AllenLowe

there's a nice guy who's doing a very important article on the pianist Teddy Weatherford; he's looking for the 1930s solo recordings Weatherford made, and that were put out as one side of an EMI Lp (I think the other side is Dickey Wells) - I cannot locate my copy, and I'm trying to help him - anyone out there have the LP who can put the Weatherford recordings on a CDR? thanks -

sold -

selling my two McFarland Impulse lps - "The Gary McFarland Orc. with Bill Evans" "Point of Departure" (sextet) - both have the gatefold covers in good shape, LPs are mint - $12 each plus shipping, conus, both for $20 plus shipping - my paypal address is alowe5@maine.rr.com

here's a shot of me and the wife: I'm on the left -

do you have any pics?

Endless Love Rimbaud Gumshoe - Josiah Thompson Kind of Blue - Richard Williams The Great Black Way - R J Smith The ELvis Reader Infernal Machine - Cocteau 1959 Fred Kaplan Let It Blurt - bio of Lester Bangs Freelance Pallbearers - Ishmael Reed (tired of this one) geez, gimme a break, there's nothing else to do here besides consort with barnyard animals.

here's some - and here's some Afro-Duck:

good idea, bad movie. I gave up after about 40 minutes.

that's what you think -

I'm going to the Hank Mobley concert with Chewey.

though I've tried for years to think otherwise, to my ears Benny Goodman is all down hill after 1935 - Shaw, on the other hand, in that era, was simply incredible. however, I never liked his post-career lectures; and The Trouble with Cinderella, in spite of its rep, is just awful, full of middle brow, sagging pronouncements.

yes, but the Fat Elvis had many moments of glory. Watch those Vegas concerts in the documentary - better than ever.

just listened to Dancing on the Ceiling from 1954 and it confirms my recollection - too many minor seventh runs and some gestures that sound like he's been listening to Tony Scott - just doesn't do it for me, he still has some wonderful moments, but it sounds like one hand is tied behind his back.

I haven't listened in a long time but I remember thinking those last things were too studied, as though Shaw was saying, "see, I can play bebop." He had to work at it, and it sounded stiff to me.

I have been told around December -

http://www.believermag.com/ link to the mag -

more Greil Marcus, this time from The Believer magazine: (for the complete article you will have to purchase the mag): "As a compiler, Allen Lowe is the music historian's equivalent of David Thomson with his ongoing editions of A Biographical Dictionary of Film (the latest will be out this fall). With at least twenty-four numbers to a disc, Reallythe Blues? is a cornucopia; it's a swamp. It's a forest to get lost in, tree by tree or even leaf by leaf. It's a grand and overarching story—though that ? at the end of his title marks Lowe's doubt as to whether with the blues such a story is possible, or even a good idea. It's a flurry of fragments, leaving you grasping for a way to follow the trail.As his free-swinging liner notes make clear, Lowe is a radical pluralist; as a synthesizer he's completely idiosyncratic. He may love disjunction far more than unity— but what others hear as disjunctions may be unities to him. As a language, it gives whoever can speak it a certain purchase on the world, allowing one to present it or oneself in a light different from the light that falls on you without your will or desire coming into play. That is why it takes so many, even infinite, forms. In the world of the blues as Lowe affirms it,any attempt at summary, let alone a critical assessment of what his crafted world is worth, of whether it's a spinning globe or a pile of feathers, would demand far more time than it takes to listen—and given the shape of his production, constantly calling you back to play a given piece a second or a tenth time, to make it fit, to hear how it doesn't, summary may be beside the point. For that matter, while Lowe covers every conceivable genre, style,form, and fashion, the recordings he chooses are almost never generic, an example of something as opposed to a thing in itself. Within any genre he is drawn to its anomalies,not the master chord but the broken cord. I hope to take up each of his four boxes as they arrive; here are ten echoes from the first."

I am not crazy about the later, 1950s Shaw, the playing sounds self-consciously "modern," unlilke the earlier stuff where he was modern - a lot of Bb playing. (though you may be talking about the earlier Gramcery stuff) -

I beleve he wrote Dance With Me Henry.

I'm ok - but I do have a massive headache.

is that the blues Paul Garon? He's a bit of an ideologue -

how do we know that the wobble isn't really some Horace Silver keyboard trick, like a veritcal tremolo?

not that great, but just my opinion - sort of a a conservative approach to jazz history disguised as progressive - as it really only sees pre-avant garde jazz as related to the classic concept of the 20th century avant garde (sic).

the book The Banquet Years by Roger Shattuck addresses your questions in an indirect way - it's a brilliant look at the early Euro avant garde, Jarry, Satie, Picasso, Stravinksy, Dada, and more, and sets the whole stage for artistic turbulence in 20th century arts movements. I think it's quite essential; for me it also addresses the cross-disciplinary issue of what it means to be engaged with both performance/composition and critical approaches to performance/composition. By doing so, it also addresses what I perceived to be the anti-intellectual tendencies of the jazz world, especially as personified by the anti-intellectual surface intellectualism of the whole Crouch-Marsalis school. this may seem far afield from your initial question, above, but really I think it's not.

don't tell Berigan and Weizen.