AllenLowe

as did my Kleck Special:

nuclear missiles and armageddon originate here -.

Tommy Flanagan? no, sorry, he was Irish.

it's gotta be more difficult to play the trombone than the sax - I play sax and I've played the trumpet, and the trumpet was way more difficult. So I'm guessing trombone would have some of the same issues. You could try the slide saxophone.

how do you know Dolly Parton sleeps on her back?

when in Romania..............................

if those stockings could talk.....

just listened to a bunch of Ravi on youtube. Absolutely great player. Gotta admit it was the first time I really listened.

there's some old blindfold test, I think, or maybe an interview, in which Konitz puts Braxton down. It's out there somewhere, and may have been in response to Anthony's standards records, though I am not sure.

it was very sad on the day Jim and Joe said goodbye to each other - Jim off to Norway, Joe off to Nursing School: but still, life must go on............

I liked that Before and After. I don't object to Konitz having strong opinions, only wanted to point out that there are limits to his open-mindedness (and I think he has been pretty unfair to Braxton).

I think Shaffer is a good musician - not a jazz musician, but there are other kinds.... "Allen is in this thread too" well, I like to participate in anything that craps on jazz.

actually I have proof of Tabnik's story - luckily for me, someone snapped a photo of Herbie on that fateful night rushing to see Tristano, his practice books in hand -

"There was a time where Herbie met Lennie at a club, Richard Tabnik said he almost stumbled over himself to meet Lennie" thank you, finally some external support here - and something of a smoking gun for my position. A witness. Reality. Concrete image. truth

interesting, that nursing seems to be the fall-back profession for jazz musicians: . not to mention out of work rodents: . (not that I'm making comparisons; just seemed like a strange coincidence)

Mother Theresa Therese Racquin Racquetball

hey, that's my sister you're talkin' about -

yes, and they have curbside service -

I actually find Lenny to be the deepest, emotionally, of all, so reactions do vary. The Gm complex is, to me, one of the deepest performances in all of 20th century American music.

but the conventional wisdom in jazz was, for a long time, that Tristano was a great musician but historically diminished by his lack of influence - this was something repeated over and over during my formative years (late '60s and 1970s). yes, it has changed somewhat. But I think everything needs to be written down, over and over, until we don't forget. Especially as we witness the the new, post-literate world of a-historians.

I agree - I just always find it interesting when the former revolutionaries put down the later rebels - I once did a lecture called "Who Hates Whom and Why" about the relative conservatism of the old-guard jazz radicals.

not for anybody, unless they've been asleep for about 40 years.

try some Texas Tea

the broken triad thing is prime Lenny, and was taught as part of his method - I've known several of his and his disciples' students. Just listen to Herbie - and realize that there were not many good role models for someone like him. (and remember how much an influence that whole school was on people like Hemphill, Braxton, et al, who saw them as the first avant garde.) This is the unwritten history of jazz. as for "Sent me on a Tristano/Gould trip today" I'm not sure whether Dan Gould plays much piano, but we'll have to ask him. also, note the difference between A prime influence and THE prime influence. and then bite me again.

interesting piece, but the person who did it really didn't know enough about Konitz to pull enough out of him - and his comment that Konitz is the most open minded musician in the world (or words to that effect) is disingenuous - I love Lee's playing, but look up his comments on people like Braxton, Cecil Taylor, Eric Dolphy, not to mention Ayler. He's progressive, but in that way of 1950s progressives like Johnny Carisi, who I knew, and who was VERY conservative in the realm of the post-60's jazz avant garde. This may seem like nitpicking but it's not; any jazz commentator should be aware of thes stylistic schisms.