AllenLowe

here's me and my Mac before it went on a diet:

stop distracting us with reality.

I agree with Chris. And so what if my Mac has become my latest object of fetishization? I happily drink any Cool Aid it offers; I keep a shrine covered with dead goats in the corner, and the occasional virgin. I commune with Jobs on my Ouija Board. And we have talked about having a child together.

That's All wouldn't be so bad if the bridge was different.

in case anyone, in honor of my Birthday, wants to make a charitable contribution: http://www.indiegogo.com/RECORDING-PROJECT-WITH-EVERY-MUSICIANS-IN-NYC?a=324935

yes, the swingtime - more like the "mature" Ray, but a little less slick. Not sure where my copies are right now. here's one: http://www.amazon.com/Complete-Swing-Time-Recordings-1949-52/dp/B000654ZB4/ref=sr_1_3?ie=UTF8&qid=1333654702&sr=8-3

I may be a minority, but I like the pre-Atlantic stuff best - not the real Nat Cole-ish stuff, but there's an in-between period when he's working things out and sounds very raw. It's been booted on a few labels, I think.

as long as it's not "all you can eat" night -

I think my bigger beef is when rythm sections always double time the blowing parts of ballads - this has spoiled a lot of standards for me. I used to always have to yell "don't double up!"

thank you;- that's one of the nicer things anyone has ever said about me -

I am not worthy.....

if was played by Hubert Laws and released on CTI, I also probably hate it. or Don Sebesky. Or George Benson. Or anything with a brightly colored cover and Creed Taylor's name on it. That stuff usually sends me out looking for a wooden cross and a stake with a sharp end on it.

apparently it's with the Swingle Singers.

I played Sunny at my high school senior variety show; they loved us. Did anyone mention Song for My Father? Pretty much, if Stanley Turrentine played it, or if it was on a CTI release, I hated it. or Blue Bossa. Too many jam session hacks. also, very tired of Koko. Nobody plays it fast enough, the Ellington or the Bird.

just be sure to ask for $10,000.

I'm with you on this one; I love the Memphis 5. Good work -

I once talked to Bud Powell in a dream. He was trying to teach me how to voice chords.

merde! I don't speak French.

I'm actually a little worried about myself - Stanley Crouch made perfect sense to me -

how about "regular, normal, expected neglect" ? (just kidding)

there was a famous gig scheduled for the Tin Palace, a lotta years ago, with Barry Harris, that was supposed to have Hank Mobley. Chewy showed up instead.

that's great stuff. Listening now.

I like Threadgill's stuff only when he plays alto. The group seems to need it to energize the music, which can get a little ponderous. though I clearly do not represent the American public in this respect. funny thing is that on my last CD more than one critic seemed to be reminded of Threadgill, whom I have barely listened to.

any sound samples?

impossible - that's fine, I have no problem with disagreement - I just, at one time, spent a fair amount of time listening to old school, I have a drummer who is really into it, and I just jump and skim, listening, though I could not cite chapter and verse - to me it's got the same limitations as the drone-guys stuff, or 90 percent of what I see reviewed in Signal to Noise or the whole electronic movement - one idea and little else, no sense of real presence beyond a quick expression of idea which is generally not very interesting to begin with. These guys all tend to confuse a gimmick with an idea, mannerism with style. That's just my take, of course. But I think it's a function of just how easy it is to produce sound in the digital age, and it breeds a real formal laziness. as for: "Two labels that don't give a shit what you guys feel about Robert Glasper or a hip-hop/jazz hybrid. Not to mention the hundreds of mixtapes that flow throw the Internet every week. You guys can analyze the music all you want, and imagine this ideal that you can't quite actually imagine, but people are going on about their music whether or not it is jazz enough for you. Surprised as you may be, the term hip-hop probably means as much as the term jazz at this point. " irrelevant, I think, for the critical disussion at hand - it's like saying, in the political form, "well the Republicans don't give a shit about what you think about them...they reproduce constantly, sorry if they are not politcally correct enough for you." It doesn't preclude us from talking about it and criticizing it. I constantly read articles about hip hop which turn out to be much more interesting than the actual music. I'll check out those labels, however. The "writing" in hip hop tends toward doggerel; I don't find it as strong and intricate and layered as that of the blues tradition or even the old-style 19th century folk/minstrel things written by people like Alec Rogers.