AllenLowe

hmmm....I once dreamed I could play the piano like Bud Powell - which, now that I mention it, IS something I'd like to hear: "Allen Lowe Plays Bud, On Piano, and Better than the Original."

Baby Dodds accompanying Merce Cunningham

I like the work Evans' is doing, in principal. Though I always, with musicians like him, wish they had gone a little bit further to solve the content side of the old form and content argument. Not long ago I was critical of what I consider to be the new formalism - in which artists think that, having reached solutions as to development of form, they have solved the larger problem of expression. Which they, at least to my way of thinking, have not. But that's me, as I like things more strictly organized and less randomly chosen,

I'm a little late to the party here - but I always liked what Richard Gilman said about modernism - to paraphrase, great modernists tell us what we will be thinking next, before even we realize it. this works with a lot of music in particular, but also other forms. as for Greenberg, that quote makes sense, though I do see a lot of modernism as subversive of prior forms.

I use a bath mat. It's water proof.

"a phrase that describes you" - I tried "messiah" but it did not seem to catch on.

well, if you think that those are the equivalent of sexual orientation, it's back to health class.

well, by that rationale why do we do, read, or speculate about anything? Life is not all utilitarian.

can't talk - gotta go pick up some chicks at the new strip bar in town.

hey Larry - I spent about 3 hours last night reading all the Sherr pieces on his site. Great stuff, surprised I never ran into him on the net before. All ihs stuff is fascinating, but I love the road stories plus the studio muscian anecdotes. and ignore these people here; this is the new Puritanism. They pretend that it's a matter of protecting privacy but are actually worried about their own latent tendencies. A couple of hetero guys like you and me don't have to worry about such things. gotta go now and chop some wood.

thank you for bringing embarassment to a sane thread.

I was about 13 years old; Bill Triglia told me he used to play there a lot.

allright I'll go first: straight

I'm in a minority on that, just as full disclosure; most people liked it, but I really think it was more because "hey it's Jo Jones in his own words." as for Van Vechten, re Ubu; I've read both the novels; interesting but not very good, though I like Van Vechten a lot and think he did some great things. And I love the photos.

so we're agreed; we wont't even talk about who he was diddling when he wrote Petrouchka.

geez guys enough of this sanctimonous crap. It's part of the person so it's part of the music. I'm with Larry on this. Hey, even Bird had a male lover (in the early days, in K.C.) -

I'm not sure that it's really possible to read 135 books in "a year or so," but I agree with much on there that coincides with the less-than-135 that I've read. My only serious disagreement is re: the book on/by Jo Jones, which is worthless, full of sadly syphlitic-sounding ravings, with a very badly-written introduction. There is so little of substance in it that I really think it should never have been issued.

I heard a rumor (seriously) years ago that he was part African American. I found this of interest. love his playing, btw; the very first jazz record I ever heard was one of his Roosts that my mother owned.

there are several sessions that I have on facsimile LPs; Most plays brilliant clarinet, though the original reason I bought them was because Schildkraut is on tenor on at least one of the sessions.

hey Alex - if you are reading this: 1) You're a schmuck 2) You're completely ignorant of literary theory and practice, which parallel's jazz's need to take the next step - and which it took about 60 years ago, so time to wake up, stupid. Read Joyce, Claude Simon, Robbe Grillet, pay some attention to Gil Evans, George Russell, Paul Bley,Charles Mingus, Jaki Byard, Gil Melle, Kenyon Hopkins, Charlie Banacos, and about 50 other musicians who knew, in the 1950s, that bebop couldn't last as a viable form.

have you checked Spotify?

some of them do very well professionally.

as for that school, I spent a lot of time with Barry Harris in the '70s; he's not the least bit like, say, Tristano. No cults, no demands for personal loyalty; however, a very ideological adherence to the tenets of bebop. I loved the man, but eventually, personally, had to get past the conformist sense that there was basically only one correct way to play. I was never as bad as Hoffman is, but I definitely had neo-conservative musical tendencies for a time. Barry is very persuasive, and so completelty sincere that it is hard to avoid the influence.

all my stuff but most particularly Jews In Hell: Radical Jewish Acculturation.

I hear ya, Joel. But Perry almost sounds like a software program. Albeit a really smart one.