By (RCA) Peggy Lee -- Mink Jazz (Capitol) Ruth Price w/ Shelly Manne & His Men (OJC) None of the above is trio stuff, but the settings are small-group jazz. I also endorse much that's been mentioned already. If you try Jeri Southern and like her, ask me about Audrey Morris.

No, it's not a "tome," as someone used to say, but I think eminently sound in its human and (with a few minor cavils) musical judgments and simpatico in tone. Chet isn't given a pass, nor is anyone else, but neither is Chet or anyone judged by standards that a saint might not be able to meet. De Valk knows the scene, its people, and their behavoir (note, for example, the account of the abortive Getz-Baker tour and the distinction that is drawn between their personalities), and he also doesn't presume to know more than he does or what is simply unknowable.

Wouldn't the first on of the list have to be the Bird Dial version from 1946, the one that, as Max Harrison put it, "contains a four-bar break that is an astonishing outburst of virtuosity...."?

Don't know the Webster. Will try to get my hands on a copy.