AllenLowe

I know Shipp. I know Braxton. I knew George Russell (briefly). I am able to detach my own musical judgements from my personal considerations. If I'm the one you are talking about.

Vijay is an amateur. Sorry, but it's reality. Shipp, for just one example, is 10 times the pianist he is.

ok, really weird thing; I found the index to the book on Amazon; no mention of Al Haig.

if I could I would buy it, photocopy the research, skip the bull shit, and then return it.

I'm saving my $$$$ for the new Paramount set.

yes it's so culturally important that they want to make sure that only 500 people can afford to own it.

exactly; he appeared with us at Woodstock, but only in a supporting role.

what can I say? When I first realized I was going to be recording with Gary Bartz, I hyperventilated, if only briefly. And then I couldn't sleep, but only for about 3 days. I am definitely not worthy, especially after working only about 5 gigs in the last 15 years. but things went well; had trombone, tuba, I played tenor, Gary on alto, bass, electronic drums, piano; was for our Robert Johnson soundtrack. in the morning - we first had a session with DJ Logic; amazing guy, I threw lots of samples at him of '20s blues and country. Haven't had that much fun in a long time. We will definitely do it again; maybe take it on the road. film at 11.

yes I am feeling fine, thanks for the concern Chuck; spent a few hours listening to McGann yesterday, don't know how I missed him before. Obviously a terrific saxophonist, but I question his methods - as I question Brubeck's as well - and Stan Tracey's, as a matter of fact; they all have a tendency to confuse mannerism with style; and they all are great musicians; but it's hard for me to listen, as I always find myself waiting for them to begin the solo. It's as though they have misunderstood the used of of fragments, have not really grasped (to my ears) the the idea of how to truly separate and then unify diverse expressive elements: these elements are all aspects of consciousness, maybe, but they exist, ideally, in a complicated line of thought that is evasive, yet expressively linear. that's the way I feel.

my other comment is that he sounds, at only certain times, to me like what Brubeck would sound like if he played the saxophone.

his sound in that video above reminds me of Konitz in the late '60s.

who is that guy? Love his sound.

I wondered about the Tommy James book; gotta go find it now.

how's the sound on the Impulse twofer which is currently out?

well, the E book thing got changed, yes; but I do plan to do that as well, yes. At first, I may offer it as a PDF. We shall see......

"Allen Lowe is the Harry Smith of the 21st Century" - Frank Scott, Roots and Rhythm I was going to bump this but couldn't find the original, sorry - still offering pre-order bargains on my upcoming 2 books: 1) Really the Blues? A Horizontal Chronicle of the Vertical Blues 1893-1959 and: 2) God Didn’t Like It: Electric Hillbillies, Singing Preachers, and the Beginnings of Rock and Roll, 1950-1970 I expect to have them available by late October or early November; we have enough pre-orders now, I am glad to say, to go ahead with publication, both will be linked with a web site with substantial musical samples (over 800 for the blues book alone). when they come out it will be $19.95 for each title plus shipping; order in advance, both for $30 plus shipping ($8 in the USA, $20 to Europe). email me at allenlowe5@maine.rr.com; my paypal is alowe5@maine.rr.com

few people know this, but Wrap Your Troubles in Dreams was written by Barris Harris, but the publisher made a typo.

Chuck's right; I have two copies.

just a teaser; Bill Triglia told me he was the Monday night pianist at Birdland for a while - and then played me a reel to reel he'd made with Sonny Rollins; wouldn't let me make a copy, and nobody knows where it is now.

anybody wanna buy a nice Conrad Johnson pre-amp, power amp? With lotsa NOS tubes in it.

violets for furs?

what I like about Larkin is that even when he describes something he hates, his description is often quite good - don't have it in front of me but one good example is his Archie Shepp review - perfectly draws a picture of Shepp's way of playing, even as he tells us why he finds it awful.

JAW: as far as I can determine, on those Sony Dukes, they used CEDAR only, for de-click and decrackle; they are very quiet, but the highs are still quite retrieveable; and masters like the ones they apparently used are almost always very quiet. as for the way they eq'd them for the CD - very variable and problematic; too much roll off, non-knowledgable engineers, in terms of the sonics. But the sound is all there.

best film clip I have ever seen of Bud Powell.

the CD reissue I was referring to was the official, Sony; the one attached to that link on Amazon.