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About AllenLowe

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  • Birthday 04/05/1954

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  • Gender Male
  • Location Moonlight Bay

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  1. I know what you mean; with some players the stretch to "change" can be destructive and forced - I do think Cannonball came by these changes organically; he really seems to get the new music in his own way. I will add that the psychological aspect of this is that bebop was, for a lot of players, a bit of a prison; one very interesting thing we hear in some beboppers in the '60s, '70s and later is a kind of harmonic impatience; they seem to be trying to discard conventional approaches to chords like an old skin (Ammons is another very interesting example; Moody, too). I find the resulting tension to be quite musically satisfying.
  2. I'm with Jim on Cannonball - his very late things show a real start to changing his approach, even if in subtle ways; maybe partly the result of his cocaine years, but the later live things with Ammons, Black Messiah, show a radically changing musical consciousness, more aggressive, less worried about lyricism. Also, as his ideas changed, so did his use of chromaticism, which is somewhat essential to that kind of near-polytonalism.
  3. I remain sonically wary; since Zev botched the Wes Montgomery with distortion-inducing noise reduction. Can we hear a sample?
  4. Best track you heard all week

    I would differ slightly, from having recorded a lot; the room can make a huge difference, sonically; I am very fussy about this, and if the room sucks sonically, nothing will make the recording sound good.
  5. actually all good music exists outside of society. That’s what makes it good.
  6. thanks for mentioning - we will also have Catherine Russell in as a special guest on October 31 to discuss some classic performances.
  7. Chicago Jazz Fest 2018

    I know that album, yes, and to me a cut like this is part of the problem and tells us what is right and wrong about her playing; at the risk of pissing people off, to me it has all that fake bluesy-ness that makes more 'out' players feel like they've got a grip on musical roots; in a weird way some of it reminds me of Oscar Peterson, full of gesture and mannerism but with little sense of the deeper resonance of the blues through touch and phrasing; kinda drives me up the wall, but more importantly, it drives me to seek out the real thing; in this cut, when she just plays, she's great, but there's too much of those false-blues-cadences; they seem to be planted there to reassure her audience that she knows the 'history" -
  8. New Woody Herman Mosaic

    I will give it another shot.
  9. Chicago Jazz Fest 2018

    interesting, because "galvanic" is not a term I would use to describe Myra in the few times I've seen her. At those times (maybe three occasions) there was always a point at which she attempted to be 'bluesy' and, to my ears, was as funky as Wonder bread. On the other hand, when she just plays she does OK.
  10. The Lost Tapes: Charles Mingus Live In Detroit

    The Bud Spangler who broadcast this is, I believe, RJ's - uncle?
  11. New Woody Herman Mosaic

    did you mean "good grief" as in "that's not so great?" Personally I found the arrangement to be overripe.
  12. 1) just to note, he is talking about digital tape. 2) own experience with old DAT tapes is not good, in more than one case the music on them has just vanished (including, to my heartbreak, an outtake of me with Doc Cheatham recorded at a rehearsal at my house in 1990 or so). So, this makes me nervous, though I suppose the tech has improved.
  13. the question to me is whether audience offense is a good or bad thing; a response to being challenged or to not being challenged enough? I got a death threat once as a result of a recording I made, but to this day I am uncertain as to how I should feel about it -
  14. Pony Poindexter, any fans?

    there is an amazing live cd with Rene Thomas from '64 at the Bluenote which I just ordered. Pony is my favorite kind of alto player - thick, dense tone, lotta chords, very mobile but incredibly soulful.