AllenLowe

I will be moving all my LPs by next spring (donating most of the to the New England Conservatory of Music, which is building a new library) but there are a few I will be pulling out and selling - all are in excellent playing shape - here's a start: Dick Heckstall-Smith Dust in the Air Suspended WB LP $10 Oscar Pettiford Quintet and Nonet Affinity $8 James P. Johnson New York Jazz Stinson LP (red Vinyl) $15 Listen To Barry Harris Solo Piano RIverside LP $12 USA shipping priority will be $6. It has gotten prohibitive to ship LPs to Europe (I priced one out to England recently and it was $15) - I'm willing to do so, but please be aware that it is expensive. check or paypal fine - my paypal is alowe5@maine.rr.com I will be listing more this week.

I only wonder if, on the real early things like the transcriptions, they've messed with the sound, which was fine on early reissues.

exactly. Also enjoyed the Joe Goldberg piece and interview, though I always feel slightly discouraged when intelligent people say that jazz died with Coltrane. Goldberg's remarks in that respect showed that he had not really been listening for some time. on the other hand Jazz of the 1950s is a great book. Wish I'd known that Goldberg was still around all those years. Sounds like an interesting guy, one of the lost critics of jazz (which seems to generally happen to the best ones we have, who get tired of the daily grind/compromise of music journalism).

Moms, just read that David Blight lecture on the Civil War. Brilliant stuff, should be required reading for everybody here.

"I guess the money was spent on the researcher's fees" see above. still looking for renters.

thanks guys for the comments/suggestions - any relation to Samuel Coleridge Taylor?

I think all the money went to Driggs.

anybody interested in a time share?

yeah, I just ordered it. Right now I have Moondog: Rare Material which is a mix of old and new.

I was paid handsomely to serve as a consultant - it enabled me to buy my yacht and my summer home in Trenton.

been listening to a bit of Moondog, and my impressions are: his early and less formally arranged music is best; the later orchestra pieces (from Germany) are more gestures than ideas and suffer the same weakness as a lot of minimalist music - once the point is made the point is made, and certain kinds of repetition create neither tension nor a sense of time and space or depth but rather a sense of....repetition. The early things have a sense of excitement and discovery and clarity rather than simplicity - and the difference makes the later work, I think, seem empty, gimmicky, and naive in the negative sense of the word. but I love the stuff from the late 1940s and from the 1950s. Overdubs, vocals, primitive backgrounds, imagination, sound effects. And like Harry Partch, I think Moondog suffers from his lack of a real connection with the vernacular, even as he sees that vernacular as a source of inspiration and reference (though with Moondog it is more that he sees jazz as a vital life force while not really understanding the sources of its virtality). on the other hand, I love his writing of narrative and verse, and actually, ultimately, find the life and writings, in many ways, to be more interesting than the music.

those say Shirley Scott - same session?

I wish I could hear a good musical analysis from someone, somewhere, on Grimes' playing, on whether he still really can play with the depth, freedom, and precision he used to play with. I've yet to hear a recent recording of his in which I could form an opinion.

terrific drummer - anybody know who? interesting is how tongue-tied Horn is - basically plays the same phrases over and over. They're trying to play, to my ears, a la Kind of Blue/Impressions.

these editions shouldn't be so damned expensive - this is part of the lack of sense in this whole side (jazz) of the music biz. Cut the price in half and they'd sell 3-4 times the number of books. And their unit cost, in this day and age, is a fraction of what they're charging.

don't lecture me, sonny.

I thought this damn thread was completed.

well, anything Braxton says is ok with me - I've heard no other musician of his generation praise Paul Whiteman and Stan Kenton in the course of the same conversation.

I'm a fan of the 33rd piano concerto.

I recorded a free-jazz banjo piece in 2007 -

probably just as well - here's where Jim had to discipline some overly boisterous members of the crowd:

one should always use the highest resolution available - don't know; recordingin my living room with a Neumann 87 knockoff (a good one) I did go between 24/44 and 24/96 and played it back on high end speakers (my BSLs). Very close. Maybe with a higher end mic pre-amp this might change. but as I mentioned elsewhere 24 bits have changed my life.

don't worry, Chuck, I still listen to CDs through good systems or audiophile headphones. 24 bit is king (though I have done a bit of a-b ing and don't think 96 is that much different than 44 when there's a 24 bit rate).

now you're talkin'

as for bebop pianists - my preference would be (if we're sticking to that era) Lennie Tristano Wallington Haig Duke Jordan Barbara Carrol, Hank Jones I really think Hank was the least of all those (though Tristano told me was "a real piano player" as opposed to John Lewis, interestingly enough). Not that he wasn't a fine player, but he had the least depth, to my ears. And as he said himself, Haig was his first modern influence. and I'm not so much worried about drawing lines as being accurate.