AllenLowe

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.

gotcha -

shape of the table - hostage release - longer vacations.

was wondering if one has to negotiate at all with the Hemphill estate for rights to this music, or is it simply licensed from Arista?

I woulda gone to that basement jam session Bird played on that was released on Zim - but as Al Haig said, "I'd never go in any basement with Charlie Parker."

there were definitely Candid cdrs - I had the Jaki Byard and the Max Roach, and both were CDRs -

would love to see you - I'll send you something next week

at the risk of starting an argument, the sound on the original Stash release of the Fargo concert is significantly better than the Storyville version because Storyville, great a label as it is, has taken, on a lot of its later jazz reissues, to using a somewhat destructive de-hisser which significantly lops off the high end (listen to the Tatums).

Hoffman Board? Where's my wooden cross with the big sharp point at the end?

it's in my header - May 9, Monday night - let me reiterate, btw, for those of you who don't know Chris Kelsey's work, that he's a major talent.

coming up in a week or so, playing this new series with my regular band plus Chris Kelsey on soprano and Steve Bernstein on trumpet. Steve you probably already know about, but Chris is a brilliant saxophonist. it is billed as follows: Clemente Soto Velez Cultural Center 107 Suffolk Street New York, NY 10002 212-260-4080 8.00 pm: Allen Lowe and the Blue Moaners Allen Lowe (alto and C Melody sax) Steve Bernstein (trumpet) Chris Kelsey (soprano sax) Lewis Porter (piano) Ray Suhy (guitar) Chris Day (bass) Jake Millet (electronic drums)

well, my only sense is that I would not pay that much for a CDR which they stick in a machine and whicn maybe costs them 25 cents plus another 25 cents for the jewel case.

the truth is, I'm still experiencing things like that - I just find 'em in different ways -

it's an intriguing idea, but completely wrong-headed; first of all, Jagger and RIchard's work is, to my way of thinking, simply not that great, so scarcity does not necessarily breed good work (I think they are good songwriters but their blues-related stuff sucks) - as for scarcity breeding hunger and then creativity, bullshit - look at literature. Every great writer was a voracious reader who read the things that were available, which is plenty. We music people sometimes forget that there is a much larger creative world out there than just ourselves. as for myself, my work has gotten better and better, the more I have had access to. Simple as that,

wait; if no one's ever heard them, how do we know they are Coltrane?

just a note to add why this particular instance is extremely annoying to me - I posted a light-hearted (yet serious) attempt to show what I consider to be a significant resemblance between a jazz person and famous non-jazz person. People agreed or disagreed, fine, that does not bother me. So Sngry starts his stuff, which is neither interesting not clever; fine; and he goes on and on to the point of harassment. So does anyone indicate that he's being a jerk? No, instead we get these so-called objective evaluations of the situation - a passive agressive line by 7/4 (as usual); and then an implication that sngry and I are both equally to blame here. This, truthfully, is why I rarely post here anymore, because of veiled personal grudges and poor moderation (Sngry had stopped his stalking of me; I guess he's bored enough so that it resumed). I have received warnings on this site for much less than all of this.

no, it's moderator time.

see below

my wife just came over (and she generally thinks I'm crazy so she's pretty objective here) and I showed her both pics - and she said: "They look exactly alike."

Schlitten = Amalric

not sure it's so much a roll as it is a downhill spiral....

curious as to where, in the Hemphill case, you got the original tapes from -

anybody out there? Now, I haven't laid eyes on Don since about 1976 - but that's what he looked like then - these guys could be twins (Don and Amalric, I mean). it's driving me nuts because it's so clear, but I searched all over the internet and there's only that one stupid pic of Schlitten - must be another somewhere - anybody out there have one?

well, I would argue with that last statement - but only because I'm stubborn and generally irrational.