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Everything posted by AllenLowe

  1. Leslie Gourse has died

    Yikes, I may burn in hell. Don't know what else to say...
  2. Fascinating article, primary source, actual history as it happens -
  3. Dizzy Gillespie - On the French Riviera

    They should put it out with notes by Valerie Wilmer -
  4. A New Game for all of you to take part

    Lester Bowie -
  5. Who you used to NOT get, but now do

    Per Larry, previous page: I, too, don't get Mabel Mercer - as a matter of fact I HATE MABEL MERCER, though some people I respect actually like her singing, so who knows? And I heartily agree about GerryMulligan as a soloist - never did like his playing - I actually think it was best said by Martin Williams, who pointed out that Mulligan doesn't appear really to be playing a solo, but playing AT playing a solo - exactly my sentiments - I'll take Lars Gullin any day -
  6. 20th Century piano concertos!!!

    I'm out of my depth here but I second Gershwin's Concerto in F - especially if you can find the old Oscar Levant recording. The piece to listen to if you feel, as I felt, that Gershwin's aspirations to "serious" music were doomed -
  7. Artie Shaw dies at age 94

    I will add that, much as I thought he was a great musician, that he did protest a little to much about his own fame and fortune - instead of complaining he should have just formed his own record company, recorded what he wanted to record, and distributed it himself. He certainly could have afforded to. I think, in reality, he relished the fame, and could not face the obscurity of just doing music on a serious and non-national/international level. Also, he had intellectual aspirations that he could not really satisfy - I've read The Trouble with Cinderella and it is rife with sub-middle brow Freudisms and pretensious philosophizing. I also tired of his railings against rock and roll. But did I mention that I loved his clarinet playing?
  8. Artie Shaw dies at age 94

    When I hear Shaw's name I always think of the Lenny Bruce routine about joining the army and meeting the Sergeant who was dying to meet Shaw because he "wanted to shake the hand that patted the ass of Lana Turner."
  9. All right, I confess, I haven't really read the book - that Slugs quote is interesting, sounds like typical musician trouble, if I may say so. Slugs was the first jazz club I ever went to, at the tender age of 15 and 16. It had a lot of interesting people hanging out - apparently Genet was there about the time I was (!) and I remember seeing Mingus and Ornette on separate nights, and Mingus's son showing people his paintings. I don't know if it was a musicians' hangout, as I didn't know any musicians back then, but the price was cheap and the pressure low to buy drinks - nice little club in a hairy neighborhood (full of Hell's Angels back then) -
  10. Last one, I promise - but I cannot stop reading this bio: "It is also little known that Shorter invented one of the most famous characterizations of Miles Davis's playing. He went to visit Miles one afternoon shortly after being hired for the band. Davis was having a lot of personal problems, and his apartment was a mess, full of old food and drink and thousands of cockroaches. Shorter was grossed out. As Miles went througfh the kitchen Shorter heard a loud crunching under his feet. "Miles," he exclaimed, "this is disgusting. You're walking on eggshells."
  11. good point about leaving the remarks unedited - I was just very disturbed by the various anti-semitic remarks of, as I recall, Roach, Hubbard, and Kenny Clarke - they were just unworthy of such great artists -
  12. well obviously no one else is reading this book as closely as I am - another tidbit: "Shorter and the group did a concert in Dallas on November 21, 1963, after which his former namesake, whom few people knew was a rabid jazz fan, sought him out for an autograph. Lee Oswald came up to him in a local nightclub, the Carousel, where Shorter was drinking afterwards, and introduced himself. Oswald asked Shorter if he knew that the President was visiting the next day. "Shoot," Shorter responded, "do I look like a depository of ignorance?" Though he never really knew if his remarks effected the following days events, Shorter has felt guilty ever since."' Would someone please pull my computer plug before I write any more of these? I hate bad jazz writing -
  13. I enjoyed Notes and Tones but was alarmed by the number of unchallenged anti-semitic comments -
  14. Overlooked Altos

    problem is, how many saxophonists are named Noah?
  15. Some more excellent research from this bio: "Few people know this, but Wayne Shorter's birth name was Edward Kennedy Ellington Duke Parker Charlie Evans Bill Lateef Yusef Lee Harvey Oswald. When he applied for membership in the Philadelphia musicians union they advised him that his name might create confusion with royalty checks. So he changed it to Irving Mills." I didn't know this -
  16. Well, it's not all bad: now check out this passage from the book: "Many people have asked Shorter how the group got the name Weather Report. Shorter has pointed out that when he lived in Philadelphia in the 1950s he used to watch the Weather Channel 10-12 hours a day. This inspired him, when forming the group some years later, to use that initial exposure. At first he was unsure of what he should call it - Weather Retort? Weather Remark? Leather Resort? He went to a Gypsy woman and asked her what to do. She looked into her crystal ball and said: I see miles of footprints. I see parpahanelia. I see Japanese American woman weeping in the aisles. I see a better Morgan (suddenly lapsing into German); that is the end of my report. Whether you pay me or not I don't give a shi*." wow, this is good stuff...
  17. Also, Mike, remember - the kid may have been a premie -
  18. "The entire band left the country in tears." Now, does this mean they were crying when they left Japan? Or that they said something to upset the Japanese people, leaving throngs of weeping Asians in their wake - and was it some mean spirited reference to Pearl Harbour? I mean, this is quite hypocritical, especially since Shorter later played with an Austrian -
  19. Name a White Alto Player

    I checked Switchboard, and there are 20 John Bothwell's listed in the US - anybody feel like hitting the phones?
  20. Overlooked Altos

    wait - how about saxophonists named Sonny: Rollins, Stitt, Criss, Simmons, Fox, Von Bulow -
  21. Just to add to my previous - Roswell plays changes very well - Julius not as well, but he was still a transcendant player -
  22. just to add to this, though I probably disagree with Williams in the big picture, he was on to something about "pure" folk sources - Bill Malone has pointed out, in a discussion of early country music, that the sources for a great deal of early country recordings were minstrel and pop music -
  23. yow, what a disaster this book sounds like - and Mike is absolutely right - the old saying "when an elephant flys you don't worry about how long he stays up" does NOT apply here, just because we're grateful that there's a book on Wayne Shorter in circulation. This does continue the sad Santoro/Gourse line of jazz bio - glad someone mentioned Sanotoro's Mingus book, as that is THE WORST book ever written by a jazz critic with a good reputation -
  24. Well, Chuck, great minds think alike - but all seriousness aside...(as Steve Allen used to say) - this rules thing is frought with danger - Dave Schildkraut told me something that I found to be one of the most illuminating quotes I've ever heard re-jazz, though it may be mostly for personal reasons. He told me that Joe Henderson said to him: "I never felt I could really play jazz when there was only bebop - but after Coltrane I knew that there was a place for me." Now here's a guy (Henderson) who had no lack of the musical fundamentals, no shortage of knowledge of the rules - and yet even he felt constrained by the conventions of the dominant post-war music, bebop, to the point of feeling that he could not even really play jazz until he heard another musician (Coltrane) who felt no such constraints. Personally, as a saxophonist, this has always been an issue for me - I know how to play changes but I don't feel I am at my best in the standard format. And yet, if I concentrate on music that is more open I sometimes feel like I am cheating, perhaps because of my original exposure to the music of chords and song. Internally I know this is nonsense, but it's very hard to discard this kind of conditioning - especially since I have known a fair amount of "free" players who, musically speaking, did not know their ass from their elbow (including one fairly famous free drummer who could not keep a steady 4-beat, try as he might). On the other hand, I have performed in public with both Julius Hemphill and Roswell Rudd, and felt as though the stage was about to levitate -
  25. "Im not sure about Buddy Bolden" - well, ask Wynton Marsalis - from what I could tell on the documentary, the two were quite close -