AllenLowe

well, let's start it up again - who wants to volunteer?

well, I would like a piece of pie -

yes, teaching was where he left his most lasting mark -

truth is Chuck was not playing very well by the middle 1970s - he and Haig worked together for a long time at Gregory's until they had an argument over chord changes one night; than Al Gaffa came in -

question is whether to move on, or move out -

like her late husband, she is a destructive control freak - everyone else be damned -

yes; an old friend, pianist Jeff Gardner, was studying with Overton at the time, and, as he told me, the death was quite sudden - I have several records of Overton's classical pieces, terrific composer; he was a solid pianist, but I was always surprised, on those '50s sessions, at how unadventurous his playing was, considering his compositional depth - but as Paul Bley said once, the problem in those early "progressive" days was that jazz soloists generally lacked an improvisational language to match some of the new ideas. Some had the right approach - Tristano, et al, but most soloists went back to bebop in a crunch - not necessarily a bad thing, but sometimes stylistically jarring. John LaPorta, Teo Macero, were others who had the right idea - and I always wait for Overton to find it, but he never quite does -

somewhere I have a picture of Puma playing at Bill Evans' funeral; most beautiful guitar piece I've ever heard -

in '59, I believe, Andre Hodeir recorded Jazz Et Jazz - first use of electronics in jazz, I believe - they shoulda played it -

Evans is more complicated than that - Cliff - have you heard the OJC? Simply the most personal adaptation of Tristano of any pianist I have heard - and listen to Evans' playing from the late '50s, before he put together the trio - some of the most intelligent piano I have ever heard - also listen to him on the live stuff with Tony Scott from '59 - another musician altogether (though I heard him, in 1979, play like the "old" Evans - one had to see him away from his whole sense of being an "artiste", I think -)

Tristano's teaching technique was actually very basic - less learning solos than interval studies; somewhere I have a copy of a sheet that Sal Mosca made for a student, supposedly based on Tristano's original - all scales with altered intervals. the day I spent with Tristano was quite bizarre - he was the only person I ever met who had what they used to call an aura; it was like he could see everything I did, and practically read my mind. A true cult leader and a bit scary and, ultimately, extremely unpleasant. He had a huge living room with nothing in it but two 9 foot grand Steinways; he said, "I charge a lot to teach people - and this is my price" - and he pointed to the two pianos - he lived in a very fancy neighborhood off of Grand Central Parkway, called Jamaica Estates. I was glad to get outta there (alive) - I honestly think the whole thing around him is (was) a bit sick -

that's the bio I read years ago - he describes Gossfield as deluded and with a self-image as a "star." I love Joe E Ross (sgt. Ritzik?), btw - and he and the actress who played his wife did the same in Car 54 - interestingly, my old girlfriend's sister knew the actress who played Ritzik's wife, who was a perpetual shrew on the show, and said that in real-life she was the complete opposite of her character -

"Shit! And I was embarrassed before. " well, as the saying goes, be careful what you wish for........ and btw, what's the story about Koester in the lake?

I love the ORIGINAL, best tv show ever - and btw, Annie Gossfield, the new music composer, is the niece of Maurice Gossfield, who played Doberman - yes, Silver wrote those lyrics; his autobiography, in which he details Sinatra's Jekyl/Hyde personality, is quite interesting -

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thanks - sounds hopeful - as long as they don't use that one-legged guy who lost his hearing during the Blitz - (as Mort Sahl said, Werner Von Braun aimed for the stars - but he hit London) -

"I was in touch with his son Jon, a pianist-composer today. He may well check in here with a comment." "He should, he's shown up on USNET and AAJ. I think I posted his web site in another Jimmy thread. I hope nobody chases him off! " I'll put him on my ignore list -

I like some of the stereo mixes, as they seem to use less compression - but, anyway, look, I'm exhausted and this while Beatles thing is maddening and I cannot stand the yoyos over on the Hoffman board - but am I understanding correctly that: 1) they will release both mono and stereo mixes of the UK albums, on separate CDs? 2) they will use good engineers? (and don't ask me who's good; I liked Geoff Emerick's book but then listened to some of the horrendouse no-noise crap he did on the Anthology, so I no longer believe anything he says) - Is George Martin too old to do these? Maybe Junior can handle it? No one has asked me - maybe Chuck Nessa can reissue these -

I hadn't realized - which Air things did Chuck do? (I have the LPs somewhere but have not listened in quite some time) -

I think Diz gets less appreciation because he lived so long and he was everywhere and very accessible - if he'd died in the '50s we would probably think he was a genius like Bird -

The You and Me that Used to Be is the Victor date produced by Don Schlitten, and though Jim and I never disagree (???????) I think it is the best thing Rushing ever recorded - includes Ray Nance!

my first Nessa LP was a Von Freeman - and I'll always remember the first time Chuck told me to "cut the crap." and the second time....and the third time......and the fourth time...................................

I just realized that the thread where Chuck says he wishes there was a thread about him wasn't really a thread about him, but a thread about a thread about him - so let us pay tribute to the man who has forgotten more about the Art Ensemble than I know -

this is by the pianist Kenny Frederickson from the Jazz Inst. of Chicago site: "Tragedy struck Birdland when Fats Navarro died suddenly one night. He blew clear up to the end. His eyes—I'll never forget how they reminded me of two violet spotlights lighting up the room. He didn't weigh much when he died. The junk killed him. His tone and sound were awesome—it was like he was trying to tell us all something important. He blew full speed ahead right up to the end. He died that night and his wife quickly took up a collection for burial expenses." this supports the evidence of his appearance - (italics mine)

well, Dan Morgenstern, somewhere, does say that Fats was in very bad physical shape by that time -