AllenLowe

he's very busy attending to his law firm, he told me in a recent email - Goldberg, Goldberg, Goldberg, Goldberg, and Goldberg.

there's only one doctor I go to see anymore - no wait, always a smile, and the only co-pay is a promise not to press charges:

only took a few years, but finally pulled my '50s ms and found only this brief graf on Hopkins: "The intelligence and brainy introspection of these new jazz compositional styles attracted attention in other quarters, with other types of artists who had not commonly collaborated with jazz and jazz musicians. The composer Kenyon Hopkins wrote the music for a dance piece called Rooms (choreographed by Anna Sokolow) and recorded it with Teo Macero on tenor saxophone. Hopkins, who would go on to write a number of movie soundtracks (like Lilith, This Property is Condemned, and Mr. Buddwing) was an interesting, adventurous, and cerebral composer. The episodic nature of the dance piece freed him up to depart from conventional ideas of thematic continuity and resolution, and gave Rooms a disconnected, existential, quality. Not strictly jazz, it made much more than indirect reference to it, and was a piece that, if not exactly jazz in format and expression, could not have been without jazz as precedent and inspiration. On the other hand, Rooms also drew from some ideas and forms that were quite foreign to the experience of the average jazz musician."

too bad, because she's still around, and the records they made are very Tristano-ish.

fot the movie did they interview Barbara Carroll, who made some nice records with Hasselgarde?

"it's a reissue - not a gun to your head" - oh yeah? Than how come I just got this email from Cuscuna: NEW RELEASES FROM BLUE NOTE: BUY OR DIE: HORACE SILVER REMASTERED: WE HAVE YOUR CHILDREN - love, Mike*** ****bonus tracks by Kleck

strangely enough, judging by your picture, you look a lot like him -

Gotta Have More Money is the one, though it is not yet out on the blues thing (probably in box 4) - as I mentioned, unintentionally hilarious.

and here's some more out takes: we thought if we took acid it might help grease things along....and then, along came this guy. Wasn't bad, but he kept chewing through the mic cords -

"deification of remastering engineers" best idea I've heard in recent years - would say more, but I have to prepare a few recordings for the next worship service.

I have a feeling that the vocal is the same as the blues which I included on my blues set - unintentionally hilarious, sounds like one of the Wild and Crazy Guys. still, he was one of the greats.

go to it -

kenny g was supposed to guest on a few tunes, but couldn't make it, so I got a sub:

not on this particular session, but yes, on the CD -

problem was, I was the photographer, and I figured I had to have proof that I was in the same room with those guys. That pic came out better than I thought it would. actually the room was the size of, well, maybe Imelda Marcos' shoe closet - actually probably smaller. In a factory section of Brooklyn called Gowanus, a little arts place called I Beam. New York on Monday was probabaly 95 degrees. We worked up a sweat. Decent acoustics and Ribot and Porter (who in my opinion is one of the most interesting pianists around today) were spectacular, going by the rough mixes. And my kiddie rhythm section (bass and drums, add their ages together and they're still younger than me) have come along amazing well, weekly practices for almost a year. I taught 'em everythng I know (well, that was the first rehearsal....)

speaking of Rudy, we had a very good engineer, Jonathan Golberger. Highly recommended for anyone looking for either a remote or studio recording in NYC.

there was an excellent New Yorker review of this book by Claudia Pierpont -

ribot

had a nice session in NYC on Monday with Marc Ribot and Lewis Porter, me and my Portland band - went well, and Ribot and Porter were a pleasure to deal with:

Big 10 inch Record - the story of my life.

1) Airshow is not a good mastering house, they've messed up a lot of the things they've noise-reduced in the past. So I am wary - 2) Why didn't they just take an early clean LP pressing, without the flutter, CEDAR it, and splice it in? Would been done in a jiff, for a fraction of the cost, and no one would have known the difference.

Howard Mandel won? Don't tell Chris -

this jazz band was playing a Mafia joint in New Jersey when somebody comes over and says, "hey, the boss wants to sing a song with youse." "Sure, what song?" "Strangers in the Night." "Yeah, we know that one." "But it's gotta be in 5/4." "Really? Ok." So the boss gets up and starts to sing: "Strangers in the fuckin' night, exchangin' fuckin' glances, wondering in the fuckin' night,,,,,"

nice - and while we're saluting musical families, here's another great family bandleader -

thanks for those King Sisters clips - that last is actually a decent blues medley - Delmore Brothers to Johnny Mercer -