AllenLowe

and yours truly on alto saxophone. Concert starts at 10:30 PM. Tix are $15 this is called: Blues and the Empirical Truth: Or: Every Other Day I Have the Blues we will be recording. Working on a new CD to come out at the end of the year. mention this posting and receive a free ice crusher.

he definitely does NOT wear a hair piece.

I will, however, be paying a royalty to Mr. Bean.

well in that case I can open my local museum which I have curated from the finest of European artists. I call it the Portland Louvre, and here's my first exhibit:

ditto - if I knew how I would put Chris up for one of those NEA masters things.

well, another reason they copy the original art is probably because collectors prefer it that way.

not the same thing as a blues - if Rollins calls Rain Check Grimes can't just blow; and more than one musician will tell you about going back to changes after years of doing otherwise (there's even a quote from Jimmy Garrison somewhere, talking about this very problem).

actually, I could be wrong, but I haven't heard anyone use the term "rap" in a long time. I don't think they care what we think of it, except that calling it by the wrong name just affirms how out of touch we are. and I don't think they give a *** about prestige and art; so more power to them.

can Grimes still play changes?

"The "jazz community" is much larger and more diverse than just those who post here" I actually think the range of taste and opinions as expressed here is very representative of the jazz community/audience. Just read this thread.

trust me, the musicians are getting no money for most "legitimate" reissues either (because not everybody's as ethical as people like Chuck Nessa). maybe we should start a fund and put a dollar into it every time we buy a Fresh Sound or other reissue and then send the money to a rightful heir - this way they'd actually see some cash.

is the label "hip hop" any sillier than Jazz or Ragtime? (see It Should be You, above)

yeah, we had a nice time - Cecil's son plays tenor, his name is Paavo Carey. He teaches north of here. Great musician, good guy.

yeah, there used to be a few guys like that from the old school in New Haven, in the late 1970s - these guys had od'd on Flyin' Home and other, later, assorted semi R&B tenors - they could play, but taste was an issue. And of course the crowds loved it.....

well, they were definitely going for a "set piece" sound, trying to sell some records. But when the tenor player opens up he's got some chops.

he came through on this bicycle tour he's doing, and I went up and did Black and Tan Fantasy with him, a pianist, and a tenor playing. Nice guy, we had a lot of fun. And it turns out he lives in my old neighborhood in New Haven.

some very good tenor playing nonetheless - and they were clearly going for a Shearing thing - but I remember the guy sitting in one night with a friend of mine and he had a very nice, Nat Cole-like sound. it was weird bumping into his son after 30 years -

who I thought had recorded for King? CHewy and Jim and I went back and forth because I just could not remember his name. well....tonight I was out playing with Taylor Ho Bynum, who was in Portland for a concert - and I'm talking to his tenor player who says "my dad was a jazz pianist from New Haven." And guess what? I almost fell on the floor because his dad was the pianist I was trying to remember a few months ago - and his dad was CECIL YOUNG - who, yes, DID record for king - because I then found this on the internet: "Pianist Cecil Young's quartet exploded onto the Seattle jazz scene in 1950, introducing the rhythmic fire of bebop to an eager new audience. His quartet's debut record was immediately successful, and Young, known for his devilish sense of humor as well as his immense musical talents, rose to great but brief regional prominence. http://www.blackpast.org/?q=aaw/young-cecil-c-1920-c-1975

well, I always try to distinguish between something which has genuine issues of technique, performance, expression, and something which I just don't get, or which requires more of my time and attention than it has so far received. hip hop does not, yet, hold my attention for long, though I've, mildly, made the effort (only the Beastie Boys keeps me going, so far, but that's probably just because there's too much which I have not heard). I just think I need a crash course, because so much of the criticism against hip hop is couched in the same language which was used to criticize so many of the "old" modern forms, from expressionist painting to new music, for which I have deep appreciation. it also may have to do with the changing manner in which we listen to music - somehow I can't see listening to hip hop in my living room with my $5000 speakers and my pipe and slippers and a slinky blond (well, maybe the slinky blond; don't want to throw the baby out with the bathwater). maybe it's more of a group (listening) music, a dance music, a headphones music. And maybe not meant for the likes of me, though I hear aspects of it which I would like to use for my own stuff. as for jazz musicians killing each other - yes, not a common occurence, but I have known more screwed-up people leading destructive life styles that were harmful to children and families, in the jazz world, than I have known in any other walk of life.

yes, he invented his own. I love riffs.

allright guys, didn't want to start a storm, though I know there's often a tendency for drummers who become leaders to change their role in the band. I mean, look what happened to Ringo. Started singing on everything......... and the source of the above impression was just a friend, but someone with whom I generally agree, musically speaking.

Ornette's a genius. Never just played riffs, always played the song.

not today, Bertrand, I have to work.

I like the narrative works - there's a piece by Harry Partch called "The Letter" which seems, to me, the perfect integration of voice and instruments, and there are things by Moondog which I feel the same way about. There is a spoken, sing-song quality which I like, and I also like the language, which is plain-spoken poetics, not in some pseudo, United Front, proletarian way but rather very deeply felt, rhythmically free yet satisfyingly earthbound; a bit Brechtian, if I may make a comparison. And it has given me some good ideas for my next project. I think Moondog is almost a better writer of text than music. And "All is Lonliness" may be one of the most perfect recordings I have ever heard.

I have heard complaints that Roy Haynes has become something of an overly-intrusive drummer. just wondering..............