AllenLowe

interesting and probably a typical Hollywood experience - too many projects that don't go, and stars who are just a bit too insulated from what their management is doing. I've had much worse experiences with well-known (to us), but less famous jazz musicians.

bunch of morons, those guys. Biggest problem is that they don't know what they don't know,always a dangerous proposition.

let us not forget how rare inter-racial romances were at the time.

wow! thanks, Larry, love the 1959 "Way You Look Tonight." Shows she could turn it back on when she needed to. I would say that the vocal change possibly coincided with the general change in the kind of parts she was playing. just a theory -

have you listened to the songs from the late 1940s?

just got and it's a terrific - if you think it's just "dicking around" listen again. Of course, it's a soundtrack, and so not always linear, but there's a lot of organization and thought around it. Great stuff.

speaking of snow, whatever happened to Beirach?

the problem was that she also changed her style of singing - she took a lot of the sensuousness out of her voice, got kind of "girlish," as I said, though I know that's not a real precise description. whereas on her version of I'm Confession she just does it right.

I have that sound track - great Harry James on that, too. I actually liked the movie, also.

it results from attempts by drunken musicians to injest a Frisbee.

not to mention it's use by Odd Job to decapitate people in that old James Bond movie.

listening now to her old recording of You're My Thrill. She is my favorite singer, though a lot of her later and more "girlish" stuff puts me (and a lot of people) off. Get her before, as Oscar Levant said, she became a virgin.

uggh - just ordered the $59 dollar version. I'm thinking that this one will disappear pretty fast.

"Losin has Miles in Central Park on 7/7/69, but curiously does not mention whether or not Allen Lowe was in the audience. Either Chris Sheridan's Monk bio-disco of Robin Kelley's book can tell us if Monk was in Central Park on this date. I have the latter but not the former." that's because I was sitting far away. this is the concert that Kelley mentions, citing how well Monk played (from an interview with an audience member), but what I remember is that people were just somewhat shocked at how inert Monk was. He barely moved, much less soloed. The Davis band, as I think of it, was an interesting mess, especially to a 15 year old who had only really heard the '50s quintet. It's funny that, though my ears were attuned to Ornette and Dolphy, both of whom I was listening to already, I had much more trouble understanding Miles' methodology. Would that I could go back - my feeling about the Fillmore band the next year was that 2 minutes of beauty was generally followed by about 15 minutes of ponderous wandering. But once again, this was 40 years ago and I was just starting to shave; don't remember what kind of razor I was using. Maybe Betrand can ask Mike Fitzgerald about that. Or Michele Mercer.

I saw Miles at Central Park, I think 1969 - it was when Monk opened for him. That's the concert that I just cannot remember. Was that the lost band? Is that the right year? I was also there one of the nights they taped at the Fillmore in 1970. That I remember. (and strangely enough, as an old friend reminded me not long ago, I played in a high school jazz band that opened a concert that was Eubie Blake's comeback in Brooklyn, at a concert produced by the RFK family as some kind of Bed Stuy benefit. All I can remember is a crazy old man walking around back stage and complaining about something).

she's too "jazzy" for me. Kinda like Rickie Lee Jones.

I actually saw that Miles band - and I was so young I cannot remember an effin' thing about the concert. I guess it's true what they say about remembering the '60s -

one thing in the book that I have been meaning to email Kelley about is in re: the Monk performance at Central Park, opening for Miles Davis (1969? Can't remember). Kelley reports, from an interview, that Monk played well, but I was there and he was practically comatose, hardly played a complete solo.

I think they're both the same, though I'm not sure - you're right about the noise reduction - they used some weird sytstem that you can hear "breathe" - I have a feeling it was no-noise, because the Sony Emmett Miller set, which was done with no-noise definitely, has the same weird problem, the sound kind od recedes and then comes back. See if you can find the old French Black and White gatefold LP "The Young Louis." It has a lot of the same material, excellent sound.

good point - if it's not reissue - however, I assume they were paid for the original session (?). Point is, once the side men are paid, technically they do not have to be paid again. and yes, I would like a 10 percent finders fee (since I found this thread and managed to make no sense whatsoever on it) -

question is - when they reissue something like this and there's no single leader, who gets paid? Sidemen are not paid for reissues -

well, I've always enjoyed talking to inanimate objects.

Lester, are you there? These posts have a machine-like quality. They just keep getting spit out onto the forum. Nothing wrong with that, it's just tough to argue with a machine. LESTER? LESTER? WHERE ARE THE POD PEOPLE? ALSO, BY THE WAY, I THINK ROBICHAUX'S BAND PLAYED REHEARSED ARRANGEMENTS

as for how legit this is, I'm supposed to talk with Roswell this week; I'll try to remember to ask him.

anybody who gets kicked off a group has to be a bad person - (I know because I've been removed from three) -