AllenLowe

thanks, good time for a self plug; soon to be a major motion picture:

yeah, I figured that out and even watched a few minutes. I'll take the original Dead, stoned out of their minds and drinking Owsley's Kool-aid, over these guys any day.

reminds me of a Nipsey Russell routine about working a tough joint in Harlem where they would take an intermission "to pull out the dead and wounded."

"Joe Russo's Almost Dead"- this guy stole my moniker. Actually, it's bad writing - are they saying that Joe Russo is "almost dead;" or. are they saying that the name of Russo's band is "Almost Dead"? Seriously, this is how semi-literate people get themselves in trouble.

Rip Rig and Panic has 2/3 of that unit.

well, it's an early idea of swing - interviews with early New Orleans players tend to describe the early idea of jazz as speeding things up - this is the best sounding Europe CD, I think: https://www.amazon.com/Product-Our-Souls-Europes-Orchestra/dp/B07DW38S4F/ref=sr_1_1?crid=2J9MB2PAZFTP5&keywords=james+reese+europe&qid=1679018445&s=music&sprefix=james+reese+europe%2Cpopular%2C93&sr=1-1

great minds - I have been listening to this same CD this week for a New Orleans project I am working on. the difficulty in figuring all of this out is that there are so few true early black bands that recorded - and when they did record early on they usually could not use actual drums because of the limits of early technology - on the other hand (and this is probably an unpopular suggestion) listen the the Original Dixieland Jazz Band, which did have drums, and imagine, probably correctly, that they were doing what black bands were doing - or listen to James Reese Europe, whose drummer Buddy Gilmore was swinging like mad on some of those 1913 recordings. As for stride, yes, important, but notice how radically different James P.'s time is, compared to his playing before and after Armstrong. As for Patton and his ilk, these guys were regularly playing for dancers, and time was everything. And I agree they really swung, if in a somewhat different way than jazz musicians. Check this out: and:

sorry I missed this; yes, ESP has it set up at: Allenloweesp.bandcamp.com

thanks

American the Rough Cut ESPDISK single CD, $16 shipped media USA allenlowe5@gmail.com the book, Letter to Esperanza. $25 shipped media, USA allenlowe5@gmail.com In the Dark, 3 CDs $27.50 shipped media USA allenlowe5@gmail.com individual prices as marked - all 3 for $60 shipped media USA this will all be ready by April 1 allenlowe5@gmail.com email me with any questions

I have three major projects coming out as I have mentioned here ad nauseum: In the Dark, a 3 CD set with every musician I know: Ken Peplowsi, Lewis Porter, Aaron Johnson, Kelin Hannas, Brian Simontacchi, Lisa Parrott, me, etc etc. I can say forthrightly that this set is, compositionally and playing wise, as good as anything that's been out of late; these musicians, maybe not poll-winners, are masterful at combining the arts of chord-based improvisation with open playing, and our fusion of same is completely unique. These are all originals. Anthony Braxton has said of me that "Allen Lowe is an American master. He is the tradition, and one of the few musicians doing anything new." Larry Gushee commented "Allen Lowe has reinvented free jazz," and Kalaparusha said "Allen Lowe is a great composer." And John Szwed commented: “Allen Lowe is a genius! His work is always full of wonder, the excitement of discovery, and humor. I’m amazed by the energy and intelligence it takes to do this quantity of work at this level while on the margins of media and music. Yes, I know that the best work has always been done at the margins, by the so-called underground - Poe, Whitman, Monk, Harvey Pekar, Herbie Nichols, James Joyce, Sun Ra - but it’s still a surprise and a revelation whenever you find it.” If I had the money I would hire a publicist to do all this; but this is all me, self-produced and co-financed with ESP Disk, which is issuing all of these. So, next: America: The Rough Cut: A single CD of mostly American song forms. Remember everybody got mad at me when I said Allison Miller's group, good as it was, was clueless about being bluesy and funky? Well, here's a real answer to a lot of the jazz world, which is usually over-qualified when it come to playing roots music. This recording includes the incredible Kresten Osgood on drums, and the man I nominate as the best guitarist on the planet, Ray Suhy. Letter to Esperanza, or: The Goyim Will Not Replace Me: Looking for Tenure in All the Wrong Places This is my new book, which will be available in about 2-3 weeks. It is a collection of commentary on jazz, cultural appropriation, being a Jew (and dealing with, among other things, anti-Semitism), minstrelsy, the arts in general, academia, white and black country music (in collision with Rhiannon Giddens), rock and roll, and any other thing that has troubled me these last ten years. To avoid confusion, I will post pics of the projects on a separate thread here (if that's all right with the moderators) with pricing and specials. Thanks all, I know we have had some conflicts in the past, but any support you can offer will be appreciated. Though about two years ago I did not expect to still be here by now, I live on.

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?