AllenLowe

yes, Durham - also, isn't Leonard Ware Bird's accompanist on the stuff that's been issued as pre 1945 private recordings of Parker? As I recall, an excellent musician -

btw, for anyone who wonders about such things, the unfettered nastiness of 7/4, as illustrated above in his usual unprovoked attack, and the lack of moderator response, is why I rarely post here these days.

that's ok, I heard he's on his way to New jersey -

I just found a guy who assaulted me in High School and threatened to kill me - the same guy later got busted twice for heroin possession, and once for statutory rape - ahhhh, memories..........

mostly odd and bad choices - though I do like the Teachout, which I thought was extremely good. I will tell you that an essential book, IMHO, for anyone interested in New Orleans, is Dr John's autobiography, which tells us more about that city's relationship to not just jazz but American song than a lot of other things that are supposedly closer to the topic. I also love Charlie Barnet's book; Louis Armstrong's ORIGINAL bio (written very much by Louis) is more than essential. Beneath The Underdog; Sue Mingus' book about Charles; Devilin' Tune (my book, which sold about 6 copies by itself but which beats a lot of other stuff, he said humbly) - Gitler Jazz of the 1940s (which seems to be mostly based on convesations with Dick Katz) Hadlock's Jazz of the 1920s - The Max Harrison things that Larry mentions - Larry Kart's collection (which puts Larry, to my way of thinking, as one of the 2 or 3 essential jazz critics; wish he'd write another book) - I'm sure there's lots more, but they are not in that Guardian list -

there's a great Buel Neidlinger recording of Monk tunes, I think, with Marty Krystal, who is one of the great and under-recognized saxophonists of our time, IMHO.

I switched from tenor to alto about 5 years ago, and now really prefer the smaller horn. I also like my C Melody, and I am finished with tenor, just don't want to play it any more. My tenor is an interesting one: A Parisian Olds Ambassador, known in the trade as a stencil horn; basically this means that it was made by one manufacturer, and then a different company put its name on it. In this case the original company was Martin, and this is essentially a 1940s Martin tenor; it plays and sounds like one, which is a good thing, because it blows easy, has nice action, and has a beautiful, large, dark sound. I used it for a few cuts on my upcoming CD, but have decided to let it go. I am told it is original lacquer, and it is in excellent cosmetic shape. It also plays extremely well throughout the range of the horn. prior to ebay, I figured I'd see if there was any interest here - cost is $500 plus shipping; I am firm on that, because it's an excellent price for a horn that's ready to play. I prefer a US sale, but will ship overseas if we can insure it and figure out cost. Domestically I will ship Fedex Ground fully insured - let me know - email me at allenlowe5@gmail.com

the new issue is very good; Lasker is King of the High Frequencies, which can be adjusted if too noisy (check out the Ellington he did on the old GRP label). On the other hand, the old Robert Johnson issues were fixable but, as I pointed out elsewhere, it required a fair amount of re-equalization.

the last time I priced out shipping an LP to Australia, the cost was something like $20 - yow.

Kelsey is a terrific saxophonist. On his blog, btw, he has a version of himself playing Shuffle Boil that is just stupendous. We had a great time.

for those of you who missed us Monday night, a few words of commentary from Chris Kelsey: ."... some­thing much more sig­nif­i­cant: my gig last night with saxophonist/composer Allen Lowe's band. If you don't know who Allen is, you should. Check out his web­site; there are sev­eral fairly lengthy musi­cal sam­ples from his many albums that'll give you an idea of his music's breadth, orig­i­nal­ity, and humor. His lat­est record­ing project is The Blues and the Empir­i­cal Truth, selec­tions from which we per­formed last night at Clemente Soto Velez on NYC's Lower East Side as part of Arts for Art / Vision Fes­ti­val / RUCMA's Evolv­ing Voice Series. I was hon­ored that Allen asked me to be part of his band, and bowled over by the expe­ri­ence. Not only are Allen's tunes great, but his alto play­ing is sub­limely inven­tive. Pianist Lewis Porter—best known, per­haps, as an edu­ca­tor and author (his Coltrane bio is far and away the best available) — wailed with mal­ice afore­thought, and trum­peter Steven Bern­stein was absolutely mon­strous. Allen's fel­low Main­ers who com­prised the rhythm sec­tion were first rate, and tubaist Chris Meeder was won­der­ful. The crowd was large and lively, the vibe ter­rific. All in all, a great musi­cal expe­ri­ence. My thanks to Allen for includ­ing me."

signed - when do I get my first check?

important recording - when I was at University of Michigan in 1971 I took a composition class and tried to emulate the form of this record, which I first listened to when I was 14. It didn't work out too well (the Prof was somewhat bewildered) but, to this day, this record can still surprise me as it surprised them in '71.

this is the new me - today the ignore function, tomorrow.........................

Jimmy's a great guy, I used to see him with Al Haig all the time, in the 70s. Glad he's still active.

ahhhhh................... . I am getting sleeeeeeppppppyyyyyyy.............

I love the ignore function - this is the first time I have actually used it.

you are missing the point which is that this is a phrase, a fragment, which probably pre-dated Evidence. And as for the melody, it is identical to a phrase ending from Evidence. Your mistake is in thinking that such emulations have to match 1 for 1. They don't; listen to Krazy Kat, for another example, which is clearly Prez's source for Lester Leaps In. As for the angularity thing, CIH, I will have to look it up - I saw it recently in one of her books, and because I know that Jim will continue to misunderstand my point (as he regularly stalks my threads here) I will not respond any further.

personally I dislike Chuck Nessa (he killed my auntie) but I think every one of his CDs is superb.

interesting guy and a good actor - I used to always get him confused with Jackie Coogan.

it might have been smarter to figure out what was wrong with it BEFORE they tried to fly it.

I do my best.

allright, I've long had this theory (well, not really a theory, just a sense), based on my wide-based listening, that we never really understand cross influence in all of its complexities - who knows who listens to what and what they hear in it? so go to this amazon link: http://www.amazon.co...04692195&sr=8-1 and hear the tiny sample fragment of Lester Young on Lester Leaps In - first of all, of course, hear how amazing Prez's ideas were, even in this minute segment, and how they, subliminally or not, effected the later Free Jazz movement (arguably through his impact on Tristano et al) - but then - the very last three notes he plays in this sample - ye gods, is he quoting Monk's Evidence? Or is this a tiny fragment of melody that Monk first heard from Prez some time much earlier? I don't know, but I find it fascinating (as I find Prez's physical way holding the horn, in light of Zora Neale Hurston's discussion of angularity in African movements, and of how such angularity transferred over to African American practices in the US of A). and if you're nice to me about this one, I'll give you the location of a Barney Kessel guitar intro that seems to predict Trane's Giant Steps.