Larry Kart

I guess it depends on the 'where' and how much of 'somewhere.' Falling in love with your eventual spouse, proceeding to have a child or children? Do those things involve the sort of "cost-benefit" analysis that might now be running through the mind of a Steve Mnuchin or that ran through the minds of Kissinger and Nixon as they thought about bombing Cambodia?

I admit that 'enlightened self-interest' sounds better, cleaner -- the connotations, if not the literal meaning, of 'enlightened' function a bit disingeniously there IMO -- but I think that 'cost-benefit analysis' is a more accurate term for this rather cold-blooded, if not outright bloody-minded, approach to life. It is, for one, the term typically used in corporate boardrooms and in the halls of government. btw, I say 'bloody minded' because in this view of things the 'losers' always deserve it.

Not political in the partisan sense, I don't think, but you be the judge. Makes some telling points IMO that underpin this ongoing thread: An excerpt from Marilynn Robinson's piece in the current New York Review of Books: ”The theory that supports all of this [i.e. much of our nation's current thinking and behavior re: the virus and related matters] … is economic but its influence is broadly felt … because it is in fact an anthropology, a theory of human nature and motivation. It comes down to the idea that that the profit motive applies in literally every circumstance, inevitably, because it is genetic in its origins and its operations…. Behind every act or choice is a cost-benefit analysis engaged in subrationally. This is to say that thinking itself is the product of of this constant appraisal of circumstance that is is prior to thinking, and therefore not subject to culture, moral scruples, and so on, which are merely a scheme of evolution to hide this one universal intention from the billions of us who make up the human species…. By its nature, this worldview is based on the moment, in any new occasion to seek advantage. “This view of things takes a cynical view of people as such, since no one’s true motives are different from those of the consciously selfish. Because there is only one motive — to realize the maximum of benefit at a minimum of cost — those who do not flourish are losers in an invidious Darwinian sense. Winners are exempt from moral or ethical scrutiny since advance of any sort is a good to be valued…. “This view of things has all the power among us of an ideology, though it lacks any account of past or future, any vision of ultimate human well-being. It promotes itself as nationalism, though its operations are aggressively global. The supposed nationalism plays on a nostalgia for the postwar decades, when the prestige of countries was measured by 'living standards.'"

chicago suburb

first one I bought with money I'd earned was "Sonny Rollins Plus Four." Bought it at EJ Korvette.

of the ones I know from long experience, don't miss the wolpe ten songs from the hebrew and the krenek work for chamber ensemble and bethany beardslee.

is steam the one with his chart of "I'm getting sentimental over you'? I heard the band play it with the late laurie frink playing lead. lovely piece of work. nope -- it was on walk on the water.

thanks for the iinformation.

I forgot that our b'days are close together. Good time of a good month, Best.

Not Belden ... youmustbe is/was promoter/producer Milos Simich, brother of the former poet laureate Charles Simic -- they spelled the last name diiferently.

doc said maybe but at age 78 it doesn't really matter -- by then there's nothing up there for a surgeon to work with. will never forget the night I heard ayler rudd tchiai and milford graves in a loft above the v vanguard. Ayler's in person sound was unbelievable.

good stuff --aware man u are. typing with one hand because I dislocated my left shoulder sun. am --fell while walking the dog, faceplanted across the street, half on the driveway, half on the lawn. OUCH.

She was from Chicago but just meant a table in (at the least) the middle of the room. As most of us know from experience, there's nothing like one's first in-person encounter with a good big band in full flight. This was the latter-day Third Herd, maybe re-formed after Woody cut down to an octet that played Vegas and made a nice album "Jackpot!" (Capitol). I recall being disappointed at the time that Bill Perkins wasn't on the band, but Jay Migliori (from Boston) was a fine player.

Sixty-four years ago, I think, on my birthday, I got my parents to take me to the Blue Note to hear the Woody Herman Band. Woody had six trumpets that night (one guy coming in, another about to move on, probably). We got there early and sat at a front table at my request. The band tore into its first number, and my mother said, "Can we move back?" I remember some of the band. Tenor soloist was Jay Migliori, Cy Touff on bass trumpet; I thought Cy was terrific, still do. Lead trumpeter was a vet whose name escapes me right now, a San Francisco-area guy. Right, Johhny Coppola.

Another thing about Shelly, so I've been told -- without being at all stiff, he never rushed and he never dragged. The tempo always was right there.

One of those bittersweet things. Don't think I'd ever heard Shelly in person until he came to the Jazz Showcase in the '80s with a trio (Frank Collett and Monty Budwig). I was virtually hypnotized by the degree of interaction that Shelly had with Collett and Budwig (you could see this as well as hear it), and I wrote about that accordingly. A short while later a postcard arrived from Shelly in California, thanking me for what I wrote and saying that we should get together the next time he was in town. A short while after that he was gone.

But "as long as possible" is not forever. Also, "stay closed as long as possible" is your interpretation/claim of what the scientists are saying; it's not what they are saying. They are saying "stay closed until -- as Jim says above -- the data and the facts indicate that it's reasonably safe not to stay closed."

Does anyone think or has anyone who's sane said that we should or we have to stay closed FOREVER? If not, why even raise the issue for rhetorical reasons, as I think/hope you're doing? If everything stays as bad as it is now or even gets worse, eventually things will be less closed down and/or there will be a good many fewer people around to care about it.

The right to drink does not confer the right to drive drunk.

Per this article that Dan Gould linked to: https://www.theatlantic.com/health/archive/2020/04/dont-wear-mask-yourself/610336/ I'm thinking that this moderator (that is me) is soon going to go back and delete every post that says that wearing masks is dubious or dangerous or impinges on one's freedom. Unless Jim A. or Jim S. tells me not to and why, I'll do that within the next hour. You anti-mask guys are putting others' health at risk, and there is no evidence that wearing a mask does any harm to you. Only harm it's done to me is that taking off my mask carelessly can flip my expensive hearing aids out of my ears.

One hoes rows (of plants, vegetables, etc.), note roads.

Thanks. I'll look for it. Dang -- it's OOP.

Some Brookmeyer on piano, plus one track ("Nobody's Heart") with a vocal, if you can call it that, by Nancy Overton, no doubt Hall Overton's wife. https://youtu.be/rpt5zAJivBg https://youtu.be/v-POvOcSwi4 https://youtu.be/v4NfW5oS5To https://youtu.be/z4nE1jvK7Fo https://youtu.be/aEr_1pnRktk https://youtu.be/8CeBtJG20W4 Chummy McGregor -- hmm. The man who wrote "Moon Dreams," which is achievement enough. Have no idea what his playing sounded like, though I do know that in "the Glenn Miller Story" he was played by Harry Morgan.

Anyone have any thoughts about where his style of piano playing came from? Examples are not abundant -- "The Ivory Hunters" album with Bob and Bill Evans, a track or two on "Traditionalism Revisited," a track here or there with the Mulligan Sextet and Quartet, maybe t"The Street Swingers" with Jimmy Raney and Jim Hall, but I've never heard that one. The most representative example, unless I'm missing something, are the dates from 1954 and '55 on "The Dual Role of Bob Brookmeyer" (Prestige) with Raney on one side (they're a very compatible pair; lovely Raney there) and Teddy Charles on the other. ('Ill check to see if any of those tracks are on You Tube.) My best guess is that one or more pianist from a prior era is at the root of Brookmeyer's conception -- my wild ass guess would be Jess Stacy, maybe someone half-forgotten like Herman Chittison or Clarence Profit -- and on top of that maybe a pinch of Monk or Jimmy Rowles. Other than that I have no clue, though I do find that the results have a certain impish charm --especially impish, even coy, on "Truckin'" from "Traditionalism Revisited," but then that tune just is coy. Likewise, he's rather coy at times on "The Ivory Hunters," but I'd guess that was because he felt a bit intimidated by, or in awe of, Evans' full-blown expertise circa 1957 and decided in response to, so to speak, play around the edges of Bill's work, -- and he plays there quite well I'd say. But his work on "The Dual Role" album is the place to go to scope out Bob's piano playing, I think. He certainly deserves credit for distinctiveness.

Shuffling through LPs I haven't listened to for years, I put on the 1980 reissue of this 1957 Columbia album, with Woods, Quill, Bob Corwin, Sonny Dallas, and Nick Stabulas. This was when Woods (for my taste) was still quite lucid, not yet the "jazzy" player he eventually became IMO, though in '57 he sure was hot as hell, while Quill was no less searing and with a unique slam-bang rhythmic looseness -- a wild man he was. Annotator Mort Goode gets some good stories out of Phil, who is touchingly eager to have the album reissued because Quill by 1980 had been horribly beaten in a mugging, was paralyzed on his right side and would never play again. "This is some of the best Gene Quill ever recorded," Woods says, and it is. Two minor goofs though. Woods says that on the night that he and Quill first met, they were playing at a session with "Johnny Williams on piano" -- Goode adding that was the John Williams of eventual movie soundtrack fame. No -- that John Williams played jazz piano in the LA area early on in his career under the name John Towner Williams (or just John Towner), but this was the John Williams who had been the pianist in the Stan Getz Quintet with Bob Brookmeyer and made a nice trio record for Emarcy Also, on what may be the fastest version of "Scrapple from the Apple" on record, Woods is said to be the first soloist, but it's definitely Quill, who proceeds to take the paint off the walls. Yes, they were similar but not that hard to tell apart. Well known Gene Quill story: Some fan came up to him at a club and said, "All you're doing is imitating Charlie Parker. " Gene hands him his alto and says, "Here -- you try it."