AllenLowe

cliff - I have never, before or afterward, directed a remark like that toward anyone. So please bugger off you little flea spec of intellect -

anybody mention a certain 1956 session with JIMMY SMITH (anybody ever heard of him?) and a famous bebop vocalist?

I am trying to find a recorded blues performance by Martial Solal for the years 1952-1958; preferably with his trio. I have one volume of the Vogues, but there is no blues - does anyone know of such? thanks -

probably a good idea, but, no, in my experience here, people do not differentiate, nor do they seek the causes - and more importantly, they also hate a feud until it is one of their own - until they are attacked; in which case, they spare no effort to respond -

I do a fair amount of this kind of work; am now restoring a 36 CD set of blues. did all of my jazz set - wow and flutter cannot be handled easily; there may be something out there than can do it, but I am not aware of it - as for hum, it is tricky, but actually relatively easy to remove in most cases, depending how frequency-invasive it is. Digital parametric eq (which I use) can do amazing things by notching the hum at specific frequency - if your friend wants to send me a cassette, or, even better, a CDR sample, I can listen to it and let him know if it is worth pursuing. Most things can be improved hugely, but it does really vary depending on the original source. Most engineers, also, know next to nothing about EQ, about which, without wanting to, I have become quite expert. And EQ is, ultimately, the key to restoration, in my opinion -

well at least he admits his posts are stupid - I will give him points for self-honesty. But the problem with Organissimo is that people see our little feud and never really wonder why it started, or understand how it is based on Englewood's original unprovoked personal attack - (whch was his post in the thread where I spoke about my encounter with Wynton and Englewood leaped in to point out that the worst thing about the incident was that, since it happened to me, this forum "will never hear the fucking end of it.") I do tend to carry a grudge - but that was a gratuitous insult that required an apology -

I like a lot of Shepp's stuff, but I gues Roswell thought that, on the day-to-day gigs, he was lacking - and sometimes things come out, recording-wise, that are not perfect but expressive - but than, that's the whole problem with the recording world, even the creative music side. Everybody records too much to often, primarily because of the nature of the business, gotta keep 'em coming and gotta get somebody's attention. Even in the small small small world of jazz/new music - as for the later Shepp, I have mixed feelings, but I thought that on the Shepp Plays Bird session (I think it was that - it was a duo with N.O. Pedersen, maybe on Steeplechase?) he showed some different and interesting chops. And Dick Katz told me that, on the festival circuit when he heard Shepp practicing, he sounded like Don Byas!

well, Roswell Rudd told me Archie Shepp had similar problems when they worked together in the 1960s, he always sounded like he needed to practice a little more - sometimes it's a condition (and I say this from personal experience) related to things like day jobs and not playing full time, and/or having significant non-musical or non-performance interests -

Whatever Happened To Baby Jane?

you are the KING -

is there no LOVE for Clarence?

"How Do We Get Allen Lowe To Loosen Up?" the Dickey Wells way - 3 hookers and a hotel room - (based on a true story about Dickey as told by Earl Warren) -

just listening to the sessions from 1939 - a modernist way ahead of his time - harmonically and rhythmically a true modernist, even more so than Nat Cole - Dick Katz told me about him years ago and I listened, but I am just now renewing my musical acquaintance -

New Limit: 10,000 Posts

well, he can meet MY daughter, but I want cash up front -

wow! nice choreography - great dancing - but I thought Ma Rainey was black -

Naked Pictures of Stanley Crouch - with Your Wife

as what?

I love you guys................................................................. well, most of you guys..... well, some of you guys - the ones who send me money -

don't fight boys, you're both good guys so let's just disagree - Fasstrack - I may have misunderstood, sorry, not sure if this is what you are saying but yes, there are plenty of mediocre straight-ahead players. And I will add that it is true, I always get annoyed when "outside" players think they can play straight-up gigs and than embarrass themselves (years ago I saw Dwight Andrews and Gerry Hemingway do this in the same year, same city) - these are different disciplines and yes, I consider the "free" side to require discipline - but not just discipline but understanding and viewpoint and persepective and a certain sense of humanity (hard to define this last quickly, but see Barthes on the morality of form), as in any kind of music. Another of my gripe with some of the outside players I've run into (and this is old news, as these are encounters I had in the 1980s) was a certain almost near-autistic self-centeredness. I stood on a bandstand in Hartford with Paul Flaherty about 20-some years ago, and never have I seen a more narcisstic display of me-ness. Blech. As in much of the trendy avant garde there is a great sense of personal grooviness at the expense of all alleged outsiders. Years ago my family had a friend at Antioch University who tried to commit suicide because of the isolation she felt at that hippie school, as she was not cool enough to fit in, was too different to make it there (an ultimate irony of an outsider among "outsiders" who in reality craved to be insiders). But as Francis Davis pointed out to me not too long ago, the hipster, who used to be the ultimate outsider, is now the pentultimate insider - there is something wrong with this picture -

Lance Rentzel: The Art of Babysitting

I knew Herman because he was a friend of Percy France, and he worked with Percy occasionally in the 1970s - he was a fine guy and a terrific musician who sometimes lacked taste, maybe (did a little too much block chording). He can also be heard, as he told me, on a lot of Gloria Lynn recordings. Sweet guy, once helped me out by backing Carmen Lundy on an audition at the club One Fifth (I was booking Carmen at the time, but that's another sad story - she is difficult to say the least). He played beautifully, was one of those guys who only has to hear something once and he's got the whole thing down, and liked to do a lot of those Nat Cole-type block chords -

hey for the amount of money I pay - I mean HE paid -

I have two complete sets that are mint but un-sealed - will sell for $40 per volume + shipping or the entire set for $160 shipped - (there are four volumes of 9 cds each in each set) prefer paypal, my paypal address is alowe5@maine.rr.com email me at that address these will probably go on Ebay in about a week, or will be melted down to help the war effort - (shipping to Dublin is $200,000; insurance is extra)

well, that leaves out Johnny Griffin and Roy Eldridge -