AllenLowe

good job as usual, guys, in missing the point -

I understand, Larry, but I still think it's important to understand that this stuff is going to happen anyway in one way or another - the official liberals will get hold of the NEA and all we will hear will be about Wynton and Quincy and Oprah's book club - trust me, I know the arts world, and that's the way they'll go. Liberals in this world are essentially clueless. But to me "recognition" means preservation of work, direct support of all kinds of artists, from writers to preservationists to musicians, and it is worth a shot with this administration; as a matter of fact, I think it is urgent business - as it ALSO means support to continue your work and to make prior work accessible. It means, too, that we are not all discarded at a certain age by people with little or no collective memory- NEA is national endowment for the arts -

when I was much younger I was on something of a mission to rescue certain musicians from obscurity - that's how, before I was 25, I got friendly with musicians like Dave Schildkraut, Tommy Potter, Curley Russell, Al Haig, Barry Harris, Bob Neloms, and Jaki Byard, and a few others like Dickey Wells and Percy France - well, it was a frustrating time, though worthwhile because of all the musicians I got to know. As a matter of fact, though it's something of a cliche, THAT was the jazz school I always cite when people ask me where I learned to play, though it was more a process of socio-musical osmosis. Well, I'm thinking about all this more and more as I get older and begin to see certain things more clearly. And it all comes back when I have a conversation like the one I had with Larry Cohn tonight. Larry, of course, used to be the head of Sony Legacy and produced the Robert Johnson box among other things. Chris Albertson's name came up and Larry blurted "I love that guy" and proceeded to point out all that he has done for the music, and how badly Chris, like a few others, has been treated by the music industry. And it made me think - why hasn't the NEA and others recognized what he has done? (well I know the answer to that but if I give it I'll have to censor every other word). So I just wanted to mention this as we face a new administration which will try to deal with certain arts issues, though I have little optimism that they will face them with any sense of innovation. So I intend to put certain things together and send 'em on to Washington, though I have no idea where they will end up, But it would be nice if more than a few people who inhabit this site (thinking also of Nessa and Kart) get a small piece of official recognition. Historically this, if ever, is the time, though I have to admit I expect the process to be frustrating and likely an exercise in futility. But that's never stopped me before. So if you're interested stay tuned, as I will be putting together some ideas in the next months and would like to sign some of those here on, to send petitioning emails - more later -

I gotta admit, though I would like to give Jarrett a daily swirly, one night, driving home somewhere in Connecticut, maybe 15 years ago, I heard on the radio the most beautiful version I have ever heard of Stella by Starlight - and it turned out to be by Jarrett with the trio. which shows that even buttheads can be great artists - of course we already knew this, but Jarrett is a special kind of butthead. I always wonder what guys like him would do if they didn't get special treatment, were not treated like artistes, had to function in the real world - he'd probably end up the jazz equivalent of Miss Havisham -

it would be interesting to see, though the more I got into the music, the less I agreed with The Swing Era; though it's always valuable to read what he has to say - on the other hand, a reliable source, who knows a lot about such things (because I am hopeless in this area) has said that his Swing Era musical transcriptions are riddled with errors, which is unfortunate, as they comprise such a large part of his arguments -

Dinah Carolina Howard Feinman

when I met Pepper in Boston a little while after that NY gig the first thing I asked him was if he was going to play with Byard- he looked at me and kind of whispered "it didn't work out, he was just drinking too much," which I never quite believed, as Jaki seemed pretty straight in those days (but who knows?). On the other hand, I thought it was also possible that Byard wasn't the kind of pianist for Pepper, who liked a "tighter" comper - but I do wonder why he said that, as it just did not add up.

forgot about that one - and that's one of my favorite movies - she was also a terrible actress - pretty, but a terrible actress -

well, you're right - but he shouldn't make fun of people's disabilities -

or was it Mountain Girl?

don't know if you're reading this, Rick, but the Nina of Nina and Frederick, who recorded with Armstrong (as you mention on your blog), is Nina Van Pallandt who 1) got famously involved with Clifford Irving and the Howard Hughes diary forgery scandal and 2) later made a few appearances on the tv show Taxi, I think, if I recall correctly, as Judd Hirsch's girlfriend -

or maybe it was Bobbie Humphreys....

"In the weeks leading up to a solo improvised concert, Mr. Jarrett retreats into creative solitude to empty his mind." that explains a LOT -

actually I think he was already on drugs, CLiff - that's why he had been in prison - and we're more interested in your experiences - I believe you met Chuck Folds once -

Monday Monday Saturday Night Is the Loneliest Night of the Week Friday on my Mind (this is the song title thread, right?)

well, from recorded evidence - he was much better a few months later at Paul's Mall in Boston - and I was there CLiff, but no need to speak with awestruck tones about my very presence - and don't get too excited but I also drove Pepper around Boston that day in search of...uh......shall we say........sustenance - I figure the statute of limitations has run out -

look Cliff, what does all of this have to do with Art Pepper?

look cliff, there's no shame in being a leper -

well, for once, Englewood agrees with me (thanks for the PM, Cliff - glad I could straighten you out on this) -

he can ran but he can't hide -

well............to sum up my feelings about the Vanguard recordings I will quote Bob Neloms (at the time it came out: "Have you heard that stuff? It's.........................weird." personally I feel Pepper at this point was in the end-stages of Narcissiticosa Nervosa, compounded by continued drug use and a lack of personal perspective. One of the nicest guys you'll ever meet, but truly, from an artistic perspective, a lost soul with more talent in his left pinky than most saxophonists contain in their entire psyches. But you had to get him on a non-self conscious night. this, however, is all just my opinion -

what can I do? cause I,I, I, I am a jew...

I still love the internet - and I thought Satchmo was dead! apprently not:from a Chicago web site: LEWIS ARMSTRONG Summary: On May 1, 2008, LEWIS ARMSTRONG was issued a business license of type "Street performer."

and are you questioning the internet? and for you collectors out there, here's more on Jack Towers (whom I guess has found a new profession; I wish him well in his latest endeavor): Jack's Towers Barber Shop 892 Main St, Melrose, MA 02176-2346 Contact Phone:(781) 665-9847 URL (web address):Business Category:Barber Shop in Melrose, MAIndustry (SIC):Barber Shopswindow.google_render_ad();Ads by Google Local Barber Shops Find Barbers & Hair Stylist Listings at YellowPages.com ® Barber Shop Equipment Chairs, Tables, Supplies & More. Furnish Your Barbers. Order Online. BARBER SCHOOLS Free education guide. Match schools by Cosmetology programs. The ads are not affiliated with Jack's Towers Barber Shop Business Information This company profile is for the private company Jack's Towers Barber Shop , located in Melrose, MA. Jack's Towers Barber Shop's line of business is barber shop.

Chris - I am confused - are you saying that acetates were not used for test pressings?