AllenLowe

how did I miss the whole Wallace thing? angry people, insults flying, personal slurs - where was I?

ahh, skiing in Argentina....I haven't done that since the war.........

I do want to mention that, when he wants to be, Connick is a terrific pianist. Sometimes, however, he gets stuck in a flashy, 'ain't I cute' thing. But I have heard him play amazingly well.

I had a hysterectomy. but I figured 6 kids are enough.

Blue and Sentimental. Chu-ish and nice. But I know what you mean. That's why the small group Harry James' recordings (with Jo Jones and some other Basie-ites as I recall) are important.

welcome back

one interesting quote which bothers me a little in a comment about the Charlie Christian solo on the NY Times site: "It foreshadows the sound that rockabilly guitarists would popularize in the 1950s " they are referring to his intro, but that comment is way too over-simplified. Interestingly his solo DOES sound like the later electric blues solo intros of the late '40s and early '50s, but the lineage is probably much more complicated, based on some common sources and probably un-recorded sources. I only mention this because this a classic instance of a jazz commentator, not knowing the history, just ASSUMING that the jazz guys did it all first.

personally I like the Herschel Evans with Harry James' small group.

I wonder if this can be done with books - I'm thinking of reissuing this one, since I think it's out of copyright:

Billy Tipton

I was just referring to the "time period" in which they were recorded, as most broadcasts took place within those times -

generally 8 PM to Midnight -

actually, Chuck, Sonny Rollins told me years ago that he summered in such camps, which were de-rigeur for the NYC left that was seeking to encourage racial integration. True story.

I listened to that sample and I liked it, though I had trouble really getting the full sound - on organ as on guitar I like a little growl - power tube distortion as opposed to pre-amp distortion, which is just fuzz.

actually, as someone already indicated, I'm hoping for one of those Andorra sets of 15 CDs for $19.95. as a matter of fact, Doug Pomeroy was spotted this morning getting on a boat for Spain -

Dave, as far as I know, never recorded a solo on clarinet - glad to hear DeFranco's comment - Dave, sadly, was an elusive guy, a true genius.

I know I mention him too frequently, but Buddy Rich said that his favorite clarinetist after Artie Shaw was none other than Dave Schildkraut. I used to go see Dave play affairs like weddings at the Oriental, a catering house in, I think, Bensonhurst (Brooklyn). Davey used to take out the clarinet and amaze the band with glisses and all kinds of wonderfully musical technical feats. Also - Boston, 1975 or '76. I was at Pauls Mall, a jazz club, talking with Art Pepper, when a kid comes over and says, "hey Art, do you still play the clarinet?" Pepper looks at me, smiles, takes the kid's clarinet and plays a bunch of runs - and then takes it on stage and plays an incredible blues on the instrument, very boppish but with a lot of his personal feel. Wow.

actually, I hate to be coy (no I don't) but we're going to have a little Buddy Bolden surprise at our September 25 concert -

good question - and I don't recall - I will be in touch soon with the son and I'll let you know.

re: Haig - honestly, his friendship when I knew him (post 1976) was not difficult, though reading that book was something of a shocker. He was steadfast, reliable, and considerate when I knew him. I think a lot of what happened was related to alcohol abuse. I especially think this because of Curley Russell's accounts of Al being the straightest guy in the world during the early 52nd Street Bird days ("he used to go home to New Jersey every night right after the gig", Curley told me). On the other hand, clearly, from what people have reported (see Phil Woods and Chan's accounts of his liquored-up visits) there was something going on aside from just the booze; though I'm sure that accentuated the problem. I disagree about whether Grange Rutan has an agenda, much as I like her - for just one instance, one person mentioned in the book was described to me (by Grange) as senile and out of touch; a subsequent conversation I had with this person told me otherwise, that she was fine and happy and completely in possesion of her faculties. This made me distrust some other things I read, though I still find the book to be a fascinating funhouse account of the weirdnesses of a whole generation of musicians, not just Al.

I'll send you an invoice - unless you just want to give me your credit card number.

about 20 years ago I came across some LPs by a Texas pianist named Red Camp - recorded for Cooks Laboratories in Stamford Ct, I think in the 1950s. Well, some of the group performances were kinda old-timey - but the solo piano pieces! Wow - a weirdly prescient modernism, not unlike, interestingly, Jaki Byard, a combination of old and new in a very free and brilliantly creative way. so, over the years I tried to find out about this guy, and came up zero, even at places like the Rutgers Inst. Jazz Studies - bupkis, nobody had a clue. Every 6 months or so I search the internet - and guess what? This week I found an site with a weeding duo, with a guy named Claude Camp, who is none other than - Red Camp's son (Red died in 1987)! So I called Claude, who was happy that someone remembered his departed dad, who, he told me, was born in 1909, was heavily influenced by Earl Hines, and knew Peck Kelly. We had a nice conversation, and he's going to send me some clippings, so now I can end my restless search. Camp's albums, as far as I know, by the way, are available as CDRs on the Folkways site, which now owns the rights to the sessions. Check 'em out. Long live Red Camp!

"Pafko at the Wall" just for the record, I believe that refers to Andy Pafko.

I wasn't born yet in '51, but I remember EXACTLY where I was when I heard JFK was shot.

thank you; I'm assuming you were referring to the blues box -