Mark Stryker

Can't speak specifically to any of these, but a quick YouTube search finds a couple cuts from the Kai and Curtis, four tracks from the Philly Joe and one from the Art Farmer. Happy exploring.

Bud Powell's "Bouncing with Bud" (9/26/62, Copenhagen, NHOP, Schiopffe) is one of the best late Bud records It might be THE best post-1958 save a few of the Michelot/Clarke tracks c. 1960. It's been released on various labels -- I have the Delmark LP -- but it was original done for Sonet. On a related note, I've long been searching for this Roland Hanna LP 1979, which appears to have never made it to CD. He plays Swedish folk music. https://www.discogs.com/Sir-Roland-Hanna-Och-Jungfrun-Gick-%C3%85t-Killan/release/8882874

The journey never ends until the journey REALLY ends, you dig? Re: Juilliard and Beethoven. The Juilliard recorded two complete cycles of the quartets for Columbia/Sony -- one in the studio between 1964-70 and then and live in the early '80s in the then-new digital format. I think the earlier set is much preferable -- more in the group's prime, better balance of go-for-broke energy, spontaneity and unified ensemble. The latter has live electricity -- it would have been great to be at the concerts -- but it is true that Mann isn't as consistent as earlier and the "sloppiness" you refer to doesn't play as well upon repeated listening on record. Now, the quartet did start an an aborted Beethoven cycle when it was signed to RCA from 1957-63. They did Op. 95, 131, 132 & 135. These are tremendous -- my favorite line-up of the quartet. A really good place to start with the Juilliard's standard rep aesthetic is this Testament CD that pairs Op. 131 with Schubert's Death and the Maiden. Used prices are pretty good. https://www.amazon.com/Juilliard-String-Quartet-Beethoven-Schubert/dp/B0009VY6T6/ref=sr_1_1?s=music&ie=UTF8&qid=1515346971&sr=1-1&keywords=juilliard+string+quartet++beethoven+and+schubert A number of the Juilliard's recordings from its RCA days were issued on Testament. I would also strongly recommend Ravel/Debussy/Webern disc. Of course, you can always look for the LPs ... And there's YouTube for quick reference.

Love this recording. When I talked to Mann 20 years ago, one of the things he told me was while he was retiring from the quartet, he certainly wasn't going to stop playing string quartets, and he was sure he'd be getting together with friends at his home to play on on a regular basis. I specifically remember him saying that "The Art of the Fugue" was among his favorite pieces that he couldn't imagine not playing again.

Violinist Robert Mann, who founded the Juilliard String Quartet, died earlier this week at 97. I wrote up a short remembrance shortly after his death was announced. Robert Mann (1920-2018) Saddened to learn of the death at age 97 of one of my heroes, violinist Robert Mann, founder of the Juilliard String Quartet and perhaps the most influential American classical chamber musician of all time. The Juilliard Quartet which began in 1946 and played its first concert in 1947, was the first homegrown chamber ensemble to take its place among the world's best. More than any other ensemble, it created an American style of chamber playing, which descended directly from Mann's own personality. It was muscular and intense, sometimes manically so, and it allowed for a maximum of individual expression by the four players without mortgaging a unified ensemble -- a classical analogue to a jazz band. With Mann leading the way, the Juilliard stripped away the halo of Old World romanticism in favor of fresh interpretations rooted in the idea of the composer's intent. The quartet's gleaming approach was, in fact, itself an expression of mid-century modernist aesthetics, and Mann liked to say that he and his colleagues tried to play Beethoven as if it was new music and contemporary music as if it was Beethoven. The Juilliard played a TON of contemporary music. It championed Bartok's six quartets from the get-go; Bartok's 4th, 5th and 6th quartets were only 20 years old or younger when the Juilliard got started. Early on it also made definitive recordings of Schoenberg, Berg and Webern. No group did more to elevate the profile of Elliott Carter, and it also played Kirchner, Fine, Sessions, Martino, Babbitt and so many other living American composers. Yet, it also played the hell out of the standard repertoire, and its exquisite yet tensile 1960s recordings of Debussy, Ravel, Beethoven, Mozart are among the glories of its discography. Yes, in later years Mann's technique and intonation were not always reliable, and the quartet could sound woolly, even sloppy. Sometimes they crossed the line. But, generally, I didn't give a fuck. Perfection is overrated. Mann's insightful musical intelligence and the emotional punch of his music-making is what it was all about. When Mann finally retired (at 76 or 77), after a half century at the helm of the quartet, I wrote a story about him for the Detroit Free Press in which I quoted Juilliard cellist Joel Krosnick comparing him to basketball star Larry Bird. Mann was never the most naturally gifted violinist in terms of flawless technique or opulent tone, but through hard work, intellect and sheer force of will he transformed himself into a world-class musician. Bird was similar said Krosnick. "Can't run, can't jump, slow, but he scores 26 points a game, 12 assists, 13 rebounds and his team wins the NBA championship." I spoke to Mann at the time, and what I remember most about the conversation was how his voice came barreling over the phone with enough force to knock me backwards. The music did that too. R.I.P. Coda: The quartet's 1963 cycle of the Bartok quartets is desert island music for me. Robert Mann, first violin; Isidore Cohen, second violin; Raphael Hillyer, viola; Claus Adam, cello.

Guitarist Dave Stryker (no relation) is reporting on Facebook the sad news that singer Kevin Mahogany has died at age 59. Dave says he was told directly by Kevin's sister.

Do you mean the concerts from Paris specifically or do you mean French-issued recordings of all the concerts?

If we don't all buy all the same music again that we've already bought multiple times in multiple formats, then the terrorists win.

Detroiter Johnny O’Neal was the pianist.

Twenty-eight minutes and 28 seconds of perfection

If Michael was on piano, that was 1982 -- Michael wrote about this a bit today on Facebook. His first NY appearance in a "name" club.

The service element of this is pure Sonny. Huzzah! https://www.oberlin.edu/news/jazz-legend-sonny-rollins-designates-major-gift-oberlin

Thanks. To be clear, I do have the Columbia box, but have (a) always wondered about the discrepancy between it and the subsequent 3-CD series but have wondered if there was s better sounding set and (b) wanted a good compilation disc in good sound. I often find myself pulling out the LP series that was so perfect for so many years, which is cool but there are times I’d rather have a CD.

Can someone help me sort the various "complete" sets of the Hot Five and Hot Seven recordings on Columbia. Specifically, why does the complete long box issued in 2000 have four discs but the complete set on individual discs that came out in 2003 only contains three? Are the transfers any better between one or the other or are they all the same? Finally, what are folks best recommendations for the best transfers of this material on CD in the various issues that might be available -- both a complete set and a one or two disc highlight set?

Maybe I missed them above, so apologies if they've been mentioned, but Tom Boswell's first two baseball book are Hall-of-Fame worthy: How Life Imitates the World Series (1982); Why Time Begins on Opening Day (1984)

Just to be clear: Do the the Fairmont LPs that came from Torme’s Collection contain the same performances released on the LPs on DETS?

Apologies if I read more into a jazz ed joke than was meant in the original post.

Not sure I follow your point here. Sexual harassment has long been an issue in classical conservatories, though it’s kept relatively quiet. It is possible that the hyper-masculinity of the jazz subculture and the large number of adjunct faculty at a school like Berklee exacerbates the problem. But leaving aside whatever other issues there may be with jazz education, I’m not sure there’s any significant difference between the jazz and classical worlds when it comes to sexual misconduct in the academy.

There are definitely notable unissued live recordings from the '60s you would not believe. Some I've heard, some I've just heard about but know they exist. Can't say more. Sorry to be cryptic. Patience.

Whoa -- great picture, thanks. Any idea when that was taken? Obviously no earlier than 1958.

Chuck Mangione and Doc Ellis, c. 1976. Who do you think is more stoned in this photo?

Good thread on Darcy James Argue's Facebook page about the correct change to to "Con Alma" https://www.facebook.com/search/str/darcy+and+con+alma/keywords_blended_posts?filters_rp_author=%7B%22name%22%3A%22author_friends%22%2C%22args%22%3A%22%22%7D&esd=eyJlc2lkIjoiUzpfSTc0NTUyMDEwNDoxMDE1OTcwMzkzODc1NTEwNSIsInBzaWQiOnsiNzQ1NTIwMTA0OjEwMTU5NzAzOTM4NzU1MTA1IjoiVXpwZlNUYzBOVFV5TURFd05Eb3hNREUxT1Rjd016a3pPRGMxTlRFd05RPT0ifSwiY3JjdCI6ImNvbW1lbnRzX2xpbmsiLCJjc2lkIjoiNmExOGM5OTM1MTVhYTQzNWZjOTRkNGZmNjVkZDBiOWEifQ%3D%3D

I agree that "phrases carefully" and eighth notes placed meticulously -- I'm not sure about quaintly -- are similarities, but Clark is much farther back on the beat and the articulation digs deeper than Jordan.