AllenLowe

I agree with Larry, there are a lot of pieces of it in that, at least rhythmically, mirror Donna Lee.

here's what's left: Dave Brubeck Brubeck plays Brubeck Columbia Legacy STILL SEALED (I just couldn't get myself to listen) $9 shipped USA Wilton Gaynair Africa Calling Candid $9 shipped USA my paypal address and email is allenlowe5@gmail.com

I have been trying to ignore this series, which is really called "5 Minutes That Will Make You Realize the New York Times has Become Utterly Culturally Irrelevant."

there was a nice lady, an old hipster ('50s type) whose brother was a well known writer, and we were talking about the 1950s jazz musicians she knew. When I mention his name she blanched and said she would never even say his name, for reasons she explained to me.

they gotta be kidding.

Actually only one is really torturous.... Dave Brubeck Brubeck plays Brubeck Columbia Legacy STILL SEALED (I just couldn't get myself to listen) $9 shipped USA the rest won't do you any harm: Wilton Gaynair Africa Calling Candid $9 shipped USA Dodo Marmarosa Pittsburgh 1958 Uptown $11 shipped USA my paypal address and email is allenlowe5@gmail.com

It's not what he said but what he did. Let's just say, remember that Beatle song "Boys"? Or maybe "Younger than Spring Time;" "Go Away Little Boy;" "I Want a Little Boy."

well, my wife looks around at all my crap, and after what happened to me in the last few years, I figure I better get it together.

I have to admit that, much as I admire Joseph's playing, I know too much about him. Last time I said this about a musician everyone got mad at me for revealing some things, so I will keep it to myself.

this an old thread, and I apologize if I've already said this, but back in the '70s when I lived in NYC, two musicians - separately and completely independently of each other - said almost the same thing in almost the same words about Fruscella - Sir John Godfrey the drummer and Bill Triglia the pianist (one black and one white and there was no racial politics involved): "Fruscella was playing that style before Miles, and he had it together before Miles." Also, Triglia told me that Sonny Rollins used to go to Fruscella's place to rehearse with him. Imagine that.

I like it, I just don't listen to it much, and I have to reduce my baggage in anticipation of, if you'll pardon the expression, death,

Captain Beefheart Mirror Man Sessions Buddha Mint $15 plus $4 media shipping. Captain Beefheart Lick My Decals Off Baby Reprise/Rhino Mint $15 plus $4 media shipping Captain Beefheart Legendary A&M Sessions Edsel Mint $10 plus $4 media shipping prefer paypal; message me here or email me at my paypal address: allenlowe5@gmail.com

thanks, I will start packing them up.

I'll do my best; Jamal's playing makes me want to run for my life. Wouldn't you like a second copy just in case of a National Emergency?

Ahmad Jamal Cross Country Tour 1958-1961 Chess 2 CDs $13 plus $4 shipping. Mint condition. (if you can sit through this much Jamal you are a hero and they should build you a statue) Art Pepper with Duke Jordan In Copenhagen 1981 Galaxy 2 cds $12 plus $3 shipping. Mint condition. Art Pepper Thursday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Friday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Saturday Night at the Village Vanguard OJC $10 plus $4 shipping. Mint condition. Art Pepper Quartet '64 Fresh Sound. $15 plus $4 shipping. Mint condition. Franz Waxman Crime in the Streets Los Angeles Music Festival Jazz Orch. Varese Sarabande. $12 plus $4 shipping. Mint. . Anthony Ortega New Dance Hat Jazz $10 plus $4 shipping. Mint Anthony Ortega Trio Scattered Clouds Hatology $10 plus $4 shipping. Mint Aretha Franklin Rare and Unreleased Performances Rhino Atlantic 2 cds $15 plus $4 shipping. STILL SEALED All shipped media; my paypal is allenlowe5@gmail.com message me here or email me at same -

he was playing pretty well on those early '60s recordings, better, I think, than some from the later '50s. And his style had changed, less "modal" sounding (see what I said above) and less streamlined, a lot of Garner-esque touches.

if you can buy it from me it will be very helpful, to defray a lot of money I put into the project. I will announce when it is ready. Thanks! thanks, and maybe so. I tend to like that tempo for ballads, very similar to the way Earl Hines used to handle them.

it means that this is the authorized video. Accept no substitutes.

now that it's the 21st century I figured I should catch up to the 20th; I've got 4 CDs that will soon be out on ESP, and here's a little video to promote it all (it also contains an amazing alto solo by Aaron Johnson); this is a piece I wrote:

I love Dodo's playing, particularly the early work, but there is some later stuff with Ammons etc from the 1960s that is pretty good, if more mainstream in approach. One thing that no one seems to notice is that Dodo's early soloing hints at so-called "modal" approaches. The way he played lines - instead of using the typical bebop scale arcs and resolutions, he seemed to be just going in a straight line, not unlike later Miles, as though the line was stretching forward. (and I don't think he plays well on the first Uptown release).

really? That's some of his best music -

I did a month with Bishop at a restaurant in Hartford back in the '80s. Sweet guy; almost all we did was talk about Bud Powell, whom he described as "infantile" in every respect except musical.

some of these are CD versions: https://www.discogs.com/sell/list?master_id=789464&ev=mb

I think the song Alfie (not to be confused with S.R's Alfie's Theme) is one of the best songs ever written; multi-sections yet all unified musically; complicated yet accessible:

I love older music, and I love playing older music, though I have some very specific ideas of how it should be done. There are, I think, two ways to go. From a revivalist perspective you've got to play the hell out of the music; take, for example, Jon-Erik Kellso, one of the great trumpeters of our time, who gets so inside the music that there is no creative distance between his playing and the song. For me, the way to go is to deal with the spirit and the energy of the original source and try to find an alternative way in; I note that there has been a recent recorded tribute to James Reese Europe, though to my ears it is done badly, with a deadness that comes from trying to do a literal re-creation. For our upcoming CD In the Dark I composed a piece as a parallel to what I hear as Europe's way of playing, an attempt to harness that incredible band's amazing energy. I think I can say, immodestly, that we have succeeded, in a way that puts us way in advance of anyone else today (there have been other, older, approaches, which have used something closer to the original arrangements). For our thing, which I call Castles in the Sand, I allowed for "free" improvising, within certain felt constraints, and I am very proud of it. I can't get the New York Times to acknowledge my existence these days (they recently wrote about the recent re-creations by someone else) - but here it is, and I challenge any other contemporary approach to get closer to the spirit of this old and amazing music: (and you can all order this stuff, it will be out within the month):