AllenLowe

one of the first records I ever owned was his from the Fillmore, with Keith Jarrett, I think - and I was much more interested in Jarrett. though I was quite young at the time (maybe 15) I remember thinking, 'hmmm, a little Trane, a little Getz. But not enough of either."

I hate to break bad news, but there's a web site they named in honor of her passing: ~Death-by-Clarinet Give me music or give me death

I just keep waiting for him to start playing. It's like a repeater pencil. of course, I am probably in the minority here.

I keep going through the internet trying to find a complete, contemporary Lloyd performance, and all I find are bits and pieces - but then it occurs to me that these bits and pieces may actually be the way he plays now - sorta like hip-trane-muzak. Still, I wonder, does anyone else get this impression? Anyone seen him in actual performance?

this is available once again as MG has wisely decided to pass, given the cost of airmailing this to Europe (almost $14) - $10 plus postage, which domestically is going to be probably $5 priority.

awright last chance, lowering price to $10

ok - but I'm assuming that such payment does not constitute permission to post the performance - or does it?

sorry, should have mentioned - these all went out this morning -

all are gone -

yeah, I'm thinking of posting some of my books online with performances - good idea on the Bergman, I'll have to check through his stuff - I want to put out my '50s jazz book with a cd set, in case anybody knows of a European label that might be interested.

sold -

wait - I know that guy - no, I USED to know that guy - no, I WILL know that guy.

Tompkins Square CD of Ran Blake, solo piano. lowering price to $8 plus shipping ($2 domestic) paypal: alowe5@maine.rr.com

this is part, at least, of the holy grail of the blues as it turned to rock and roll. I'm selling since I also have the CD boxed set of same. $85 plus shipping (prefer domestic sale but will discuss a Euro sale) LPS are mint, some light discoloration on sleeves; liner notes all intact. paypal: alowe5@maine.rr.com it's a heavy sucker so I will guess at $15 shipping domestic prioity - but I will agree to refund any overpayment on this if you make up any difference in the other direction. this will go on ebay by the weekend if it does not sell here

one down -

priced to move, all play fine but have some scuffing: D. Ellington Anatomy of a Murder Ryko $4 John Zorn Spillane Nonesuch $5 Bud Powell Inner Fires Elektra Musician $5 Butch Morris Dust to Dust New World $4 Curtis Amy/Dupree Bolton Katanga Pacific Jazz $5 Dizzy Reece Asia Minor OJC $5 H. Threadgill You know the Number RCA $5 H Threadgill Easily Slip Into Another World RCA $5 Charlie Parker An Eveninig at Home With Bird (Savoy, with the Freemans, Chris Andersin, Claude McLin) $5 Charlie Parker The Dial Masters V. 1 Stash $5 shipping conus: $2.00 first CD, 50 cents each additional paypal alowe5@maine.rr.com

ok here's what's left - Sonny Stitt: The Verve Years Verve $5 Duke Ellington Ellington '56 Charly $5 Roy Eldridge Little Jazz Columbia $6 Willis Jackson Keep on a Blowin' Prestige $5 Ran Blake Driftwoods Tompkins Square $9 add $2 shipping for one CD conus paypal: alowe5@maine.rr.com

all are CDs: Sonny Stitt: The Verve Years Verve $5 Paul Quinichette The Kid From Denver/Plays Gene Roland Biograph $6 Duke Ellington Ellington '56 Charly $5 Roy Eldridge Little Jazz Columbia $6 Jimmy Rowles We Could Make Such Beautiful Music Together (CD from the Xanadu LP) $8 Willis Jackson Keep on a Blowin' Prestige $5 Ran Blake Driftwoods Tompkins Square $9 add $2 shipping for one CD conus paypal: alowe5@maine.rr.com

if one is trying to illustrate a point, demonstrate something, etc etc - is it legal to post a performance for which the copyright is held by a third party, as long as it is not for download? and if it is illegal to post a full performance, is there a fair use idea of how long an excerpt might be?

from Galaxy, I think this is a rare one - with Mark Helias, Charlie Haden, Fred Simmons Eddie Moore rec. 1978 the record is MINT marked Promotional on the back cover $13 paypal: alowe5@maine.rr.com

sold -

the record is in mint shape - it was, as a matter of fact, given to me by Don Schlitten when I worked for him back in the 1970s - I have two copies so one is going - $10 plus priority mail shipping USPS (probably $5) my paypal is alowe5@maine.rr.com

there's a whole chapter on Wyble in this book: Southwest shuffle: pioneers of honky-tonk, Western swing, and country jazz By Richard Kienzle

1) Lawrence Levine Black Culture and Black Consciousness - I've mentioned it before, a brilliant look at the expansion of black life in America. Essential book. 2) Hemphill was bored, and I can understand, having worked in rock and roll bands, because the parts were repetitious and proscribed - he didn't say the music was bad, only that he felt that a certain type of creative person would feel naturally constricted. He had other things he wanted to do, and he felt he had the right to do them, sociologically correct or not. 3) as for that dialectic, I think it's everywhere in jazz and American music; I find nothing more entertaining than really smart and difficult improvised music. Not everybody feels this way. But as I said the essential strength of African American music, to me, is that's it's so damn smart AND so much fun. 4) I had that epiphany about Prez while reading Jacqui Malone's book on black dance - the title escapes me right now (she's married to Bob O'Meally). She talks about the neo-African ways of dancing of black people in the 19th and 20th century, and that off-centered but balanced method of standing is essential to the way she describes it. Given some of Prez's comments about following the dancers, I think it's a strong theory. She also, by the way, talks about the concept of the solo-dance, in which, in the midst of the group movement, the rest stop and one person does his/her thing. This is parallel to JR Morton's comments about the "break" representing the origin of the concept of the jazz solo.

re: Jeff's point - yes, I basically agree though I think it's a complicated story, especially given the nature of African American music, which doubles in a unique way as both art and entertainment. This parallels a lot of the way African American culture has evolved, even in regard to religion. As Lawrence Levine (essential reading on all of this) points out, the slaves adapted Christianity in their own unique way, as a spiritual expression with utilitarian practices - just like in jazz, I would add. on the other hand, Julius Hemphill told me years ago that he was never so bored as when he worked in Ike and Tina Turner's band, and he had pithy things to say about the whole fetishization of the blues, which he felt was just another box that black people were being put into under pressure by people like Crouch and Marsalis. And of course, if we're going to talk about dance, than we have to talk about not only black vernacular dance but black art dance, vis a ve Katherine Dunham and Bill T Jones. and then....there's my whole theory that Prez stood the way he did to emulate the angled way in which black dancers, retaining in an uncanny way the old African practices, took to the dance floor.