AllenLowe

also musn't forget Art Hodes, who had a lot less technique than those guys, but, touch and sound-wise, was the most real old time piano player I ever heard.

Bloomfield was my kinda guy - a wise-ass insomniac. A Real Jew, as they said in Annie Hall.

I stick with Jelly Roll Morton. I like a lot of these other guys, but they just seem to lack something. Need to play the piano like it's a drum. However, the best I ever saw was Johnny Guarnieri. And Dill Jones was quite terrific in that style. then of course Jaki Byard was the best of all.

actually, he's right, I think it was Bloomfield and Goldberg -

sounds familiar, don't quite remember. how about for the Wynton/Claption: Two Stiffs with the Blues

thanks Hot Ptah; my next CD is a symphonic collaboration with Mantovani -

funny Bloomfield/Clapton story - Barry Goldberg met Clapton, who had a rep in those days for being a cold fish, for the first time, back-stage at some concert - afterwards Goldberg went up to Bloomfield and said "I thought everybody said what an un-friendly guy Clapton was. We just had a really nice, warm conversation. He couldn't have been nicer." Bloomfield answered: "Oh, that's because I told him you only had 6 months to live."

I'll go for anything with Triglia.

still available - change of mind.

it's your, thanks -

with all that overlapping, it's clear they knew each other's playing - and what Kaye says about Whitby is very much what I said earlier: "In the opinion of the author, the solos demonstrate an almost complete independence of the major saxophone influence of the time, Coleman Hawkins, and followers like Chu Berry. Lester Young had not yet made his impact on the Tenor sax scene. Paradoxically, given his origin, Francis's playing was the antithesis of the hard-driving, gutty, bluesy, South-Western style of tenor sax playing, as exemplified by Herschel Evans, Buddy Tate, and others. If anything, Whitby's tone and attack were light and airy, more like an alto saxophone." thanks for copying those sections. Interesting stuff. There's no way of telling who was moving in that direction first. The alto comparison was also sometimes made with Prez.

actually, I got my detectives on the case and we found out EXACTLY how Pujol got those tapes - remember that fire at Atlantic years ago? pujol.bmp

I see that we're still in Professor Irwin Corey country.

just bought it, everything is in mint shape. 2 cds, live in concert. Arcola Records $10 plus $3 shipping USA, $8 to Europe. my paypay is alowe5@maine.rr.com

but you know what makes it different? There's a constant hint at that old-style gruff tone, which he keeps pulling back from - it's lighter - and the even eighths are really unusual.

well, when you get back, let me know what you think - this guy's solos really threw me. Very different for '36.

that's ok, I'll just think of you herein as the Antichrist.

his tenor solo is radically different than most of what we hear at that time, clarinet-like or not - more even (and so modern) eighths, less insistent rhythm, mor internal rhythm play, lighter tone. That's the way I hear it. Compare it to (later) Hershal Evans, Chu Berry, contemporary Hawk.

well, the minstrel guys would likely have picked it up from Black musicians -

that's what got to me - I wonder if he's mentioned in any of those Southwest jazz histories - it is interesting that he's from Oklahoma - like, I think, Charlie Christian and Eddie Durham.

Yeah, I saw that Storyville reference - I was going to call Rutgers, but let me know if you find it. And yes, Guy Kelly is excellent; Preston Jackson is nice, too, a little Dickey Wells-ish. there's just something about Whitby's playing which is very different than any other Hawk-influenced tenor player I have heard from this period.

listen to Whitby on the Jimmy Noone session from 1936 - some very fascinating refinement of Coleman Hawkins' style - almost Prez-like. But it's 1936 - and a little research (not sure if it's accurate) shows that Whitby may have preceded Lester Young in King Oliver's band - and he was from Oklahoma. An early, heretofore unmentioned influence on Lester? Or just one more sign that the Southwest was an early hotbed of unorthodox ideas about swing? This one really threw me, and I'm sorry I missed it before writing Devilin' Tune. Att Jeff Crompton: what do you think?

he was a master - one thing that people don't seem to understand with blues guitarists is that, given the limited harmonic paletter with which they work, time is everything. And Hare was a master of rhythm, as was Peter Green; Hendrix was a genius in this respect. Same thing with T. Bone Walker. Bloomfield had it, too.

any paper that can be read in less time than it takes to do a bowel movement can't be all bad -

Scooby - I love that transcription of Wardell's Pennies From Heaven, thanks for doing those - a lot of very classic bebop moves. Only suggestion I would make is at the beginning (and I think in a few other places) is that instead of an eighth rest and two sixteenths, you use an eighth note triplet with the first note of the triplet deleted - to me that's closer to the feel on a figure like that -