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Posts posted by AllenLowe
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Rough mix from from a session on April 15; I am on tenor, Ray Suhy on guitar. Nick Jozwiak on bass, Shadow Atlas on drums. Very listenable, though it is not final.
Working title is Utah Smith
I am extremely proud of this performance; when jazz players try to be funky (and I have taken some flak here for suggesting this) they usually fall short. Truthfully, they rarely truly understand the old music this is based on. In jazz we like to praise our "elders" without having actually listened to them very much.
Utah Smith was an evangelical guitarist, a pioneer of the country/blues style of fusion. Ray Suhy is the best guitarist I have ever heard, can play any and everything.
This will be part of a 4 cd set coming out in 2 volumes in early September. It is not too late to get a heavy discount on pre-sale.
Just don't tell Justin IV (or is it VI?).
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7 minutes ago, romualdo said:
The Fletcher Henderson disc (Vocalion & Pathe 1924-5) looks interesting but unfortunately 11 of the 25 tracks have been previously released on the Henderson/Armstrong Forte 3CD set, making it less appealing to me
be aware that the Frog reissue has some of the best sound I have heard on materials of this vintage.
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1 hour ago, JSngry said:
It's the Young Brothers band. Might even be Lester singing?
The subject is mentioned in here.
definitely Lester singing; I've had that on CD for a long time. Certified by Loren Schoenberg who knows more about Prez than anyone.
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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.
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you have talked me into it - now I hope they will do Duke's 1920s stuff; or maybe they have. The 1920s remains my favorite, the band is especially deep and loose.
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Sorry I tried to post a picture and can't get it to work, also cannot delete this thread. Apologies
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shouldn't the title of this thread be: "To What Classical Music Are You Listening?"
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1 minute ago, JSngry said:
Lee Young
really? Oi. Also, btw, the tenor solo is terrific.
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17 hours ago, JSngry said:
No you're not. That's the ongoing speculation - who is the second alto player?
I am hearing Dolphy, based on the tone and a few micro quirks in the playing. Check it out a 1:56
I'm with you - also, just before 2:00 he does a little interval jump which is very Dolphy-esque, in embryo.
But who are they calling the best big-band drummer ever? Silly; my money is on John Markham for the best big band drummer, not this guy, who is still fine.
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look, send me your money and I'll fly out there and pick the order up for you. But you gotta send me cash, small bills. And no dye.
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8 hours ago, Rabshakeh said:
I vaguely recall that you are a fan of Ken Peplowski and some others from the most recent end of the scene. Perhaps not part of the revival itself, but part of the lineage.
Thanks for this. Basically exactly what I was looking for from this thread. There was a long life to this stuff.
It is like the People's Front of Judea.
Now, this is the real question. The one that motivates all of civilisation.
I actually know Ken well and have recorded with him on several CDs; on the last, In the Dark, he does some free improvising, and does it beautifully. He is a much more versatile musician than people realize. Also a great guy.
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All Prices Include Shipping
Charlie Parker The Complete Dean Benedetti Recordings Mosaic $80 shipped media
Thelonious Monk Les Liasons Dangereuses 1960 $12 shipped media
Elmo Hope Sounds From Rikers Island $12 Shipped media
Jackie McLean One Step Beyond RVG edition $15 shipped media
Jackie McLean Destination Out RVG edition $10 shipped media
my paypal is allenlowe5@gmail.com
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sale has ended. To the landfill.
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36 minutes ago, gmonahan said:
I loved John R.T., nicest guy ever - and he was able to transfer music in the best possible way - and the key, other than his expertise, was the sources he had. He and Brian Rust were able to acquire test pressings and metal masters from sometimes mysterious sources (meaning someone spirited them out of certain places), clean sources in mint shape. The tragedy of American music is the loss of masters, from Victor, Okeh, Columbia - though some still exist, clueless engineers have no idea how to handle them (and also, note, that Davies, by the time of the above transfers, was using CEDAR digital noise reduction; he was no Luddite).
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I would tend to ignore anything recorded after, maybe 1955, in order to get an accurate aural picture of the times.
Don't forget Kid Rena, one of the first to record in the revival.
Tons of Bunk Johnson, inconsistent but some moments of real beauty; I would pick up the Decca sessions for a start.
Some else mentioned American Music, Bill Russell's label, I think, and almost everything on that is worthwhile.
Tom Brown (trombonist, not so known, but may have even been playing jazz in Chicago and elsewhere even before the ODJB). He recorded in the 1950s
Johnny Wiggs, fine trumpeter, distinctive player and even more distinctive for being an active supporter of MLK; also had a clear Bix influence.
Sharkey Bonnano
Paul Barbarin, great drummer.
Lizzie Miles, a singer who, at her peak, was, IMHO, the equal of Bessie Smith.
Ann Cook, singer, who recorded in the 1920s with Louis Dumaine, and then later on for American Music after, IIRC, she got out of prison for stabbing someone. She became a church lady.
Big Eye Nelson.
Geroge Lewis.
JELLY MORTON - get the General Recordings of his solo piano, amazing, brilliant stuff reissued on Commodore. Made just before the revival, as, sadly, Morton died too soon, but gives you a clear picture of what a more progressive New Orleans player was thinking about.
Louis Prima - few people realize what a terrific trumpeter he was before he became a star.
Irving Fazola - beautiful clarinetist. One of the best. Died young.
I am sure there is lots more; I would avoid Al Hirt and Pete Fountain. That's really tourist music, though both were excellent musicians.
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Step lightly, ye who are un-hip; no reasonable overpayment refused; 3-day Sale, until Monday only:
Miles Davis Complete Bitches Brew Sessions Box 4 CD. $25 plus $9 media shipping
Don Cherry Cherry Jam 1965 Copenhagen concert Gearbox $15 plus $5 media shipping
Art Ensemble 1967/68 Nessa (I have doubles of this one; essential) $75 plus $8 media shipping
Hasaan Ibn Ali Metaphysics: The Lost Atlantic Album Omnivore Still Sealed $10 plus $5 media shipping
New Vocabulary One of the rarest Ornettes. System Dialing Still Sealed $30 plus $5 media shipping.
Thelonious Monk The Complete 1966 Geneva Concert. Also, two bonus tracks with Ernie Henry. 2 Cds, Solar Records. $22 plus $6 media shipping.Andrew White The Living Legend Live Gigtime 2000 Vol. 1 Nouveau Fonk Andrew’s Music $15 plus $5 media shipping.Gil Melle Andromeda Strain soundtrack Intrada $60 plus $5 media shipping.
Sonny Sharrock Guitar Enemy Records $15 plus $5 media shipping.
Thelonious Monk Les Liasons Dangereuses 1960. $10 plus $4 media shipping
Ken Mcintyre The Complete United Artists Sessions 2 CDs $20 plus $5 media Shipping
Charles Mingus Passions of a Man Complete Atlantic Records Atlantic. 6 CDs Still sealed $22 plus $6 media shipping
John Coltrane Complete 1961 Village Vanguard Recordings. 4 CDs Impulse $22 plus $6 media shipping
Sam Rivers A New Conception Blue Note. $25 plus $5 media shipping
My paypal is allenlowe5@gmail.com
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1 minute ago, Dub Modal said:
I'm not a musician, just a listener, and for me it's the texture, vibe and interactions within these Braxton compositions that he provides that honestly elevate these sets. For recs, I like both this new box and the Zim set from 2017 although I'm definitely intrigued by Clifford's rec above which I havent heard.
thanks, I will check it out.
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I am interested to see the interest in Matlock. He lives around here and we have worked together, but I have yet to hear him do anything that really moved me. Can you guys give me some recommendations?
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35 minutes ago, JSngry said:
Not everybody like the business.
well, then they should leave it, or not complain that they don't get hired. In both instances I cited, the problem wasn't bad business practices but musicians who could not get their shi* together. In Walrath's case he was ignoring 2 major, high visibillity gigs that paid well.
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Jack is a good guy and a great player, but certain events lead me to believe that his complaints about lack of recognition are pointed in the wrong direction. He does not respond to queries, and not just from me. Reminds me of what Roswell Rudd told me about Herbie Nichols; Ros thought Herbie's inability to get work was purely his own fault, for not taking care of business.
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5 hours ago, Dan Gould said:
Percy too unless that list is for those in a car at the time.
it was Doc Cheatham who told me how Percy died; quite awful.
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what a tragic story. I never knew how he died, and was hoping it was not the usual musician's drug trajectory story.
Now he's out there with Eddie Costa and Dave Lambert and Clifford Brown, just for starters.
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6 hours ago, ejp626 said:
I think there is a bit of this old man yelling at clouds going on here, but there have also been some serious studies showing that, in musical terms, the hits of the 2010s and 2020s are much less complex than those from the 1960s, 1970s or even 1980s. There is a dumbing down effect that is at play, and it isn't simply a case of "it was better in my day"...
What's sort of interesting or ironic is that there is also a real fear of being sued for copyright theft (often wrongly) and that would seem to me to call for more complex, not less complex, songs in order to demonstrate originality.
it's probably not a popular opinion, but non jazz musicians do not realize how much of the music they admire in the creative/free music scene is simple to play or re-create. I think this is an aspect of simplification which we don't talk about much. I was able to play in that style when I was 16, and play in it sometimes now, but am shocked at how lazy and repetitive so much of it is as supposedly "composed" and performed today. It is the path of lease resistance.
Sneak Preview: Funky piece from Louis Armstrong's America with the guy I consider the best guitarist in the world.
in Offering and Looking For...
Posted
and there's lots more where this came from -