AllenLowe

all this while the King Family remains unrecognized and neglected. and of course, nothin' says lovin' like that other musical dynasty, The Manson Family:

let's not forget Dorothy Fields.

well, in that case his Grandfather was the Third Reich.

good solid book, in my opinion, though ultimately, in spite of his historic importance, I don't find Handy that interesting. As I said in my notes to my blues thing, he was not only in the right place at the right time but smart enough to know that he was in the right place at the right time, which is probably just as important; a decent composer with an important early band, but a better businessman, and I don't mean that as a put-down. It just means that, from a musical standpoint, he's of somewhat limited interest to me. but it's a good book and should be read.

I don't mind needle drops - I used to do a fair amount of mastering from LPs - the engineer is the key - turntable, stylus, phono pre-amp - judicious use of CEDAR, if available - also, EQ. And, one can edit on disc so the beginnings and ends of cuts are not so obviously vinyl.

things may get a little raucous - this ain't no JJ Johnson night -

are those with Dudu?

funny thing about the tenor - I stopped playing because 1) my hands hurt and 2) there's too many tenor players but after going through about 6 horns (altos) I've found an old Martin and a newer Buescher that I like, a great mouthpiece guy in upstate New York, and I enjoy playing more than ever. yes, some guitar, though I've been working with a guy up here (Ray Suhy) who is so brilliant that I usually just play alto (though I do 3-4 things on the CD due out late Fall). also, playing a little bit of C melody, which sounds, at least when I play it, like a junior tenor. should also mention that my drummer plays electronic drums. Great stuff.

thank you. I appreciate it.Though I feel like this:

and nervous. Gotta write arrangements. Also, haven't played in front of a serious jazz audience in 15 years.

concert at 45 Bleecker St - Blues and the Empirical Truth - Every Other Day I Have the Blues with (so far): Roswell Rudd and Ray Anderson, trombones Randy Sandke, trumpet Lewis Porter, piano Ray Suhy, guitar Allen Lowe, conductor and alto sax - plus a few players to be named later.

I hope Billy Higgins' many friends are aware of this and helping this guy.

actually, I'm working on a new form of music called "Inaccu-Jazz" - all of the music in it tends to miss the mark.

that sounds nice, but who are you?

allright, Frip-o holics - recommend to me 5 recordings.

speaking of Naked Gun - this might work:

Everst Archive of Jazz was a bogus but actually somewhat important label, in that it put out a bunch of Bird broadcasts (I still remember the thrill of hearing Bud Powell play that solo on the Birdland Round Midnight). They also put out the Al Haig Will o' the Wisp album, with notes by Max Harrison - and some of the jackets had a blurb to the effect that if any musicians out there had the right to receive monies for the recordings, they should contact the label. Haig told me he sent a few letters to the PO box number but never got a response (surprise).

Booker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker bookerBoBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookeroker booker booker booker booker bookerBBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerBooker Booker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerBooker booker booker booker booker bookerbooker booker booker booker booker one of my favorites - when I was a kid (1969) a friend of mine called me and said 'hey I just went to a jam session and saw Booker Erivin. He was the best one there." This peaked my interest, so I bought Structurally Sound and thought, "gotta see this guy." but he was soon dead - and, strangely enough, I was listening to a playback of myself recently and found myself doing little Booker-isms. Completely unconsciously. but he was one of the most soulful horn players EVER -

I tend to agree with all of the above - my problem is that, at my age and with a real demanding day gig, it gets harder and harder to keep up with what's new and I always hope that jazz writers can help. Aside from Cliff Thornton on this board, however, I get very little info (not saying there aren't others here who are helpful; Cliff just seems particularly on top of things) - personally I crave constant novelty, and I approach it all quite critically - but few jazz journalists seem to look at life this way. Hence the tendency to look for the tried and true.

my first question, Dave, is - are you asking this as an outside observer or as a member of the JJA?

Tropicalia Soul Jazz Records collection of 1968 recordings. Nice booklet. Gal Costa, GIlberto Gil, Caetano Velos and more. $10 Bo Diddley is a Gunslinger Chess reissue $6 Spiritual Jazz: Esoteric Modal and Deep Jazz from the Underground 1968-77 $8 Mama Too Tight Attica Blues both Archie Shepp on Impulse $6 each Lucy Reed with Bill Evans OJC still sealed $6 The Byg Deal: Art Rock Revolution Byg records collection of Euro avant rock 1968-74 $8 paypal: alowe5@maine.rr.com shipping: $2/cd USA $5/ cd to Europe

best line of the night, apparently - the MC remarked, without irony or intent of humor, that he grew up listening to "Bird, and Dizzy, and Buddy Bolden." wish I'd been there. Would've had a few questions for him.

he was the greatest of them all -

nice story, but generally bogus - no real proof provided. No one really knows where the style started, most likely it was just a generalized idea and way of playing that spread itself around.