AllenLowe

bumping.

doesn't say "no selling." but seriously, would I not be able to sell a Fresh Sound CD? looking again, that rule 7 seems to have an altogether different purpose. And what if this is non-copyrighted material? do whatever you gotta do, I guess, but rule 7 seems aimed not at commerce but at illegal file sharing, This is not that.

you know, that makes sense.....

it's all a challenge. Just not worth holding on to them all.

the sound isn't great, which normally wouldn't bother me, but I've got tons of other Rollins from this period.

the label is jazz lips. Cds are like new. $12 plus shipping in the USA ($2 Conus) - my paypal is alowe5@maine.rr.com email me at allenlowe5@gmail,com

just bought this, nothing wrong with it, just decided I have everything on it elsewhere, and I need some cash for my upcoming session, will ask for what I paid, $75 plus $10 priority shipping in the USA. Of the 4 cds, 2 are open but in mint condition, the other two are still sealed. my paypal is alowe5@maine.rr.com email me at allenlowe5@gmail,com

there is something to say, in terms of late career, for not having the financial pressures of musical success as well as public focus. Though I tend to think EGO is the thing - in other words, once you have that level of sales and popularity, it's hard to go back to the small clubs, little specialty blogs and magazines, etc. I can only speak personally; when no one cares what you are doing and no one wants to pay you a penny for it, it takes away certain kinds of creative pressure. That's, basically, how I really learned how to play the saxophone at age 53. Maybe if we all ignore Herbie, he'll go back to doing what he does best.

hear hear. How come when I say that stuff everybody gets pissed off?

Joel - Cedar Walton it was. Thanks, Pete - I understand, and appreciate what you said in your last post. But Val did send me an email and ask me to speak for her going forward on this thread. I hope, maturity wise, I'm up for it. I would hate to speak like a child........

thanks Chris, interesting, and confirms my personal impression. And Joel, I agree with you about Haig, and I was about to post his favorite pianist, someone pretty well known then and still alive, and damn I can't think of the name - but it speaks to your impression that he was definitely making stylistic adjustments.

sorry Joel, misunderstood, By that time I'd moved out of town.

he shouldn't have called him "boy,"

agreed Joel - BUT - interestingly enough, there is a "live" 1957 recording of Albany with Marsh (not the Riverside one, I think this one was recorded at Donte's) - where he gets lost in exactly the same way - and I have more than a few personal recordings of Joe from the comeback period when he played very well, including, somewhere, a long solo set. Also, he used to play very nicely in his living room (he proudly once showed me a lead sheet for Ruby My Dear which he said Monk gave to him). Haig also had a post-alcohol problem that I have heard, for some reason, particularly in pianists - a loss of continuity, we might call it, the line gets interrupted. With Haig, it's apparent as early as a 1956 recording (I think that's the year) he made with Phil Woods (it's on OJC) - one other amusing thing was that someone, at some point, wanted to do a Haig/Albany duo record. Haig refused because he had trouble following Albany's inconsistencies.

I'm a Yankee hater from way back; I came from a family of Brooklyn Dodger fans; the Yankees were always the equivalent of "goyish" from that old Lenny Bruce routine; the Dodgers were the real Jews.

when he was on the money he was on the money - and sometimes incredibly so. One night at the West End he was playing Ornithology - and the last phrases - the final riff that Bird used to play, based on a 2/5 bebop riff - he kept playing, like a record skipping - it went on for about one minute until Joe snapped back in and ended it. Everybody in the club was staring, wondering what was going to happen. and Pete C - what are you talking about? First of all, it's a figure of speech; second of all, no, Bish deserved Herbie's millions, as a Jazz Nobel Prize. Herbie should have written him a check. As a matter of fact, I think Val agrees with me, which would make this the only thing on which she agrees with me. But, since it's too late for Bish, I would be happy to put the money into a trust for future generations of smooth jazz wannabees.

sorry, it was Kubek to Richardson to Skowron - and I'm referring the early 60s when they were the double play combination from hell.

I know the book, and I've talked to AJ, when it came out. Joe was a sweetheart but addicted to everything under the sun. By the time he came to NYC he was clean, and lived out his years gigging, before he got sick. As a matter of fact Walter Bishop, who was one of the nicest people who ever lived (now there's a guy who deserved Herbie's millions), was a neighbor of Joe's in his last years and helped him out a lot.

I have a whole bunch of these - as a matter of fact I tried to sell them here, for very low prices a few years ago, but couldn't find anyone who wanted them, Glad I held onto them.

it may have been me, because it was true (Joe told me he took a lot of Horse Tranquilizer in his day). As a matter fact, it was a long-time problem (I can hear it even on the live stuff he did with Warne Marsh in '57) - BUT - and this is major - when he was on he played some of the most brilliantly dense lines I ever heard - check out I Love You from the Marsh-home session - and he could do this about 80 percent of the time. So it just required enough takes. But yes, there was definitely a problem. He was best heard solo, where he just put together incredible transitions and lines. (strangely enough, I used to go hear him play at Windows of the World at the top of the World Trade Center. Oi, gives me the creeps, now) -

Tresh to RIchardson to Skowron - made a lot more double plays than Tinkers to Evers to Chance. Too bad the Yankees were the Anti-Christ.

I guess so, Chuck. Back then I was running a residence for slightly damaged beboppers. Well, at least Lundval took my calls.

been listening to lots of phil woods clips on youtube - my conclusion: his playing started going down hill when he started wearing that hat. That was the beginning of the end,

it's not a matter of expectations; Joe wasn't happy with that album, didn't feel he was allowed to do what he wanted. This was a long time ago, so obviously I don't remember the exact sequence of events. But Lundval wouldn't follow up or do anything but make token gestures, let us say, One album and he figured he did his charity work,

7/4 - as soon as you figure out the definition of trolling - in other words, by looking in the mirror - let me know. I wasn't trolling, fellas, but using the language of parody to make a point - which is that Herbie, as Gary Giddins once said, abandoned his talent at some point for money. That's fine, I don't blame him, actually, but let us at least call it for what it was - and the whole thing is personified by poor choice of song title, which clearly indicates a certain defect of the intellect. Because certainly the literary aspect of song titles is as important as the musical. At least it is to me, and I would sooner burn a manuscript than name it after a delusion. and geez, is anyone actually listening to clips like the one just before this? Crap is crap. Oi.