Larry Kart

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."

My broker at J.P. Morgan Chase told me today that their estimate is that of the retail outlets (stores, restaurants, etc.) that are closed after four months, 60% will never open their doors again.

I got the Volodos after a piano maven on rec.musical.classical.recpordings extolled it as the best recording of these works ever. Volodos, who of course has fantastic chops in terms of speed, also is great with differentiation of touch, and his versions, which are slow and meditative, flow like molassees -- mostly in the good sense of that sort of flow. On the down side, one might feel that the meditativeness he's cleary going for is somewhat undercut at times by an air of calculation -- to figure out and make the kind of micro-adjustments of touch and tone that Volodos comes up with doesn't always leave one with a sense of spontaneity. Remarkable playing nonetheless, both in terms of conception and execution. Gould's versions I used to own and later on got rid of (IIRC I found them too slow and finicky) even though he said that they were the best recordings he'd ever made of anything, adding that they revealed him to be the total romantic that he'd always claimed to be. Indeed they are very romantic and not only slow and deeply meditative but also, so to seems to me, quite spontaneously so. Gould doesn't shade things quite as much or as delicately as Volodos, but he does so a good deal, and of course his digital control is out of sight. Still, it's Gould's of air spontaneity that is most attractive -- one feels that each crux (so to speak) in these pieces has just been happened upon by Gould for the first time, and he responds accordingly. This BTW fits Gould's statement that he didn't practice the Brahms Ballades (also on this two-CD set) before recording them, even though they're known to be finger-busters, but just read through the scores enough to get them in his head. In any case, I'm happy to have both Volodos and Gould now; they don't contradict each other. Designated for the trash -- my old Gieseking Angel LPs. Why those sleepy, dull recordings were ever well regarded escapes me.

Anyone familiar with this composer-bandleader-saxophonist, based in the Eugene, Oregon area? I've been quite taken with her first and so far only CD "Tricks of Light" (2015). I sent a link to her site (where tracks can be listened to) to a very experienced/talented musician friend of mine, and his response was not favorable. I'd like to know what other think. First track to sample IMO would be "Swang." I'll post the link to her site below. http://www.jessikasmithmusic.com https://www.marmosetmusic.com/artists/jessika-smith-big-band 1) E-mail I sent to my friend: "Just listened again to an album by the Jessika Smith Big band, “Tricks of Light” (2015), and was very impressed by the quality and novelty of her work. Here’s her website: http://www.jessikasmithmusic.com There are links there to some of the tracks on her album (I’d listen to “Swang” first); more from the album may be available on YouTube. What I like about her is that her work swings, has a story-telling quality with a sense of humor at times (there are even a few shaggy dog moments), is primarily melodic, and that she tends to “paint” (so the speak) in relatively primary colors; none of that (to my mind rather precious) Maria Schneider evanescence for her. Further, while the flavor of her work is by no means far-out, her writing doesn’t remind me of anyone else — except for the final openly and perhaps somewhat satirical neo-Basie track on the album “Buddy’s Blues.” Further, all of her soloists are quite good and quite individual for (I assume) U. Of Oregon college students or players who happen to be based in the Portland area. Now that I think of it, she reminds a bit of Rod Levitt at times, which is a big plus in my book. Of the tracks that are linked to on her site, Smith solos on alto on “Song for Ellen.” 2) His reply: "I went to her website and listened to “Grey Monster,” “Cyan Thread,” and “Swang.” I wish I could share your enthusiasm, but I can’t. The phrase that kept running through my head was “Maria Schneider on Prozac.” There’s not much energy to this music, and it doesn’t go anywhere. Gary McFarland once said that Gerry Mulligan’s most valuable advice to him was: “Build for climaxes.” That’s sadly lacking here. And the blank looks on the players’ faces at the end of each piece is telling. They’re good players, and they want to go somewhere, but Smith won’t let them. I know what you mean about Rod Levitt, though I doubt that Smith has ever heard of him or heard his music. There’s a bit of Levitt-like levity (pun intended) in “Swang,” but again, it’s diluted and falls flat. I'm always interested in checking out new music and composers, so thanks for the heads-up. Sometimes failures or near-misses can be as instructive as successes. As for Smith, she’s young, and hopefully she’ll get better. A good teacher would help. Maria Schneider was very lucky in that respect: she had Brookmeyer and Gil Evans to kick her ass. " P.S. (Me again): I've always found Maria Schneider's music at once bland/ and self-regardingly near repulsive. To me, she's not only always been on Prozac herself but also is prescribing it.

Grachan Moncour "Gnostic" Tyrone Washington "Yearning for Love"

Bud Powell "Sub City" (Philly Joe's may be the best brush solo ever) Jackie McLean/Lee Morgan "Bluesanova" (terrific Billy Higgins here)

Dexter Gordon -- "Cheesecake" Jackie McLean -- "Hip Strut"

Perhaps this has been asked before, but last night while listening to the title track of Louis Smith's "Smithville," which I love for its overall groove and intensity and in particular for the work of Paul Chambers and Sonny Clark, I thought to ask which Blue Note tracks tracks are our favorites along those somewhat amorphous groove/intensity lines. A few nominees came to mind immediately -- "Blue Train," the title track of "Sonny Clark's "Cool Struttin,' "Autumn Leaves" from Cannonball Adderly's "Something Else" -- and there I ground to a halt and/or thought I should just open the floor to others. BTW, if one doesn't know "Smithville" in general and its title track in particular, don't hesitate. One could build a mountain on top of Chamber's guttural opening "walk," and Clark's comping and subsequent solo are as blues drenched as anything this side of Jimmy Yancey. I have an image of Alfred Lion listening to Clark's playing in the control booth and nodding in approval.

Yes, indeed.

Well today, six days (!) after Lee's death, there's this paltry effort that briefly and in passing lumps Lee together with all the other jazz musicians who have died from the virus. Can't seem to link to it, but google "Lee Konitz Chicago Tribune" and you'll find it. If anyone knows or uncovers the story behind this seemingly inexplicable journalistic episode, please enlighten us.

That "Shaw Nuff" is on YouTube. Just plug in "al haig shaw nuff"

Al Haig-Jimmy Raney "Special Brew" -- Spotlite (Haig's solo on "Shaw Nuff" is as close as any pianist I know has come to Bird, with Haig and Bud in a dead heat. Just astonishing.) Several of Duke Jordan's many fine Steeple Chase albums

Froberger.

On the Swedisc LP "Sax of a Kind --"Lee Konitz in Sweden, 1951/3" there's a 1953 Konitz with the Kenton Band concert performance in Gothenberg of "Lover Man" that must have been an out-of-body experience for Lee. The album is o.o.p.; I see there's a copy on eBay. The other tracks on the album are with simpatico Swedes.

Groovissimo! Members 14,072 posts Location:NY Donor (IP: 173.77.2.224) · Posted 3 hours ago · Report post RIP Giuseppi. I have only one album of yours. I will play it later today. Thanks for music The above post is from Hardbopjazz. I tried to merge it but couldn't, so my name etc. is to the left.

A top notch latter-day (2001) Konitz album. He's in great form, and Perry is an excellent frontline partner. Fine rhythm section: Harold Danko, Jay Anderson, Billy Drummond.

No Konitz obit in the Chicago Tribune today -- at least none that I could find. There was a link to a brief paid obit among the death notices. Geez! A native Chicagoan in addition to everything else. There is a big tribute to Brian Dennehy on the front page of the Arts section, though.

Famous Tom Brokow quote re: The New Millllenium: "Yes, those events only come along about every thousand years."

Some favorite Lee memories: With Al Cohn at the Jazz Showcase in 1980, with bassist Jim Atlas and Wilbur Campbell. Hearing Al and Lee together to my mind led to thoughts of their fundamental Jewishness -- Al "a fierce Maccabean rabbi of the tenor saxophone," Lee "the alto's Talmudic scholar." Then at the Showcase in 1986 with Jodie Christian, Steve Rodby, and Wilbur. Lee had written about the ten levels of paraphrase, with level ten being sublime. This set was at level ten.Don't if there was any prior discussion among the players, but Jodie in particular grasped what the collective goal was, and everyone brought it home. On a personal note: When Lee was in town with a George Gruntz big band, I went with a very beautiful jazz-loving ex-girlfriend (half Filipino, half-Polish) from college days with whom I remained quite friendly. She made it clear that she wanted to meet Lee, so we went backstage, I introduced them, and from there, as I found out later, they went back to her apartment. Lee asked her if he could put on a record and then said "Let's dance," holding out his arms -- clearly thinking that one level of physical contact soon would lead to another. At this, my old girlfriend, probably amused at the transparency of Lee's would-be ploy, began to giggle uncontrollably (a tendency she had under stress). Her giggling apparently altered the situation in Lee's mind, as well it might have, and he soon departed.

Bill Kirchner did an excellent interview with a very relaxed Lee several years ago: https://amhistory.si.edu/jazz/Konitz-Lee/Konitz_Lee_Interview_Transcription.pdf There are some typos -- e.g. "Sy Toff" for Cy Touff, "Billy Eckstine" for Billy Exiner, "Cyn" for Senn High School -- but the interview is a font of information, much of it not available elsewhere.

It's not the presence of strings that make this album other than a "blowing session." It's a fully scored work of some length (maybe 40 minutes) for orchestra and soloists, with the latter functioning within the orchestral framework. I've got nothing against strings per se; it depends on how they're used.

Of all the players I've heard, probably Lee was the closest to my heart. Fortunately we had some nice face-to-face encounters, and he told me he liked some of the things I'd written about him. What a rich life! He gave the world so much.

Took the plunge tonight and listened to all of Manny Albam's 1957 four-movement magnum opus "The Blues Is Everybody's Business" (Coral). The writing for strings (movements two and three) gets a bit cinematic at times, but there are some things of interest here. First, a surprising amount of fine prominent bass work from Milt Hinton and Vinnie Burke, plus some luscious tuba from Don Butterfield. Second, the featured trumpet soloists are Nick Travis (he's heard at length, and this is the best Travis I know) and Art Farmer (Harmon muted throughout and in excellent form; his role is more or less to interact with and comment on Travis's part, and this he does with much sensitivity). Nice solos from Phil Woods, Gene Quill, and Bob Brookmeyer, a soulful concluding benediction from Al Cohn, and spectacular high-note work from Ernie Royal. Don Lamond is the crisp, cooking drummer. My copy is mono and in less than great shape, but one can still tell that in its original (stereo?) incarnation this was a recording of great presence and detail.

I'd bet on the bassist being Hersh Hamel, who worked with Hawes and IIRC was notorious on that scene for ratting out guys to the drug cops. I believe he was responsible for one of Art Pepper's busts and one of Chet Baker's too. OTOH, I would be surprised it were Pena. Never thought him as a junkie or as associating with junkies. Fine player too FWIW, who came to a sad early end. He was injured in an auto accident in Mexico City and local doctors botched his treatment.

Couple more with McConnell, Bickert and a bassist P.S. that Brookmeyer-Jim Hall record is exceptional indeed.