AllenLowe

Captain Beefheart Mirror Man Sessions Buddha Mint $15 plus $4 media shipping. Captain Beefheart Lick My Decals Off Baby Reprise/Rhino Mint $15 plus $4 media shipping Captain Beefheart Legendary A&M Sessions Edsel Mint $10 plus $4 media shipping prefer paypal; message me here or email me at my paypal address: allenlowe5@gmail.com

thanks, I will start packing them up.

I'll do my best; Jamal's playing makes me want to run for my life. Wouldn't you like a second copy just in case of a National Emergency?

Ahmad Jamal Cross Country Tour 1958-1961 Chess 2 CDs $13 plus $4 shipping. Mint condition. (if you can sit through this much Jamal you are a hero and they should build you a statue) Art Pepper with Duke Jordan In Copenhagen 1981 Galaxy 2 cds $12 plus $3 shipping. Mint condition. Art Pepper Thursday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Friday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Saturday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Quartet '64 Fresh Sound. $15 plus $4 shipping. Mint condition. Franz Waxman Crime in the Streets Los Angeles Music Festival Jazz Orch. Varese Sarabande. $12 plus $4 shipping. Mint. . Anthony Ortega New Dance Hat Jazz $10 plus $4 shipping. Mint Anthony Ortega Trio Scattered Clouds Hatology $10 plus $4 shipping. Mint Aretha Franklin Rare and Unreleased Performances Rhino Atlantic 2 cds $15 plus $4 shipping. STILL SEALED All shipped media; my paypal is allenlowe5@gmail.com message me here or email me at same -

he was playing pretty well on those early '60s recordings, better, I think, than some from the later '50s. And his style had changed, less "modal" sounding (see what I said above) and less streamlined, a lot of Garner-esque touches.

if you can buy it from me it will be very helpful, to defray a lot of money I put into the project. I will announce when it is ready. Thanks! thanks, and maybe so. I tend to like that tempo for ballads, very similar to the way Earl Hines used to handle them.

it means that this is the authorized video. Accept no substitutes.

now that it's the 21st century I figured I should catch up to the 20th; I've got 4 CDs that will soon be out on ESP, and here's a little video to promote it all (it also contains an amazing alto solo by Aaron Johnson); this is a piece I wrote:

I love Dodo's playing, particularly the early work, but there is some later stuff with Ammons etc from the 1960s that is pretty good, if more mainstream in approach. One thing that no one seems to notice is that Dodo's early soloing hints at so-called "modal" approaches. The way he played lines - instead of using the typical bebop scale arcs and resolutions, he seemed to be just going in a straight line, not unlike later Miles, as though the line was stretching forward. (and I don't think he plays well on the first Uptown release).

really? That's some of his best music -

I did a month with Bishop at a restaurant in Hartford back in the '80s. Sweet guy; almost all we did was talk about Bud Powell, whom he described as "infantile" in every respect except musical.

some of these are CD versions: https://www.discogs.com/sell/list?master_id=789464&ev=mb

I think the song Alfie (not to be confused with S.R's Alfie's Theme) is one of the best songs ever written; multi-sections yet all unified musically; complicated yet accessible:

I love older music, and I love playing older music, though I have some very specific ideas of how it should be done. There are, I think, two ways to go. From a revivalist perspective you've got to play the hell out of the music; take, for example, Jon-Erik Kellso, one of the great trumpeters of our time, who gets so inside the music that there is no creative distance between his playing and the song. For me, the way to go is to deal with the spirit and the energy of the original source and try to find an alternative way in; I note that there has been a recent recorded tribute to James Reese Europe, though to my ears it is done badly, with a deadness that comes from trying to do a literal re-creation. For our upcoming CD In the Dark I composed a piece as a parallel to what I hear as Europe's way of playing, an attempt to harness that incredible band's amazing energy. I think I can say, immodestly, that we have succeeded, in a way that puts us way in advance of anyone else today (there have been other, older, approaches, which have used something closer to the original arrangements). For our thing, which I call Castles in the Sand, I allowed for "free" improvising, within certain felt constraints, and I am very proud of it. I can't get the New York Times to acknowledge my existence these days (they recently wrote about the recent re-creations by someone else) - but here it is, and I challenge any other contemporary approach to get closer to the spirit of this old and amazing music: (and you can all order this stuff, it will be out within the month):

I honestly don't know.

I am reading Koloda and I have to admit I like it. The writing seems fine, but if there as many errors as claimed, that's troubling, but I would like to see some specifics. If he depends too much on other sources, well, that's a problem I see more often in academic books. But, as I said, I would like to know what the errors are, as "disaster" is a pretty strong condemnation.

one important thing to note - the 2 volumes of the Amazing Bud Powell were reissued AGAIN, some years back, with significantly better sound. Those are the ones you should own. The difference is dramatic - (same thing, BTW, with the Monk Bluenotes)

I am going to slide in here and say the best, most soulful, bari player today is Lisa Parrott. She's also a great alto player.

handsome stud, he is. But can he top this:

I wonder if anyone can advise me - I have read repeatedly about what a good guitarist Verlaine was, Coltrane-influenced (or so I have read); but I have never really found much of his playing which shows much of that. Am I missing something?

I should mention that I never liked the Hall Overton arrangements; Overton was a great man, but those ensembles are just too dull and conventional sounding to my ears.

she was referring to the Minton's days, and if I had to guess where I saw it, it might have been Hear Me Talkin' To You (which is very suspect as a source, now that I think of it). But I really am unsure.

the first person I saw quoted as saying Monk could play like Teddy Wilson was Mary Lou Williams. Not sure where I saw it, however.

that whole piece in the Baffler is riddled with errors; I sent them a message offering to make corrections but they did not respond. I've always felt that the whole "he could play like Teddy Wilson" etc thing was a myth. I have really heard nothing that shows this. From the beginning he plays like Monk.

Kresten's a great guy and wonderful drummer.