AllenLowe

"It's clear that they were at least aware of each other. What's less clear is the extent to which they overlapped at all in the Bronson or Oliver bands; they may have been more like ships passing in the night, so it's somewhat speculative to ascribe any influence of one on the other as tempting as that might be." they would not have to overlap in order for there to be an influence - musicians heard each other all the time, in varying contexts - that was my point. My speculation, however, is based more on the sound of Whitby's performance than anything else. It's different, in some of the same ways in which Lester is different. .

I saw that - I guess we are now Collectable. was meaning to send that crazy seller an email.

whole fat mayo, a buttered bun - America continues to eat itself to death.

Tom Hull: Allen Lowe: Blues and the Empirical Truth (2009-11 [2011], Music & Arts, 3CD): Probably better known for his books and compilations -- the 9-CD American Pop: An Audio History From Minstrel to Mojo and the 36-CD That Devilin' Tune: A Jazz History plus their separately published books, with a new 36-CD blues series in the works -- than for his original music. I first discovered him when Francis Davis tabbed his first two self-released 1990-92 albums as Pick Hits in an earlier edition of Jazz Consumer Guide -- critical admiration that continues as Davis wrote liner notes for this release. Based in Maine, mostly cut with a local group occasionally spiced with outside star power -- Marc Ribot, Matthew Shipp, Roswell Rudd, Lewis Porter -- this digs deeper than I could have imagined into blues form, blues notes, and blues psyche, turning every aspect over and inside out. Lowe plays alto, C melody, and tenor sax, and guitar. While most of the guitar is played by Ray Suhy or Marc Ribot, Lowe especially stands out on "Williamsburg Blues" -- his guitar with Shipp's piano. Three discs means some sprawl, comparable I'd say to 69 Love Songs in that neither the theme nor the invention ever wears thin. (Well, maybe a bit in the middle disc.) A-

my problem with most of the post-modern stride players is touch and time - there is a percussiveness and slightly off-centered sense in the originals that tends to be missing in the later guys (except, I wold say, Byard). Guarnieri had it when I saw him and, as I mentioned earlier, Dill Jones could do it wonderfully. But I hear people like Butch Thompson (and, I will add, at the risk of pissing people off, Dave Burrell) and they just sound stiff to me, It's like they are working too hard to get it right,and there's no sense of adventure or abandon. also, btw, I did see Hank Jones do some excellent Fats Waller one night in NYC the 1970s. Also, has anyone mentioned Wellstood?

Blitzen blossom dearie John Deere

Taft Hartley Turkish Taffy Daffy Duck

I'm going to nominate my own guy, guitarist Ray Suhy, who works in a number of sonic areas, and needs to be heard on slide guitar (check out Bull Connor on this page); http://www.allenlowe...mpiricle-truth/ I plan on trying to produce an album of his stuff in the next year - hear him also on My Clinch Mountain blues - moves from Sonny Sharrock to Jerry Garcia without breaking a sweat, but always sounds like himself.

you're right - I'm certainly not making a contribution equal to your clever and redundant interjections.

I'm not a good persona to ask, as Larry knows - I think every thread should stay open until at least 3 people threaten a lawsuit.

thank you Aggie - as usual you have your hand on the pulse of public opinion.

it was a terrible thing - first the Magic Bus swerved to avoid him - then The A Train jumped the track - next the Sky Pilot made an emergency landing, and one wing took out his tail. He woulda made it if he'd been ready for that train a comin'. Didn't need no baggage.....

even worse, my dog was hit by the Happy Go Lucky Local.

everybody hates jazz. we all have our reasons- my mom was run over by the jazzmobile

I was once on trial in Nuremberg - but I beat the rap.

Guesnon! that guy can play - just reading an interview with him the other night in Bill Russell's book.

as for Guarnieri - there are some good recordings, but I'm not sure anything went on record that was as good as when I saw him in NYC in the '70s. Lotsa amazing stride, Fats-Wallerish, but very personal. Great left hand, very inventive improviser. I saw both him and Hodes at the same place - a restaurant in Manhattan called Hanratty's - at about the same time. To me the response to those 2 guys first represented the kind of racialist B.S. which ruined Lincoln Center's whole jazz thing. They were both active and around when that program was getting going - and were like primary sources at a time when all the primary sources were disappearing - and did Lincoln Center give a shi*? No. Same thing with the second-generation white beboppers I tried to get them interested in (wrote a long letter back then which nobody responded to) - Knepper, Triglia, Schildkraut, Carisi, Haig (well, he was first gen) - there were plenty of those guys around who would have just been thrilled to get some historic recognition, some tribute for the work they had done and the legacy they had left - the answer was: Silence.

Irwin Corey,

I saw him with Muddy on the lawn at Newport in 1969.

Jeff - I've always thought of you as Everyman. Now, if I rob a gas station in Georgia, I can call and turn you in. Larry - my favorite line in that Rickles/Dick Van Dyke Episode (Rickes plays a thief who's in prison, named Lyle): Lyle: Well, the prison Psychiatrist finally figured out what my problem is. Rob: Great, what is it? Lyle; I like to steal.

just ordered it -

Feiten told me in an email a few months ago that the Central Park concert was the first one he did with Butterfield. He was smokin' - I remember that sound - can only get it with a nice tube amp.

Fasstrack, we may have seen that same Butterfield band with Buzzy Feiten - I saw them in Central Park, '68 or '69, with Sanborn, Gene Dinwiddie, maybe Phil Wilson.

personally I wouldn't go there until they add some more vowels.

hearing him hit the piano (I saw him in NYC playing solo, 1970s) was the closest I ever got to Chicago in the '30s - it was just one of those sounds.