AllenLowe

I like my Mac - I have it trained to go outside and carry the paper into me every morning. then it makes me coffee. in 6 months (because Macs are so much more efficient) it is having my baby.

a lot of '50s jazz recordings were made in rooms that were used so the sound could have a natural reverberation. Sometimes this worked well, sometimes not (the afformentioned Webster Hall was the locale of zillions of sessions). I've always disliked a lot of the Vanguard recordings from this era because they were too reverberant (some might have been from the early '60s). Some of the Columbia Jimmy Rushings have the same problem, IIRC.

just bought a Mac Book Pro - for my audio and video editing. Tired of PC problems.

I think Jamil (who died last year) just got tired of fighting loud rhythm sections. When he played duos with Al Haig he was a lot more toned down. very insightful guy, had hilarious stories of being on the road with Blakey (in a near all-junkie band, he watched as Art fleeced everyone with overpriced 'road' drugs that he had actually bought in NYC) - also the source of my belief (from what he told me, and we've argued this extensively before here) that Rollins went into a bit of an ego-tailspin when Coltrane became the dominant tenor player.

Prez "live"? Cause for celebration.

also, I think (haven't listened to it in a long time) I never liked the SOUND on that recording - too much echo/reverb (sorry, another nit) - was it done in Webster Hall? Because I usually like the sound of that room.

"Show us Your Big 12 Inch....."

probably died of a tumor brought on by compression of the head cavity.

hmmmm.....I never liked it that much. Primarily because I find Cootie's non-Duke work lacking in edge. Everybody else is fine. but I would go with the majority opinion here.

mmmmmm......sausage....................

thank you for mentioning Jaki, who was one of my favorite people both personally and musically. great man to talk to - always came up with something interesting.

not to mention all of Miles' work - and I will add, that I've heard some of Jamal's early playing - Okeh records, maybe - and he was interesting but unformed, to my ears - and I will say (and I agree with that prissy bitch Martin Williams, who really was a good guy but also a pain) that ultimately, by finding a form to work in before really developing his deeper jazz self, Jamal sacrficed depth to stylistic utility. and that's the way I feel. and, like with Brubeck, I really TRIED to like Jamal. Same thing with Dexter. and I'm with Larry on Red Garland, who at what may have been his last engagement (he did the Vanguard not long before he disappeared again and died) was simply amazing.

I wouldn't say they INVENTED the boxed set.

Toledo Blues may, IIRC, have lyrics; there's a song he sings on that Jerry Newman session.

hey Jeff, I just came up with a joke, related to the Ahmad Jamal thread - "what do you call an unemployed musician?" "A critic" (hope I haven't offended anyone) now, back to Duke

don't you guys have jobs? actually I'm just jealous. Haven't done any heavy Duke - listening in a long time.

Numero Uno does great work - my only complaint (re the article): " A lot of the music Boddie recorded was junk -- "tedious white gospel quartets" this is unfortunate because older white gospel music is poorly documented today. That's the stuff I'd like to hear. sounds like a bit of Crow Jim, on Numero Uno's part.

I actually heard Jamal in person once, and it was an odd experience - obviously a guy who knows the piano; I kept waiting for him to cut to the chase, to just start playing - similar to the reaction I have when watching Brubeck. I once compared it to watching somebody shuffle a deck of cards, over and over and over again, and never get around to actually playing the game.

yes, but also without the vast majority of musicians. Cage was wrong on jazz, but still an indispensible theorist, I think.

beware Membran - I recently listened to a piano blues box that was horrendously de-hissed. It was non-listenable.

well, what about the musician who is also a critic? or who writes extensively? Virgil Thompson, Harry Partch, Glenn Gould, John Cage, Dick Katz, (the journals of) Louis Moreau Gottschalk (as Moms recently reminded us), Anthony Braxton? as a matter of fact, to carry this further, there are many critics whose work is as interesting or more interesting than that which they are discussing, in and out of music: George Bernard Shaw, Ted Solatoroff, Donald Barthelme (did both), Richard Gilman, Stark Young, Larry Kart................

well, I'm definitely in with the in crowd.

personally I preferred Quartette So So

you know, I was thinking recently how it might be nice to do a real study of '60s Free Jazz, and Brown epitomizes, to me, that music's ups and downs (to steal that Bud Powell title). When he was good he was great, but he's the classic example of no second act in certain creative lives. I love the interview, Cliff. funny thing is, I forgot that Brown used to pass through New Haven, probably in the late '80s or early '90s, and one night he called me wanting to know about gigs in town. nice guy.

well, Francis is a friend of mine and a brilliant critic. BUT I HATE JAMAL's PLAYING