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Everything posted by AllenLowe

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. A few years back I caught some flack here for criticizing a very good musician (Allison Miller) for having no clue about playing in a so-called funky manner. Truthfully I find that both contemporary jazz audiences and jazz musicians rarely have a clue about the deep blues. Mindful of the belief that "those who can.....," since I also teach and write about that history, I wanted to submit the following from our upcoming CD, America: The Rough Cut. This is how you do it, not with cliches and dopey vamps, and a lotta flat thirds and bad drumming in search of a backbeat. The old blues players weren't slick or playing scales, they were looking deep inside themselves and letting the feeling out. I offer this, Full Moon Moan, based on some early blues-like forms which held a single chord while melodically slipping and sliding through the standard old-time blues changes. This is myself on tenor, Ray Suhy guitar, Alex Tremblay bass, and Krestin Osgood drums. if you like it, buy the CD:
  6. great pianist - just to correct, other sources say he died in 2003.
  7. His widow Carol has called me a few times for some remastering advice for his old label (was it Improvising Artists?). She lives up in Cherry Valley New York near the Baseball Hall of Fame.
  8. In my current cognitively-challenged state, it is possible that I was actually remembering reading the one autobiography twice.
  9. I only went to one concert at Symphony Hall, in the '70s, and the acoustics were very difficult, though the recordings I've heard that were made there (like Armstrong's) are pretty clear. This of course is rough, but everything is there.
  10. Paul and I were friendly acquaintances, he used to call me 3 or 4 times a year to talk. I loved the guy; he was a bit of a know-it-all, but he really did know it all. I've read both bios. I was most impressed by the fact that at certain key points of his career he took the path least likely to lead to work and money, but succeeded each time. He also told me some funny stories about working with Hawk and Rollins, that Sonny was very consciously trying to lose Hawkins, who asked Bley, on occasion, to cue him in for his solo.
  11. can't get to it; when I click the link it says "video is private."
  12. Percy talked about Coggins a lot; at the time Coggins was playing in a place down in the village, where I only caught him once. His late work was terrific, very original. those notes are formidable; when I first sent Devilin' Tune out for one of its many rejections, one editor who turned it down complained I didn't have enough footnotes, though I had hundreds. It was maddening. Aidan, as I've said, is really smart. 700+pages is a lot. I have to admit that in books like this I tend to skip the sections on the early years, which I think often are dragged down by too much research. But he clearly knows the way around this subject (though I would avoid one source cited, Farah Jasmine Griffin, like the plague. She's a classic tenured know-nothing).
  13. I think Bloomfield was a genius and love his playing. He just did not, like most rockers, have enough of a musical understanding of true modal playing. Same thing with Jerry Garcia, who I also admired; he thought playing scales was enough to be playing "jazz."
  14. Hampton Grease Band might qualify, as well as Big Brother, depending on what you mean by "extended." Of course not always on record, but in live performance. I'll bet Hendrix did some of that. I know East West is considered important, and I love Bloomfield, but I think he really didn't have a clue as to how to do that kind of thing, and it showed. In performance Zappa did some long solos. Also, White Light White Heat by the VU is one of the best examples of very advanced soloing in a rock performance.
  15. Wendy Eisenberg? And Xerxes Russell? Looks like a nice fest, but why does all contemporary, non-jazz, in these festivals almost always sound like canned music and outsider music castoffs? I'm no improvised music snob, but a lot of this other music is starting to sound like the aural equivalent of processed food.
  16. well, maybe - because I know that he did jettison that original band because he thought they weren't really up to playing his compositions as well as some others -
  17. Frank was wrong, in my opinion, which is why none of his later bands were as great as the first - I was lucky enough to catch them in 1968, and they were rough, tight, edgy, spirited, and just a hell of a lot of fun. Not that the later ones were bad, but they had a slickness which gave them less feeling.
  18. Katja just announced she's leaving the USA and going back to Berlin.
  19. I head to Boston Sunday for one more surgery (number 15) but there's light at the end of the funnel - feeling better, have had what is probably my last reconstructive surgery. I have a face again (well, maybe 75 percent of a face) and hope to be playing by the end of January. We are also doing Dizzy's on May 3, 2023, with a nice group including Aaron Johnson, Ava Mendoza, Ray Suhy, Lewis Porter. In the meantime I am trying to get my "career" back. I did a whole lot of recording last spring, and am finishing a book, as follows: 3 cd set of my own work called In the Dark (featuring Ken Peplowski and others) and a separate, single CD of my own work called America: The Rough Cut. The first is a series of song forms and oddities; the last is a program of older American song forms, from gospel to country to blues and pre-blues. Plus a heavy metal piece (actually 2) with saxophone and electric guitar. All pieces feature Ray Suhy, who I say without fear of hype is the best guitar player in the world. And Aaron Johnson, on clarinet and alto on In the Dark, is not to be missed. Both projects will be out on ESP Disk; I honestly think this is the best work I have ever done. The book is called Letter to Esperanza, with some semi-pithy commentary plus the usual stuff which continues to get me into trouble. I would like to do an advance sale. This will help finance the project. I offer the following: 1) In the Dark – 3 CD set - $25 plus media shipping (total $30) 2) America: The Rough Cut – single cd - $10 plus media shipping (total $15) – 3) The book – Letter to Esperanza - which will be priced at $30 shipped when issued – for $20 shipped as a pre-order. Those are all individual prices when ordered, in advance, separately. Or, order all for $55 shipped in the USA. (Contact me for Euro shipping, which has gotten expensive) - my paypal is allenlowe5@gmail.com thanks -
  20. I understand. I guess we have to realize that Haig was about 23 years old (born in 1922; apparently he changed the date later on) and this music was such a racial kind of reorganization. He told me that Dizzy showed him how to voice chords for the new music. it won't let me correct the above, "racial" should have been "radical" - spellcheck crap, sorry. Anyone else here find themselves unable to edit text?
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