Larry Kart

"Car wrecks," exactly. And I share Jim's apprehension that (to use a pompous phrase, but it's the only one I can think of) the tone of discourse at work on that JC thread will somehow inadvertently infect this place. At times you can almost feel it happening, as when that "uppity" thing flew over the transom. It's like part of your brain starts to fry.

I don't care what any written or on-line "source" says -- if you've heard Boomie Richmond (b. 1921, former Tommy Dorsey, Benny Goodman sideman, active in the studios from the '60s), and I have, that sounds exactly like Richmond -- a kind of pleasantly gargly offshoot of Bud Freeman and/or Eddie Miller, with an admixture of Pres. Also, it doesn't sound a bit like anything I've ever heard from Sam "The Man" Taylor, who was a big-toned R&b-ish player, sort of an older version of King Curtis. Taylor had several hit singles in the '50s and made commercialy succesful albums as well. About Richmond (Given name Abraham Samuel Richmond), as fate would have it, I just picked up on Monday for 99 cents one of his rather few moments in the jazz solo sun -- a mid-1950s six-tune date for Jazztone under clarinetist Peanuts Hucko's leadership in which those two, plus trumpter Billy Butterfield, guitarist Mundell Lowe, pianist Hank Jones, bassist Jack Lesberg, and drummer Morey Feld attempt to recreate the sound of the Goodman Sextet with Cootie Williams, George Auld, and Charlie Christian. I don't usually care for re-creations, but there's some fine playing here. Othe side of the LP, title "Dedicated Jazz," is in the same spirit -- a Rex Stewart-led neo-Ellington small group date with Hilton Jefferson, Lawrence Brown, Danny Bank and rhythm. Also fine stuff, and it's one of the very few times on record when Bank takes a solo. In any case, I'll bet anything that the tenor soloist on "True Love Ways" is Richmond. He is/was a very distinctive player.

Some very good stuff here, but don't miss the Hampton-Granz date that's not on it, "Hamp and Getz." "Cherokee" and "Jumpin' at the Woodside" in particular are on fire, and the rhythm section -- Lou Levy, Leroy Vinnegar, and Shelly Manne -- is, in case I haven't said it before, on fire. BTW, am I the only who hears some passing kinship or overlap between Hampton and Monk, on what, for want of a better term, could be called the rhythm-melody level?

What he does with vowel sounds on "Willow Weep For Me" -- how he colors them both timbrally and emotionally and links them up in long storytelling lines (the latter in ways I tried to write about once and failed, but or because the things he's doing are so subtle and powerful)!

Writing that, from where I sat, was perhaps not wholly unlike (albeit in a reactive mode) what you were doing in the studio. Sort of (as a White Sox fan since 1951) an A.J. Pierzynski moment -- you're at the plate, the game is on the line, the ball is on its way, and now's the time. The answer to the song titled "Why Was I Born?"

Glad to be of service, though it took me a while to figure out how and why I'd confused things there. And to clear up any lingering confusion, I did mean to say that L-R-G and The Maze are as important as music gets. (I still remember how it felt to hear those recordings for the first time. Excitement, awe, the dawn of a new world, you name it -- probably like being at the premiere of "Le Sacre." I thought the top of my head had come off. Likewise for the sax quartet version of Nonaah.)

Well, here's one source: http://www.samburtis.com/forum/viewtopic.p...87964f89ab1f86d but I don't think that's the one I ran into. BTW, the poster here is Danish trombonist Erling Kroner.

I knew someone was going to ask, Lazaro, and I don't recall -- except that the source was definitive. Also, if you listen closely and know Persip's style, there are some definite Persip touches. He was one hell of a drummer, especially behind a big band. If you can find it, check him out on Bill Potts' "The Jazz Soul of Porgy and Bess."

Yes. But even so, it's hard for me to imagine Stanley (or anyone who's not certifiable) actually sitting down and writing that, then thinking, "Yeah -- that's cool, I'll send it."

Sorry for confusing things. I was replying to the post on that thread by Blake and the reply to it by Parkertown, which I thought meant that Parkertown was saying that L-R-G, The Maze, and S II Examples were on the AEC box. Those three pieces are on Chief CD 4. Numbers 1&2 are of course on the AEC box.

Crouch's post can't be real -- right? It's far beyond parody.

Don't know if it's come up here before, but the main thing about the personnel on "Out of the Cool" is that the volcanic drummer on "La Nevada" is not Elvin Jones but Charlie Persip.

My guess on the piano player is Jimmy Jones. I'd try next the Emarcy album she did with Clifford Brown. It's been reissued on CD. Another great one for Sarah, though you'll have to put up with some string-laden orchestras and soupy charts, is "Great Songs from Hit Shows," a 2-CD set that I hope is still available (I wrote the notes). In in a similar vein, there's her 2-CD set of Gershwin material -- all these from the Emarcy period.

Buddy Bregman?

No, it's not. It's on CD on Chief, issued in 1989. Don't know it that's still available. In any case, it's about as important as music gets.

No, but "The Saga of Jenny" is all true.

Hey, the leader of our high school jazz band -- Bill Brimfield among the trumpets, Steve Bagby the drummer, Ann Margret (!) the vocalist -- was bassist Bruce Anderson, son of the then-head of Illinois Missouri Synod Lutheran Church, the Rev. O.V. Anderson. The Rev. Anderson was one fearsome dude -- a dour, towering figure who loathed jazz and, so it seemed, any form of pleaurable activity. BTW, Bruce, who was and still is a darn good bassist, went on to become a Lutheran minister himself; his church is in Morton Grove, Ill. Also BTW, when I say high school jazz band, this was before the stage band thing and school sponsorship -- it was just the guys from New Trier H.S. (and some from nearby Evanston H.S., like Brimfield) who wanted to play jazz.

http://www.youtube.com/watch?v=pt7Ro2gr2JU...sarah%20vaughan Dig what she does to the bridge!

http://www.youtube.com/watch?v=xklfKdX2IrY...rch=stan%20getz Too bad it's only 1:45. What a loss it was that Cole virtually stopped playing piano on record. This is, I assume, from the mid- or late-1950s, and he not only sounds great but also as though he's grown some stylistically ... and he's damn hip too, FWIW.

http://www.youtube.com/watch?v=1_hNtvghs2k...=lester%20young P.S. If I'm posting info that's been posted before, please tell me,

http://www.youtube.com/watch?v=94ijwIaH6bM&search=jazz

http://www.youtube.com/watch?v=9BOoP7U1jAA&search=jazz STRONG Pres!

http://www.youtube.com/watch?v=F0yYud187MY&search=jazz

I think a great story could be quarried from Kenton's life -- the tale of a charismatic semi-megalomanic a la Howard Hughes who made a music in his own image. And that last part could be translated into cinematic-musical terms that I think anyone could grasp. (In that vein, one oft he problems of "'Round Midnight" was that the plot required Dale Turner's musical resurrection to take place before his musical and literal demise, but Dexter himself was so far gone at the time that no such musical resurrection could be heard -- and even if it had been possible for him to significantly increase the strength of his playing, would the majority of the audience been able to hear the difference?) BTW, I see Eastwood's old friend and fellow onetime Kenton devotee Mort Sahl working on the script of ... what else, "Artistry in Rhythm."

I agree with Chris on the excessive Chan slant in "Bird," though I think Dianne Venora did a much better job in that role than Forrest Whittaker (an actor I usually admire) did as Bird -- admittedly a difficult bordering on impossible role to play. As many have said before, Whittaker's exaggerated physical motions when he's pretending to play are particularly annoying, given that we know that Bird aalmost always stood stock still when playing. My choice for Bird would have been the young James Earl Jones. In the same vein, at a certain age, Eastwood would have made a great Stan Kenton in a biopic.