• Content count

  • Joined

  • Last visited

About AllenLowe

  • Rank
  • Birthday 04/05/1954

Contact Methods

  • Website URL
  • ICQ 0

Profile Information

  • Gender Male
  • Location Moonlight Bay

Recent Profile Visitors

10,681 profile views
  1. Moody did a Blindfold-type test sometime in the '90s in which he put everybody who played remotely 'free' down. Not long afterwards I booked him for the New Haven jazz fest that I ran, and his playing was incredible - a lot of very outside playing over harmonies, perfectly resolved, but very, very free. I think players like him didn't realize how much they were effected by the so-called avant garde, how liberated they were by this new freedom.
  2. Great to meet you too; but like Norman Bates I wouldn’t hurt a fly…
  3. not only do I love this recording, but I was thrilled recently to find it on CD.
  4. Torment

    well, I met him in the later years; sweetheart of a guy but he did look like the walking dead.
  5. Does Oscar Peterson get a bad rap?

    I was actually flipping the script, so to speak. Point being is that it is no more outrageous to suggest that Justin likes whatever is popular than it is to suggest that I dislike whatever is popular.
  6. Does Oscar Peterson get a bad rap?

    after thinking about this for a few days I have come to the conclusion that Justin likes Peterson only because Peterson is so popular and Justin is afraid to buck the tide and go against the grain of popular opinion. Which is fine; he is the anti-troll; likes everything that earns a certain amount of money. I'm good with that.
  7. Art Pepper

    the problem was that Pepper really didn't understand what Trane was doing, rhythmically or harmonically. Same thing happened with other players from that era - I have heard Frank Morgan do some rather lame things, trying to sound contemporary. Even Jackie McLean has a certain period where I remember hearing him just running the cycle of 5ths, trying a little too hard to get 'outside.' There were a few players who figured out how to use this new freedom, James Moody for one (who was playing very outside when I last heard him in the early '90s); even Ammons was starting to stretch out and bend things a bit. But few players from that generation could really get it (I have also heard Ira Sullivan play some fascinating passing chords - on trumpet - when I last heard him play, which was also in the '90s).
  8. I think we are missing a few points, IMHO: 1) Butterfield was a terrific harp player and band leader, regardless of teaching anything to young people. He had great (integrated) bands from the beginning, including fantastic horn bands (one with David Sanborn, which I saw circa 1970). But ALL of his bands were incredible in their own right, and of course Mike Bloomfield was a genius. 2) as for what they did for the blues - first of all Butterfield/Bloomfield were powerful advocates to get the older blues players bookings. BB King loved Bloomfield, not only for this playing but for what Bloomfield did for him professionally, which was to, basically, make him a mainstream star. Similar things happened with Albert King and a number of other players; their profiles AND their fees went way up. 3) also IMHO - the Butterfield/Bloomfield groups woke the music up - put the old guys back on their game, made them pay attention to new audiences and new music. A lot of the older players had gotten a bit tired, and a lot of them (listen to Buddy Guy in the late '60s early '70s, he just flowered) really responded to the rock audiences and the rock aesthetic.
  9. A 50-year imbalance righted

    no problem. Zappa, brilliant as he was, seemed to be capable of great shit-headedness.
  10. A 50-year imbalance righted

    can you give us more detail?
  11. A 50-year imbalance righted

    just read this, which I think is the best thing I have read about Zappa and his relationship to the band and that whole time period: (and not only is Zappa popular but I like the music; thanks and good night)
  12. Does Oscar Peterson get a bad rap?

    How the hell, and I mean this in the nicest possible way, could my feelings about his playing have anything to do other then with his playing? Think about it. It’s idiotic to suggest. Do I hate Miles Davis because he is popular? Benny Goodman? Louis Armstrong? The Beatles? Count Basie? Tyshawn Sorey? David Murray? I could go on and on because it’s so ridiculous. I first listened to Oscar Peterson when I was 14 years old in 1968 and I didn’t like his playing then and I don’t like it now. You have to have some evidence before you make charges. Is there some kind of pattern to my dislike based on sales and popularity? Prove it then. You can’t because there is no pattern and no proof.
  13. Does Oscar Peterson get a bad rap?

    to get back to O.P., for all his supposed virtues as a pianist, I believe Billie Holiday used to complain about his comping. Also he was very critical of Monk, and called him a composer but not a pianist. To me, Peterson took the shallowest aspects of Tatum and Nat Cole and made them into a 'style.'
  14. Does Oscar Peterson get a bad rap?

    1) I never said he wasn't entitled, I just objected to the specifics - which did not deal with the substance of my argument but with what he imagines are my motivations. When I don't like someone like Peterson, I don't say "he was a bad pianist because he was trying to be the fastest pianist in the business out of some phallic failing." I give reasons, technical and artistic, about why I do not like him. 2) just to address something Justin said which puzzled me; I am secure in my abilities as a musician/composer but never rated myself as a top saxophonist. 3) If you can find a post anywhere on this forum in which I express bitterness for my relative lack of commercial/professional success as a jazz musician, please show it to me. You won't find it; instead you will find some insinuations, as with Justin, about this without any evidence. 3) Saying that I am critical of musicians who are more successful than I is problematic, because if we are talking in commercial terms that includes 90 percent of the jazz world. But I have praised many, many musicians who are not personal friends. I just call 'em as I see 'em, as the saying goes. 4) A young saxophonist recently thanked me for "always telling the truth." What I believe he basically meant is that I say what I think is truthful and don't first make sure it is the popular opinion du jour. 5) I don't know if he will unblock me long enough to read this, but I just want to say to Justin, with great humility and in all sincerity: Blow Me.