AllenLowe

that's also the year they almost brought down the French government.

that's the one -

now I'm waiting for the damned Morton CD - Worlds Records says it'll be at least a few more weeks.

I thought you were offering to be my sponsor. I mean, as soon as I need one.

I would include their '60s work, specifically (if applicable) as it applies to their more mature work; especially as it might be said the '60s attitudes paved the way -

I agree about the Nicholson book - and that Earl Brown looks very interesting -

melodramatic is a good word - I'll tell you, I spent a very long and interesting day with Pepper in Boston, drove him around, talked a lot - nicest guy in the world, but, on an emotional level, almost adolescent-like. Very self-pitying as well. And still a slave to certain dependencies. btw, someone handed him a clarinet that night at the club and he played one tune with it, the most amazing clarinet playing I ever heard,

good stuff, thanks. My work is cut out for me.

Adam - I will say world wide -

I've got Abe on an old Columbia LP doing some trad things - I bought it about 15 score and 7 months ago, of course, Earl Warren could've helped him with that whole Dredd Scott thing.

I'm doing this in order to allow pre-bitching.

now we're talking - thanks - my problem is that I've been so ensconced in music from 1900-1930 that I need some outside opinions.

is this all you got (to quote what Muhammed Ali said to George Foreman)?

Phillip and I went to Massapequa High School; class of 1972. Excellent saxophonist, good composer.

this is a ways off but I'm hoping, at some point, to do a 1960s music project that, while not all encompassing, covers rock and roll, jazz, and the (non-jazz) avant garde from that era (with some crossover like John Cale, Lamont Young, et al). I would like to get suggestions; they can include 1959-1970. I will probably include the usual suspects, but would like, from this forum, people to suggest maybe what they think are the 5-10 essential jazz and avant gardists from that era. thanks -

that's what happens when you'll work with any pickup rhythm section you meet on the street.

I think Mr. Burns is the oldest.

post-return Pepper played great when he just played. But his attempt to be "modern" was just little pointless asides, because, like a lot of others from his musical generation, he did not really "get" the concept of the kind of poly-tonality Trane was getting at. For Pepper these gestures were like little, blind interruptions, understandable psychic expressions, perhaps, but never focused enough to get him where he wanted to go. But when I heard him he just played, digged more deeply into the kind of music he knew, and he was brilliant. And the Vanguard stuff is just strangely torturous, really, to my ears, narcissistic in its self focus. just my opinion.

I saw Stitt at Paul's Mall, maybe 1976. He was on fire (I think I have a pic; that's where we yelled at each other; Pat Martino opened). Also saw him at Broadway Charlie's, Mannhattan, maybe 1977. He was more mechanical, but still terrific.

well, Stitt was better than the later, post-comeback Pepper, when he tried to be John Coltrane -

just a little disconcerting - but Julius never sounded better.

Loren Schoenberg was up visiting about a month ago, working on the liner notes. This whole thing looks very interesting.

listening to the first cut - great sound, some print-through at the very beginning.

in about 1969 I recorded a session at KCR with my high school quartet (had Joel Perry on guitar and Paul Kimbarrow on drums; nice band) - I think we did Sandu, not sure. Years later we tried to find the tapes and we found that KCR had just wiped a whole lot of stuff from the '60s (including a John Coltrane at the Vanguard set that people were very upset to see disappear; if I had to make a judgment I would place the disappearance of that one a little bit above me playing at age 15) - and yes, my tape was gone too. I would kill to hear that stuff again (it was actually the same band that we opened for Eubie Blake with at his comeback concert in Brooklyn, but that's another story).

Sonny was good; even if he called me a "parasite." I'm sure 7/4 would agree with him.