AllenLowe

I was wondering myself....thought it was a secret code.

his son, btw, runs a performance space in Brooklyn; nice guy, also an excellent bassist.

sounds like a Monty Python routine.

I have heard three bass players in person whose sound has stayed in my ears: Garrison (at Slugs, years ago), Wilbur Ware (one night, with Monk) and Ronnie Boykin (the old Tin Palace).

problem with slo-motion in baseball is that it takes a really boring game and makes it last longer. I just watched 9 innings with this camera. Took me 3 days.

it is sold -

1) Pharoah Sanders: Impulse 2 on 1: Village of the Pharoahs/Wisdom Through Music $6 plus shipping 2) Eric Burdon DVD: Eric Burdon and War: The Lost Broadcasts $10 plus shipping shipping on each is $4 USA, $10 Europe my paypal is alowe5@maine.rr.com

I have 2 copies of these, so selling one; 2 CD set, some prime Peter Green with also Duster Bennett. like new $13 plus shipping ($4 USA, $10 to Europe) my paypal is alowe5@maine.rr.com

Origin Jazz Library. Used, like new. $20 plus shipping. My paypal is alowe5@maine.rr.com first class shipping USA: $4.00 to Europe, $10 (it's a fairly large box)

Jackie did do a version of Being Green.

well, sometimes it can go backwards AND forwards - I think.......

1) the American songbook is not the problem - the problem is our outmoded definition of that songbook, which is far more than show songs of the 20s and 30s and Tin Pan alley - it is also folk ragtime, blues in all its myriad formats, early hillbilly and mountain music and EARLY gospel of the storefront kind - you cannot keep the tradition alive in any way if you do not know what the tradition is. And if you define tradition in narrow ways. This is why I think Nicholas Payton is so f.o.s; he wants to talk about Black music, but he excludes about 80 percent of it. 2) jazz has become problematic because there is too much bad recorded music by good musicians. 3) I don't really care whether jazz is a mass music; I care about whether or not we can hold onto our essential audience, which is becoming jaded and lazy like a lot of musicians. 4) see numbers 1 - 3

well that's the point - the more you know about American music the more you know about what it is and is not and what it might become - and Larry's exactly right, it's always been about radical transformation of one kind or another - Brecht called this copien, Shakespeare did it with old texts, Armstrong did it with basic materials, Ellington with a combination of things - even Ornette was taking bits and pieces of other things, even if he himself was not always aware.

I'm gonna say - that there ways OUT for jazz; and one of them is using historic materials in ways which are fresh and new - which itself is not a new idea - except almost no one is really doing this in an interesting way - except me. the keys are: 1) the compositions - enough crap; learn all of American song and then re-do it 2) the harmony - learn your triads; the modes have become boring; study all the stuff that was written 1920-1930; and then everything else 3) the solos - keep 'em short, dammit this is not THE ONLY way; but it is one way. the proof of all this will be out in January 2013.

Yodeling Yids. Mamboing Midgets

yes, Wynton, who personally saved the jazz world after it's 1970s decline (rot in your grave, Julius Hemphill) has overseen jazz's greatest post-war growth in popularity - to paraphrase Groucho, jazz has gone from nothing to a state of extreme poverty, be aware, also, that Wynton in his professional relationships demands absolute sycophancy; I have felt the wrath of W. It's not really bad, just proof of his outsized ego. he is sort of the Stephen King of jazz, if they had made King the head of a large English department - while he's making tons of money, his acolytes fight for marginal access.

Spud was answering the phone at the Union, in the '90s I think it was. Friendly guy, but almost completely deaf, so conversing was a problem.

http://soundcloud.com/allenlowe-1/04-descent-into-the-mailroom?utm_campaign=timeline&utm_content=http%3A%2F%2Fsoundcloud.com%2Fallenlowe-1%2F04-descent-into-the-mailroom&utm_medium=facebook&utm_source=soundcloud a little piece called Descent Into the Mailroom

in Melrose's diary.

Tefteller is a good and honest guy.

trying to characterize "free" jazz in any single way is a mistake; I play free on many tunes (I prefer "open"); Ayler played free; Ros Rudd too, Julius Hemphill, Eric Dolphy, Coltrane, Stephen Haynes, Ray Suhy, Sonny Sharrock, Lester Bowie, even Miles, Wayne Shorter - and those are ALL different approaches.

Gambler's Lament is the original title; there's even a Jimmie Rodgers version.

not confirmed yet, but looks like we're doing Roulette in Brooklyn on March 4.

geez, I didn't realize this town was that hip - maybe I'll stay.

actually, according to Paul Bley (and this is in the Konitz book that Larry Kart worked on) the problem was women who kept buying him Chinese food.