Spontooneous

Thanks for this, Late. Any number of Kenny B. threads can be found on this board with a simple search. So let's keep this clearly labeled one for Dave B., OK?

I'm curious who the alto player was. A friend of mine has been filling in with this band.

There are two nifty Sphere live dates on Red. On the one titled "Pumpkin's Delight," Buster Williams introduces the tenor player as "Chuck Rouse."

Some fave Rouse with Monk: The Live in Japan set on Columbia. The Live in Stockholm set on DIW. And his "Well You Needn't" solo on Live at the It Club.

Talked to Gary Foster last night. He was still enthusing about this show, and the experience of playing with Andrew Cyrille.

Got to admit, I like the writing better than I like the solos. But the record haunts me anyway. After a little digging, I found this piece on Darryl, published in The Kansas City Star on July 24 last year: By JOE KLOPUS The Kansas City Star You don’t think of Lincoln, Neb., as a haven for a jazz man. But it's been good to Darryl White, a forward-thinking trumpet player who says he’s playing more now than when he lived in Chicago. White, who’s recording a live CD at the Blue Room next week, gets to play jazz now and then at clubs, parties and conferences around Lincoln and Omaha. And he gets plenty of opportunities to play classical music, too. Both jobs suit him fine, since he teaches classical trumpet at the University of Nebraska. “I don’t want regular gigs anymore,” White says. “I don’t like being away from home.” The 40-year-old has had quite a few homes and carries strong connections to each: the Cleveland area, where he grew up; Chicago, where he studied classical trumpet and jammed; Grand Junction, Colo., where he met his wife and learned to ski and mountain bike; Denver, where he played in a classical brass quintet and jazz groups; and now Lincoln. White has been playing the trumpet since he was 10. “I could get a good sound on it right away, but I didn’t know what I was doing,” he says. He admits to having been a slow learner of scales and music theory, but his big tone carried him through while he filled those gaps in his knowledge. The Cleveland scene was a wonderful place to learn jazz, he says. He was listening to one of today’s saxophone titans, Joe Lovano. And he learned from giants such as Woody Shaw, Freddie Hubbard and even Louis Armstrong via records. White headed for Chicago for grad school, studying with a former Chicago Symphony trumpeter, Vincent Cichowicz. But there was a major setback along the way: White’s roommate’s dog went nuts and attacked him. “He only took one bite, but he took half my lip with him,” White said. Plastic surgeons put his lip back together — but White had to relearn his instrument. “When Cichowicz saw me with my lip messed up he said, ‘This could be an opportunity.’ … It was a chance to break somebody down and start from the beginning, like in the Marines. It was a blessing in disguise,” White says. But it’s also a worry anytime he gets some little twinge in his lip. “Don’t think I don’t think about it,” he says. White’s recording at the Blue Room will be his third jazz album. He also has a classical CD in the works, with pieces by Art Lande, a Denver composer who’s also active as a jazz pianist. (These guys who work both sides of the street hang out together.) There’s a guest on the Blue Room dates: alto saxophonist Bobby Watson, whom White remembers from a clinic Watson gave at his college years ago. “I doubt he remembers it,” White says. “But it’s fun to play with some of your musical heroes.” Friends from Denver and Kansas City will make up the rest of the band: pianist Jeff Jenkins, bassist Kenny Walker and drummer Matt Houston from Denver, plus sax man Gerald Dunn from 18th and Vine. Kansas City drummer Mike Warren will also play on some of the tunes, White says. “We’ll play mostly originals and probably do some of Jeff Jenkins’ music. We’re planning on doing one or two of Bobby’s pieces. And there’ll be a few standards sprinkled in somewhere.”

From an old IAJRC Journal, I remember reading the reviews of "Barry Harris Plays Harry Barris" and "Charles Tolliver Plays King Oliver." These were briefly available on the Nosuch label.

Interesting record. Yes, short solos. Darryl's in Lincoln, Nebraska, now. He's teaching trumpet at the university. Nice guy -- I talked to him just the other night. Wonderful player. He has another album in the works.

Stravinsky conducting "The Rite of Spring." All through my teen years. Followed closely by Charlie Parker, "The Savoy Sessions -- Master Takes," in its LP incarnation, and Bob Dylan's "Bringing It All Back Home."

Not as memorable a date as it should have been given the chemistry of Hawk and Red. But the CD is long OOP and not likely to resurface. A collector's item. Musically, it's overshadowed by Red Allen's date with Hawk on RCA from about the same time. Can't remember the LP title, but it was reissued on CD as "World on a String." That's the stuff.

The finest piece of machine-generated erotic poetry I've ever seen: you grenade me dramatic me you singsong me proscribe me you concoct me ababa me you muezzin me radian me you cottage me hard me

MP3s of the opening and closing themes just went up on the Adult Swim website: link for humans

Deus, Hans, Ubu, Brownie, this board is a better place because of you. The door is always open.

Not McShann, no way. McShann's face is much rounder. I like the Cecil Payne theory.

A friend of mine studied with Garzone. He enthuses about the whole experience. "He really opened me up," he says.

This year we've arranged for Valdo Williams to jump out of the cake...

"Blue in Green" for me. "Freddie Freeloader" used to be my least favorite, but today I thought about voting for it before I settled on "Blue in Green."

It was on one of those RCA/Bluebird CDs of the late '80s, about the same time as the George Russell/Rod Levitt disc.

You and Bix today! Somethin' 'bout them Iowans. Have a GREAT one. And then a lot more of 'em.

Very good news indeed. Those EastWinds were uniformly classy. Good performances, good sound, interesting graphics. Hope these reissues maintain that flavor. I wish they'd reissue "Blueblack" first! I've never even seen a copy of that thing!

I am missing working right now. About life Does Joe hate laughing over there? Do those plumbers always remember jumping? --- by Brandie S. Wiley II

Let's jump in the jalopy and jive some jargon with Jughead! (I've always been frightened by the chain-link fencing on the side of Archie's head.)

None of the above. Frozen custard.

Bach's B-minor Flute Sonata, BWV 1030, is one of the most amazing things by him you will ever hear. It's a fairly short leap from Impressionism to the wonderful Sonata for Flute and Piano by Bohuslav Martinu. Look into some other moderns too: the Nielsen Flute Concerto, the Ballade for Flute and Orchestra by Frank Martin, the Divertimento for Flute and Orchestra by Busoni. None of these is grindingly dissonant or hard to take; all of them will tickle your fancy.

So that pie vs. cake thread really got out of hand, eh?