AllenLowe

I love her singing. Sue me. Hold my family hostage. Steal my identity. Call me irresponsible.

CD version yes.

this is a decent and worthwhile set; I am boycotting all Phil Schapp productions moving forward. Buy it, I need the cash; but be aware that it will take you about a month to figure out which sessions are which because nothing in the notes is in the same order as on the CDs. I am just getting too old for this crap.

in excellent shape, all intact. $135 plus shipping in USA - let's say $17.50 priority fully insured. My paypal is allenlowe5@gmail.com

I am changing the way I record; this is a nice, hand-held, portable thing with 8 track capability, 6 analog, 2 digital. I actually have 2, and they can be cascaded/synced together for 12-16 tracks. Records beautifully; the built in pre-amps on this model are pristine; can record live, interviews, music, etc. Pro level sound, 24/96 capability, (though I would recommend 24/44 or 24/48). Phantom power. With Manual and power cord. I have 2. $300 plus shipping conus for one. Order them both and I will sell for $525 plus shipping. They will go on eBay in a week or so.

on the other hand, he apparently did some horrible things, from what I have found out; even with our current sense of separating the artist from the deeds, I find it hard to listen to him.

great stuff; some beautiful Dodo though, as I mentioned elsewhere, I don't particularly like the notes and would question his judgement on early bebop piano. But essential for the music (and some very nice Jackie Mills, though also some really bad Jackie Mills, who seems to get carried away on the first session).

yes, this particular music; what I meant was that I have other Bird sources with him playing as well as this. That are absent any Schaap-isms.

I realize I am probably a little over the top here; after dealing with Phil for about 40 years (and I like the guy) I just have reached a level of max tolerance.

I have tons of other Bird which is as good or better. And coherently presented. I just cannot stand this level of disorganization in presentation. And I won't support this level of shoddy historicism. As I said, the music if fine, but I have other sources that are as good. Many other sources.

I finally bought and started listening to this set, and I am fed up. Sound quality doesn't bother me. What does is the incoherence of the presentation - just to get basic discographical info of who is playing what and when I have to constantly shuffle pages, put up with Schapp's invented b.s. (I just don't believe anything he says any more; he has no documentation and too much of what I have known in the past has been distorted by him). The notes don't even have a basic order of playing, and I really can't stand it. It has made me even crazier than I already him. My copy is in great shape, discs are mint, some even still sealed. Make me a decent offer, and my problem becomes yours. Selling this piece of crap.

Like Chuck, my dealings with Uptown were unpleasant. He owed me $300 for sound work I did for him, but of course I will never see that cash.

got mine; great stuff in general; my only comments would be that I am not that crazy about the liner notes (his grasp of early bebop piano, black and white, is tenuous); and there are some weird stylistic errors in the writing - but, the music - in spite of a number of tracks in which Dodo, as was his tendency, seems to be on a distant planet - is great and worthwhile. I don't know, as you guys do, what has appeared elsewhere, but the sonics are excellent.

well, apparently it's only maybe 40 minutes - given the rarity and importance, they really should issue it - they've had this material for some time - Jaki playing in the '50s - but as Chuck indicates above, it has been held back because it's not a full CD. Personally, I think it would be fine. And if not that, it really should be made available in some way.

now if they will only do the Jaki Byard '50s thing -

as I may have mentioned, my 8 CD set, The Disconnected Works, 1980-2018, is being issued by my own company together with ESP-DISK. The first pre-orders are limited edition with special packaging; waiting on the booklets which should be here soon. This 8 CD set has 4 discs of new material - with Ken Peplowski, Steve Swell, Darius Jones, James Brandon Lewis, Lewis Porter, Randy Sandke, Lisa Parrott, Aaron Johnson, among others - and 4 CDs of various older material, some never issued (including some unissued takes from the thing I did with Marc Ribot and a few things from an unissued session with Percy France). It includes: Julius Hemphill, Roswell Rudd, Ursula Oppens, Don Byron, Doc Cheatham, Loren Schoenberg, Kalaparusha, Bob Neloms, Percy France, Matt Shipp, Joe Albany (one of my compositions from a session produced in the late 1970s), Stacey Phillips, and probably more that I cannot remember right now. Anyway - I have a few more than I thought I would have, and can still offer them at the pre-order price of $60 shipped in the USA. Just let me know - here, or my email is allenlowe5@gmail.com

he's the one; as far as I can tell he's the only one who's got it anyway -

just ordered mine. Love Dodo.

that's actually a ripoff of a WC Fields line - "You're drunk." "And you're stupid. When I wake up tomorrow I'll be sober."

the ones I have seen in the last few years are all CDRs - when I wrote them an email to protest this they warned me not to say anything in public or they might take legal action! this is really slimy; I won't pay regular CD prices for a CDR.

the new transfers are spectacular, in my opinion.

was visiting a friend the other day whose aunt, it turns out, went to elementary school in PA with Clark. There is a pic online of a class - might be kindergarten -and her aunt is there, and Clark is the only black kid.

yes, Eskin did the Lamb CD. And if Montgomery and Tichenor did the rolls, that's good. Another thing to beware of are some old piano rolls supposedly made by Joplin himself, but which were not.

you and me both; one of the things that distinguishes those '60s ESPs is exactly that, blood and guts. I don't hear it much these days, but then I am far from the epicenter. Actually thinking of trying to do a session to re-capture that feeling (have JD Allen ready to do it), though I just did one with Darius Jones and James Brandon Lewis that comes close. And what did Peter Handke call it? "A moment of true feeling."

I never take offense at anything you say; I'm just glad you say what you say (these days I'm feeling a little critically tongue-tied) - the thing is that McCraven himself seems to buy into the "I must save jazz from itself" hype, as does Glasper. Those videos on his site about the music and about the band are full of socio-babble, I guess I would call it, and it is socio-babble that is not really borne out by the music. But I will check out the Chicago side, as I am interested - and I note, btw, that McCraven is clearly a superb drummer, it's just that the music in the clip I posted tends to be warmed-over ________(I will let someone else fill in the blank). And let me add that I never let myself get distracted by "save the jazz" movements, which are silly and pointless and usually speak, ironically or not, to the lack of historic consciousness of whomever is leading them. There are many questions to be asked about why we do what we do, but very few people (other than yourself) seem to be asking them. (and I will add that in terms of jazz being an "embodied system of rules and hierarchies" I also find it interesting and somewhat ironic that much of the current gathering of free players has started to turn themselves into something of a cult in which they have replaced, to my mind and ears, one system of rules and hierarchies with another)