AllenLowe

damn - one of my favorites - I didn't even know he was still alive -

c'mon Chuck, we know you wanna keep all the good stuff for yourself -

find the old British Lps - best sound of the bunch -

well, as I like to say about my marriage, we've had 22 happy years - "but you've been married for 26." Well, 22 out of 26 ain't bad -

by the way, Larry, saw you mentioned Charles Olson some posts back - his simple statement "an object is its own meaning" was, for me, the key that unlocked contemporary forms from music to literature - idea, I think, was to stop looking for self-imposed layers of meaning and to simply see/hear what the author/composer was saying - kind of like "he has nothing to say, only a way of saying it" (either Robbe Grillet or Beckett, sorry, can't remember) - it's all a mantra I find necessary to repeat whenever something, at first glance, puzzles me -

beautiful poem, Larry, thanks for posting, I always liked Ohara - my wife's godmother, who used to be the painting-restorer at the Museum of Modern Art, knew and worked with him way-back when - crazy, tragic death too, as she related, when he got run over by a dune buggy -

in case anybody's interested I'm selling really good copies of the Declaration of Independence - and on good paper this time, not that lousy crumbling parchment -

funny Bob Neloms story - one of his first gigs was with Ammons, who called the tune "Crazy Rhythm." Bob, who was very young, thought he wanted "rhythm changes." After they played the song, Ammons said to him, "you play some wrong chords, but you sure play funky."

Chris, did she come visiting looking like that? or did she at least wear pasties?

process in itself is not the villain, and is rather an important part of new music going back to John Cage - it's just that when process becomes a substitute for substance, or an end in itself, the result is a kind of perversion of the whole idea of the new, of the concept of the new aesthetic, I think - there's just, IMHO, to many musicians who think that by coming up with an idea they have already solved a musical problem; they lose the idea of execution -

yes, I play only tenor on that - email me before you order - I'm a little low on copies and will need to do some inventory first -

it's an important debate - my belief, and I've said it on this forum before, is that there is a generation of musicians who can talk the talk but have musically little to say - they've go the musical psychobabble down, they love talking about process, but they've confused mannerism with style, gimmick with idea - sorta like the whole drone thing, and a lot of the free-folk I've heard falls under this, too - it's kinda like the good news/bad news part of the internet and the proliferation of cheap digital technology - when everybody can do it everybody WILL do it, and a lot of it is just plainly bad music - too many short cuts are taken, not enough self-education takes place, there is too much cultural name-dropping without a real understanding of what prior music says or means - and I would venture to say that Braxton feels EXACTLY the same way that I do (he actually said same when I met with him last summer) -

could be - my favorite Skylark moment was by Barry Harris on a Xandau LP - might have been the Al Cohn record, I'm not quite sure - in the middle of bar three (assuming key of Eb) he played an A7, basically your classic bebop tritone sub, but perfectly timed here - and it's electrifying, harmonically-speaking - I hear that chord in my sleep - only comparable moment I know of his Hamton Hawes using (almost) the same device on a version of Wrap Your Troubles in Dreams - different tune, but also on beat three, though in measure 2 -

actually, in NYC I needed a jackhammer -

I'd spend more time listening, but I have to dig some holes in the back yard -

well, no solid evidence - and I still can't hear that bridge as anything but something worked out at a piano-

actually, the CD that's somewhat related is one I made called "New Tango 92" - which resulted from my listening to Piazzola, which was really life changing - no bandoneon or accordion on it, however - however, Julius Hemphill is on it (recorded at the Knitting Factory) -

yes, but can he play Lady of Spain?

I think he was thinking of Star Dust - that bridge of Skylark don't sound like no jazz solo -

"He chuckled out loud and seemed agitated. " and so began the criminal career of Jeffrey Dahmer - thanks, Chuck -

what do you call a bassist without a girfriend? ....homeless.....

it's been a while since I listened to the Columbias, many of which are excellent - most notable thing for me, and I kid you not, was a noticeable Al Jolson influence on more than one ballad, most particularly a rendition she did of Swanee - speaks volumes (literally and figuratively) about musical influence here in the good old US of A -

I might have that year wrong - will check with my brother-in-law, who witnessed it -

"I thought they just meant nobody fucked with it." well, getting your wiener INTO the bottle is easy...

"There is something for everyone on the disc." there's not much for we Satanic cult worshippers -