AllenLowe

sorry, shipping to Philly is too risky -

thanks - and just to note, so Ghost is not seen as endorsing any of my stranger ideas, the pic was probably edited into my first post as Ghost of Miles was posting his response, and before he saw it.

just a notice - stock is running very low on the blues box, volume 1, and right now I only have about 5 more I can sell until the next shipment comes in, which will be a while. $56 shipped USA, $66.50 to Europe Devilin Tune - only 2 more of Volume 1 in stock right now, will get more, but not at this price - $50 shipped USA - Vols. 2, 3,4, also running low - once out, the price will go up about $15 per box. paypal is best, alowe5@maine.rr.com "I heartily recommend these sets, for both your pre-coitus and post-coitus listening pleasure." - Kate Smith

I do believe Chris Albertson supervised some of the N.O. recordings; as did Herb Friedwald, Will's father - but I get the labels confused -

I understand - the one pianist, above all others, that I believe has to be seen in person to be "felt" is Barry Harris - whom I've known for 30 years, and whose recordings have yet to reflect his whole aura. Some are much better than others, but he just has that something extra in person that makes it work. As for Haig, one had to get him on a good night in the 1970s and early '80s. Stll, he always had that touch which made him such a major musician. But nothing ever came up to his trio stuff from 1953. Duke Jordan is also a personal favorite of mine. I used to see him at a little club in St. Albans, Queens in the 1970s called Gerald's Cafe. Amazing player whose personality, once one delved into it and got to know him a bit, was the polar opposite of his keyboard esthetic. Interestingly, he told me he used to practice with Bill Evans.

I love the Folkways N.O. brass band recordings from the '50s.

Buddy Rich and Charlie Rich and Richie Rich

hey, Love Nest is a great tune - theme for the old George Burns/Gracie Allen tv show.

as for Larry/Hank Jones - I actually think Hank was best before his keyboard touch was somewhat flattened out in the 1960s - his earlier stuff had a bit more Nat-Cole-like bounce which very effectively countered the more even keel of bebop line. Listen to the Savoy solo stuff ('54? 56?), and there is a Capitol trio record from the early 1960s that I like a lot - I also remember hearing him the 1970s doing a Fats Waller medley and it was quite excellent. Flanagan - this surprises me, though I wonder, Larry, if you heard him in person at all - major difference from records; like Barry Harris, engineers have a tough time translating his touch to the recording medium. And how could you NOT like a guy who said, about the Giant Steps recording date, "it was just a set of chord changes." Clark Terry - I agree here, though I like him best on those "live" Dinah Washington things from the 1950s - I remember Carisi used to complain about his playing, and a famous pianist who I know, and who worked with him said, 'he plays great, but he still does that damned 'Secret Love.' and right-on about Phil Woods, who to me is a bebop-machine; as for Zoot, just something missing - must be those pink elephants accompanying him.

unless he asks for too much money -

I made him some CDRs - but he asked nicely.

well, with the drummers that Sonny usually uses, you probably won't be able to hear the guitar anyway.

"Right now what I’m listening to the most is a 36-CD history of the blues that’s put together by an American musicologist named Allen Lowe. It starts in the 1890s and goes to the 1950s. There’s about 25 songs on each CD and there are 36 CDs, so that’s hundreds of songs. And there’s so much that I haven’t heard, that I never imagined existed, so many strange voices and unexpected themes and combinations.”

as for Jackie McLean - if you have problems, try listening to the live stuff from Europe (Scandanavia? Germany? can't remember) with things llike Das Dat - the absolute pinnacle of post-bop intensity and inventiveness. Amazing stuff.

I like Facebook; I have flurries of activity, but was able to locate, recently, 2 long-lost cousins - and though they may have been long-lost for good reason, one of them is like a double for my dead father. This kept me awake last night, I must admit, searching for a wooden stake -

allright, I'll go out on a limb - much of the 1960s Blue Note sound - too many poorly-composed neo-modal and modal-gospel tunes that bored me in the 1960s and that still bore me.

Harold Danko and Hal Galper (not really, but Danko told me people were always confusing them)

thank you - it's also the title of my upcoming autobiography -

well, as I understood, he wasn't saying we had to have a lot of recordings by the artist, but had to have known him/her well - and I have heard tons of Zoot, in person, on record, and CD. He's brilliant. Just does nothing for me. I tend to like musicians with more tension in their playing. He sounds too happy. I want a guy who sounds like he's about to snap and take hostages -

please don't come to my house with torches, but I've never had any patience with Zoot Sims.

I like Prez.

see above -

I wouldn't be so sure of that - just spotted this with my trusty telescope:

now THIS was a music cruise:

ah, but one didn't come back from THAT cruise - and here's Peplowski and the band: but this is the only cruise I'm going on: now, I've only worked one cruise in my life, but it was a big one: