AllenLowe

I don't know if any of you guys remember the old Everest Archives of Jazz label, which was one of the prime 1960s-70s bootleg companies (and actually did some very good stuff, lots of Bird broadcasts) - I was thinking about it because Moms mentioned Al Haig, who told me he was forever mailing letters to the box number on the record (some of the Lps had text requesting that musicians contact them with payment info). Haig was somewhat amused by their lack of reponse (they put out one of his trio sessions, Jazz Will of the Wisp, with excellent notes by Max Harrison).

good article.

editing is done, mostly. I'm sequencing now, but will likely add 5-6 things later on (with the Ribot recordings, a few more with my group, and one with the singer Howard Fishman; possibly a Randy Sandke cut) - in a week, however, I will have about 90 percent of the project mastered completely. Subject to my whims... I feel a little bit like the old poet in Night of the Iguana, trying to get this all done before I run out of time.............

this seems to have evaporated over at the musicians forum, probably something I did wrong, so I'll re-post here - I'm nearly done with a 2CD project of personal approaches to the blues (supposed to come out on Music and Arts, I don't know when) - With Matt Shipp, Roswell Rudd, my Portland band (Jessie Hatula, Jake Millet and Ray Suhy, bass, electronic drums, and guitar) - and scheduled to record with Marc Ribot at the end of June and hope to insert 2 or 3 additional things as well. I'm very happy with this (best thing I've done since New Tango) and will, within a week or so, have it essentially edited and sequenced (will probably put together a little preview CDR for distribution at that point). For now, here are the titles: Why Mama Why (Does Your Big Leg Look So Long?) Ras Speaks #1 Pete Brown's Blues Twilight at Terezin Electro Convulsive Blues (from the Bud Powell Suite) No More Blues (the Sins of the Mother) Blues in Shreds Blue Interlude #1 Manhattan Moan The Trapeze Artist's Anxiety at the First Note the Jazz Band Blows - or, Black Men Play in No Man's Land for Country Folk and Jim Crow Eyes (from The Buddy Bolden Suite) The Children of Ella Mae Wiggins In a Harlem Ashram The Lost (from the Albert Ayler Suite) Pauli Murray, At the Back of the Bus, Suddenly Discovers She has the Blues The Baptist Minister (Lost in the Catacombs, Suddenly Questions The Meaning of His Life) - 1 Temperance March Entrance Without Exit Ras Speaks #2 Williamsburgh Blues Sweet Joe Pye Weed (from the Buddy Bolden Suite) Blue Interlude #2 I Hate Blues 1:48 Huh/Sublime and Funky Love Part 1 Why Mama Why (Does Your Big Leg Look So Long?)- 2 Blue Collage In Da Sunset of Your love Repression Ras Speaks #3 The Moon Is Setting on the Whore Eye Zone The Baptist Minister (Lost in the Catacombs, Suddenly Questions The Meaning of His Life) -2

I recognize a Jaki Byard title on there - to Bob Vatel of Paris.

Cecil Brower was a brilliant fiddler, yes. One of my favorites (of course my all time favorite is Ray Nance). Hentoff is reaching that stage of being the old guy who wants to stay "relevant" but who hasn't a clue as to what's happening now. I'm much the same way, but at least I recognize the problem. these kids today with their hip hop and their 3 way sex - ****** ******I have no idea what this means

just vaguely, I must admit. Will have to do a little more looking-into.

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it's not a question, for me, of innovative or not - but that certain musicians play patterns rather than improvise, pieces of scale or certain riffs that they wedge into every chord - Fountain does this, to my ears. Weinstein is even more transparent in this respect (shockingly so on some of the stuff I've heard) - and I like a lot of non-innovator, traditionalists or classicists: Randy Sandke (though Randy can do a lot of other things); Ken Peplowski (same with Ken); Warren Vache (I hope Larry Kart's not reading); George Lewis (the clarinetist); Kid Rena; Irving Fazola; Barry Harris; Bunk Johnson; Max Kaminsky; Art Hodes; Howard Alden; Loren Schoenberg; Doc Cheatham; and many more.

man, she could play - she also got a good look at Frankenstein's Shwangstucke -

someone, please help me - this one's for you, Weizy - and these two Dutch cuties are for J.A.W.:

all right, you can have the honor, as many people have questioned my mental health - this kid Weinstein doesn't hold a candle to Andy Stein - or Frankenstein, for that matter.

I tried to warn you guys. sorta like that guy who wrote letters to the paper saying he would kill again.

he's the Nat Hentoff flavor of the month - so I'm listening to some internet samples - and the guy just plays the same harmonic patterns over and over and over - sort of Pete Fountain on the violin. But everyone seems to think he's great. But he's dull and unimaginative. AM I THE LAST SANE PERSON IN THE JAZZ WORLD? this guy sucks.

allright, you asked for it - last Halloween I went as a stick of gum:

well, you better lock this one before I put in a picture I have of me with the Doublemint Twins -

I'm a Grofe fan and there are CDs of the original Whiteman/Grofe performances.

any web site that has Hitler on it can't be all bad.

disappointed - I thought you guys had a three-some.

wait - you mean those 25 year old girls named Candy and wearing tight tank tops don't love me for myself?

thanks, yeah, that's him. I kick myself that I didn't stay in touch. thanks again, everyone.

thanks guys - the Holiday broadcast may just be too obscure, and I cannot remember where I saw it (though I think it was re: a performance in Washington DC) - Sneed was an amazing guy, and I'm sorry I lost touch with him, though I assume he's dead. I always wondered what happened to his personal effects, notebooks, etc, as he was a terrific and very lyrical poet. I just lost touch with him. I may call the Schomburg library in NYC to see if they have any trace of his work.

many years ago, when I lived in NYC in the 1970s, I made the aquaintance of a wonderful man, musician and poet, that we called Professor Sneed. His name was actually Edward Sneed, He had played bass with Billie Holiday and Charlie Parker in the '50s, wrote beautiful poetry, and was co-writer of Bald Headed Lena (recorded by the Lovin' Spoonful) with Piano Red. I am trying to find a citation from some broadcast he was on with Holiday - I know it exists, because I saw said citation many years ago, but cannot located it anywhere, including the internet. Does anyone have a discography they can search by musician name? Also, I cannot remember his first name, nor whether his last name is spelled SNEED or SNEAD (I have found it both ways). thanks -

that Moten was off an old European EMI 10 inch LP, if I remember correctly. Some great sound on those, as the Europeans seemed to have taken the time to find the right sources. As for Hersal, I decided to use a different cut than the one usually seen as representative. Hard to believe he was 16 when he died.

see you in Freeport Jim -