Larry Kart

The Pro Arte? https://www.amazon.com/Haydn-Quartets-Pro-Arte-Quartet/dp/B071FL96LX/ref=sr_1_1?crid=37OIT4U7RAKOR&keywords=pro+arte+haydn&qid=1552235959&s=music&sprefix=pro+arte%2Caps%2C148&sr=1-1

J.S. Bach - Cello Suites - Ophelie Gaillard (Aparte)

Additions to my list (as you can see, I've been on a Schumann kick, with a focus on Dichterliebe):

Recently:

The Steve Cerra SU interview/profile is in four parts: https://www.richardmoxham.com/bonnie-herman/

I once got a very warm postcard from Herman after I wrote a favorable review of singer-pianist Audrey Morris, whom we both loved. Made my day. Never met her, though. She was/is married to a good Chicago-based drummer, Tom Radtke. Interesting interview with Herman can be found in the midst of this Steve Cerra blog post about The Singers Unlimited: https://jazzprofiles.blogspot.com/2016/04/the-singers-unlimited-part-1.html About "driven into retirement after Puerling's death" -- the interview suggests that she disliked performing in public and only felt at ease singing in the studio. One might guess that she also only or mainly felt at ease (inspired?) in the midst of Puerling's vocal settings and with her SU colleagues and just chose to call it quits.

A response from a friend of mine: "I read with special interest the account of hearing about LaFaro's death. When [name of my friend's wife] and I had dinner with Israels and his wife (a mediocre singer, can't remember her name), we got one part of the same as his telling here. He was sitting in a café (I assumed Rome, but it was Spoleto) when he first got the news. And he did mention the double emotion of sadness at the loss and elation at the possibility of taking over the Evans bass chair. But what he doesn't mention in the interview is that, in addition to getting LaFaro's job, he also got BOTH of LaFaro's girlfriends. He related this with barely contained glee. He's also an egomaniac." Remember the Stan Levey-Sonny Stitt story? The story, via Charlie Shoemake: 'Conte Candoli told me that Stitt was the one that had given Stan up to the drug police in order to save himself, thus sending Stan to prison. When I asked Stan about it he said that it was true and that when he got out he took a notorious Philadelphia hit man that he knew from his boxing days to where Sonny Stitt was playing and they sat in the front row causing Sonny Stitt to turn ashen. I said to Stan…"but those recordings you made with him years after that, what was that like?” Stan said they never spoke but every once in a while he would see Sonny glance over at him very nervously. Stan also said that going to prison actually saved his life because he got completely clean and married a beautiful girl, Angela, who was a wonderful person and a steady rock for him the rest of his life.’

https://www.jazzwax.com/2019/02/interview-chuck-israels.html?fbclid=IwAR10QXnKi84giseE9aZZBc97MB0gBHpi9n86gF3Qrr4S9OkIrcrhMbrgwMY

Fine player-composer and a very nice guy.

Knowing Ira, I can't imagine he would have changed his last name for that reason; let that momser Adolph change his, he might have said. In addition to all his other virtues and achievements, Ira had a great sense of humor and the absurd, more or less in the Mel Brooks vein. I remember an evening at a Chicago restaurant with Barry Harris and Eddie Jefferson where he left us weeping with laughter.

A copy arrived at the Chicago Tribune when I was there; I put it on because I knew of Francis from Ellis' "New Ideas," loved it, and wrote an enthusiastic review. Afterwards I got in touch with Francis by phone, and we had a very pleasant conversation.

I see that that whole album, "Jazz Bohemia Revisited," is on YouTube.

I have a terrific semi-self produced Francis album with John Neves and Joe Hunt.

For a detailed, entertaining, and it seems to me basically trustworthy guide to recordings of "The Planets," go here (click on entries for commentary): https://petersplanets.wordpress.com/

Dutoit's "Planets" is felt by many to be the best; AFAIK, it is. There may be better Ravel Piano Concerti than Dutoit-Roge (sorry for the two images), but the last time I listened to it I was impressed. Unfortunately, Martinon's 1966 "live" Mahler 10th with the CSO, once issued by the CSO, is long gone. I was at that concert.

Culver is an excellent trombonist; Rigby (with Cameron Brown and Gerald Cleaver) is an up-and-coming tenor man; Cyrille needs no introduction.

The Davison-Wettling-Charlie Queener (obscure as hell -- recorded live at a Wettling gig, shortly before his death) is superb. (Ooops -- can't put my hands on my copy, damn it, but I think Kenny Davern may be on it too.) Don't recall the Altschul that well, and I'm not a big Irabagon fan, but my memory is that Altschul himself is in excellent form.

Fairly obscure compared to the celebrated RCA Goodman trio recordings:

Probably not that obscure, but the trio tracks with LT, Oscar Pettiford, and Skeeter Best are superb.

And Martinu's "Les Fresques" ain't chopped liver.

If you don't have the first Teddy Charles Tentet album, you'll probably want this compilation of both: https://www.freshsoundrecords.com/teddy-charles-albums/4648-the-complete-tentet-vibrations-digipack-edition-.html Not all solid gold but all interesting at the least, and George Russell's "Lydian M-1" from the first Tentet album is excellent and unique -- right up there with "All About Rosie."

Some of Gil's lines are delightfully and/or insidiously memorable. For example, "Threadneedle Street" from the album with Don Butterfield. As for Tal -- he's a giant, but IMO both Cinderella and Mecca brought something to Gil's music that was more distinctive than what the pretty much fully formed Tal brought.

Interesting how Melle hooked up with two distinctive and somewhat related guitarists -- Cinderella and Lou Mecca.

No, but I have heard "Baritone Madness."