AllenLowe

Larry nails it on that last Hoffman solo; it's really, btw, right out of the Barry Harris playbook; but whereas Barry, who really internalizes those boppisms, plays lines that seem like natural extensions of self, Hoffman lacks conviction. It's a little weird. on the other hand, nearly all of these kinds of groups sound like that to me recently (and not-so-recently). Insert, in your head, Von Freeman and Ira Sullivan, and you hear what's missing. personally I am trying to get away from continuity. It seems to me, right now, to be the enemy of development, ironically or not.

I don't know Larry - when I look at transcripts of Konitz and Marsh, I see them as being very interval-conscious. Which was pretty much how Tristano taught. I'm not saying the use of this is not intuitive, but I think that's only because both were able to so internalize the process. As for Hoffman, I was sympathetic at first, but now he sounds to me like just another reactionary schmuck. as for Sacha Perry, oi, a strange one. Some good ideas, but reminds me of the times when Joe Albany's brain cells would misfire. It was like listening to an interesting echo.

gain 100 pounds?

the distressing thing is that the restoration has completeley effed up this recording - the cymbals are gone and it has that damned gurgling thing. Does anyone have access to the originals?

great book; funny thing, listening to It's You or No One from the Stony Brook concert, and to me it does not sound like top tier Marsh. I have heard much better.

bought a Windows 8 laptop one morning at 10 am; returned it at 1 PM. Piece of shite, as the Brits say.

Man: "Do you smoke after sex?" Woman: " I don't know. I never looked."

well, I'm gonna have to dig it out again; as I recall I did not like Green Mountain (the piece or the coffee). Going to have to listen again.

sorry.

Jeff - wrong about the label/no label thing. Technology to print directly on the CDR has existed for at least 15 years, and it's pretty decent, and better than a label - and labels cause probablems because their weight, and the tendency to imbalance the CD - so that is not a good way to determine the difference. as for the difference itself, I can always tell; and if they try, on Amazon, to sell me a CDR as a CD, I copy it and return it. This is so (deliberately) unethical that I feel no obligation to do otherwise.

I don't think there's enough Wayne Shorter or Aaron Neville product available. Valerie's right.

I agree

I'll be listening on Spotify. Probably before it comes out.

I have an amazing cassette tape somewhere of a concert Dickie did for a class I taught, maybe 1977, with Dick Katz and Jeff Fuller. It was interesting, like a re-awakening. He was a fascincting guy who had a clear case (though I had no idea at the time) of PTSD (he'd been beat up and left for dead some years before; he'd gone, from what I was told, from being a very sociable guy to one who was almost silent). When he wanted to he could still pull it off (and he was deeply hurt by the Hodeir article on him that said, in effect, that he had lost his ability). I'd also recommend the Paris recordings. His autobiography, Night People, is a classic of the literature.

did he just say that nothing happened in the music after 1972? That's an unfortunate and Burns-ian idea.

funny you mention Phil Schapp and Donna Lee; but that's another story. As for the others...well, Tommy Turrentine scared everybody in those days (he once spent a night at The Angry Squire walking up to people, staring them in the face, and growling; I would have have hit him with a rolled up newspaper if I had one; though I did hear him play an interesting set with Duke Jordan in which the whole program had him 1/4 tone sharp); Dave Burns was out on Long Island and not really in the center of things. Bish was around, true. C Sharpe had, I think, as they say, "personal" problems. And I wouldn't include Schildkraut, as he was too busy being abducted by aliens.

well, you gotta know the JALC vibe, especially in those days. If there had a been a legion of unrecognized beboppers who were not white, they would have been all over it, trust me. As for being my friends - well, I knew almost everybody in those days. This was a whole generation of players who were all near the same age, could still play, and were working $35 gigs. It's not the same as Melodonian, these were people who were really everywhere around the small clubs in NYC.

well, they've done this kind of thing before - they have a double standard for "primary" sources. I remember back in the late '70s or so, when the program was just starting, when Art Hodes was still around, and people were trying to get them to recognize what a resource he was. Also Rob Gibson called me up at the time, dangling some empty promises; what he really wanted was some programming ideas. We had lunch, and one of the things I tried to get him interested in was that in-between generation of beboppers - Triglia, Knepper, Barry Harris, Carmen Leggio, a bunch of those guys who were around and playing well, and not getting much work. His eyes glazed over, primarily, from what I gathered, because most of the musicians I was suggesting were white.

don't forget the 6 conga players. Can't have Sonny without them.

I called him up tonight (Aaron Sachs). Nice man. We talked a little about Bill Triglia; says he's still interested in playing. by the way, vis a ve Wynton and the question of Sachs not being recognized - to me it's classic racialist behavior by the JALC crowd.

I am flabbergasted. And very pleased.

it may seem like a strange answer, but I would theorize that N.O. is the way it is because of the greater retension of post-African communalism. just a theory. But there were definitley greater retensions of the Diaspora there than any other place in North America. And one of the best books on this, btw, and one that gives a strong sense of how this community developed, is Dr. John's autobiography, though let us not forget the Haitian slave rebellion, which led to a lot of immigration (and, apprently, to Congo Square). about the internet, we may be talking about different things. But the massive proliferation of sites, musicians, and releases, has really set me adrift; it's hard to know where the start anymore, though I am advised that social media is the only way to go (and I am slowly adapting to this). But I really find that younger audiences, whom I feel I need, are more cliquish than ever; it is very hard to get them to look outside their age bracket.

strangest Konitz comment: 'Duke Ellington was a great bandleader. I don’t know who did all those arrangements. I can’t imagine Duke sitting there laboring over the arrangements." makes no sense.

is Sachs still alive? He was married to Helen Merrill at some point. here's something I disagree with and which is I think is dangerously dated, that Ethan says: "you seem to follow the melodic line more than the changes, which is really the higher space of playing." I think the highest space of playing is to forget about melody and only think about triads. But that's just me.

well, the one he NEEDS to put out is the Jaki Byard.