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Phil Freeman is an absolute idiot. He knows nothing about music, regularly says bizarre things about "inside" jazz performance, and blocked me on Facebook for disagreeing with him. Honestly, I wouldn't spend 2 cents on anything he writes. He just knows nothing about jazz. I would wait for Ben Young's book. Or just listen to the music. read this, and see if you want to spend any money on a big written by this guy; he hasn't a clue about Bird or Bebop (which he things is a music-school thing) - and how can you trust the opinion of ANY contemporary jazz writer he says these kind of things about Bird, that he lacks grit, etc.: "Anyway, listening to this mostly makes me think about why Charlie Parker’s music has never had the impact on me that it has had on so many others. Like, I can hear that he’s a virtuoso player, and I acknowledge his influence — he changed the way players after him approached composition, improvisation, and even their tone on their instruments. But any time I read about Parker being called the greatest saxophonist ever, or whatever, I always think Sure, for one particular value of “great.” "His melodically and harmonically adventurous, chord-flipping style (which he famously described as “playing clean and looking for the pretty notes”) is one way to play jazz. But it’s not the only way, by any means. Personally, I have always been more drawn to players with more rawness and grit to to their sound. And I don’t just mean free jazz. A lot of what Albert Ayler, Pharoah Sanders, Archie Shepp and others — even more mainstream players like Sonny Rollins and Joe Henderson — did in the 1960s was following in the footsteps of players like Illinois Jacquet, Big Jay McNeely, Red Prysock, Arnett Cobb, Eddie “Lockjaw” Davis and others. And that kind of music has always had a greater appeal to me than the slippery instrumental one-upmanship (Thelonious Monk, easily the greatest composer the movement produced, said, “We’re going to create something they [meaning fellow musicians] can’t steal, because they can’t play it”) of bebop. I think Jimmy Lyons is a hugely important figure, because he was able to take bebop ideas and import them into “free” or “avant-garde” settings. (I put “avant-garde” in quotes there because bebop itself was 100% avant-garde music when it first developed, in the 1940s.) "Charlie Parker was playing publicly as early as the mid-1930s, but didn’t break out on record until 1945, because of a World War II-era recording ban, and he died in 1955. He was hugely influential and inspirational during the roughly ten-year period that he was a major figure, and bebop was a fascinating phenomenon. Almost punk in its speed and aggressiveness, but extraordinarily demanding on a technical level, it was kind of a music-school thing. It’s the kind of music you get when a bunch of young, talented men get together in a room, night after night, and start showing off for each other. “Listen to what I came up with!” “Oh, yeah? Well, how about this?” And on and on, at lightning speed. Which is exactly why it continues to appeal to many young jazz musicians. "The Massey Hall concert was kind of the period at the end of the bebop sentence, though. The style was no longer any kind of revolution by 1953; in fact, all of its key ideas had been established by 1948, and sometimes I feel like its true legacy might be the pervasive attitude among jazz musicians that it’s the audience’s fault if they don’t like what they’re hearing. It was yesterday’s future. Personally, I’d rather listen to a lot of other things by Dizzy Gillespie, Charles Mingus, and Max Roach, and I just…don’t listen to Charlie Parker very often, and Bud Powell even less. But if you’ve never heard this concert — and there’s no reason why you should have! It’s from 70 years ago! — Hot House: The Complete Jazz at Massey Hall Recordings is worth checking out at least once." And I will add that Bird was on record with McShann before 1945.

Brahms, Violin Concerto / Violin Sonata No. 3 David Oistrakh (violin), George Szell/Cleveland Orchestra (concerto), Vladimir Yampolsky (piano, sonata) (EMI)

I had the 45 though I was about 7 at the time and for a long time beyond all I knew of the Allmans was that song and Cher banging Gregg.  

RIP, greatly enjoyed his guitar work, especially in tandem with Duane or with the spectacular Warren Haynes.  Though I hated "Rambin' Man" the first time I heard it, let alone the 1,000 time!

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