AllenLowe

"Not once (!) have I gotten a shipment from Mosaic that adhered to anything, legally. " well, like a lot of what you are saying, if you throw it up against the wall it might stick.

To paraphrase Francis Davis, it's old folks' idea of young folks.

1) she can't dance. She is awkward and boxy and....well, she can't dance. That stuff is exploitational crap (talk about appropriation...) And it ain't sexist to say so, because he sucks also. These are annoying, repulsive performers. 2) she can play a little, but overall her playing is slick and shallow. 3) Yes, I'll post a video of my musical talents, if you insist. But I refuse to shake my ass.

we have met our goal, and I can only hold the $50 pre-order price until Mid-August, when I will be sending the master to the plant. If you can't pay now but are certain you want to order, please let me know, so I have some sense of budget. thanks -

just re Richard Brody of the New Yorker, mentioned earlier; as a jazz critic I find him pretty clueless.

it is your -

This Time the Dreams on Me Chet Baker Quartet Live Pacific Jazz Excellent Date $10 shipped USA Turkish Woman at the Bath Pete La Roca. Weird Joel Dorn gatefold edition. $10 shipped USA A Fickle Sonance Jackie McLean $8 shipped USA New and Old Gospel Jackie McLean $8 shipped USA Andre Hodeir The Vogue Sessions Sealed $10 shipped USA Wes Montgomery One Night in Indy $10 shipped USA The Magic of Ju Ju Archie Shepp $20 shipped USA Velvet Underground V. 1 Quine Tapes $25 shipped USA Big Box of Hank Williams Lotsa Hank in a Europ 6 cd box $25 shipped USA

Larry, my main motivation in thinking about getting this is the presence of the Basie stuff; do you think that would justify the cost?

that's actually probably closer to what it'll be. Thanks -

thanks -

I'll hold the price, just let me know; I will have to add $10 for Euro shipping, sorry, should have mentioned -

with the conclusion of some recent sessions with Darius Jones and James Brandon Lewis I have got to issue what I am sitting on. It will be 8 CDs worth of material, going back to about 2010; unissued things with Marc Ribot and Roswell Rudd, Matthew Shipp; some prior things, a touch of Doc Cheatham, Gary Bartz, David Murray, Hamiet Bluiett, and Julius Hemphill, maybe a cut from Kalaparusha's last session; some things from my Punk period, and then a slew of new stuff with Ken Peplowski, Aaron M. Johnson, Nicole Glover, Lisa Parrott, Lewis Porter, Kevin Ray, Hilliard Greene, Brian Simontacchi, and more, including three Suites: Black Brown and Beige, Yellow Trans and Queer and A Love Supine - plus a short Americana suite, and my women’s project on Gladys Bentley (I Am A Woman Again), also a CD inspired by Julius Hemphill and Boyce Brown (with Steve Swell), and finally some odds and ends, issued and unissued oddities and whatever else I have lying around. Working title: Allen Lowe: The Disconnected Works, 2010-2017; or, All the Blues You Could Play By Now if Nicholas Payton Was Your Uncle. So here's the situation: in order to get this manufactured on actual CDs I need to pre-sell 40 copies of the box of 8 CDs at $50 a pop. I will take pre-orders and then, of course, get you the actual box (liner notes will probably, I should mention, be posted online; all personel will, however, be listed in the box), probably in September. for the purposes of full disclosure, I will, at some point, sell the BBB, YTQ and Love Supine suites separately, but likely at something like $15 each; so this is a clearly more cost-effective way to get them AND 6 additional CDs - thanks!

uh.....I have never written about Rota ever. But I'll refrain from making this personal. Clearly you can't talk about what I have written about until you've actually read some of it.

I never liked George Adams' playing. Too much - woo woo wa-o wa.....whoooooppppppp......

then thannnnnntehnnnnthen than thennnehe then than then than thin thon thennenenethen thannnnnntehnnnnthen than thennnehe then than then than thin thon thennenenethen thannnnnntehnnnnthen than thennnehe then than then than thin thon thennenenethen thannnnnntehnnnnthen than thennnehe then than then than thin thon thennenenethen thannnnnntehnnnnthen than thennnehe then than then than thin thon thennenene I think what I meant to say was SCHMUCK. Dane. And btw, I have not used either word (until this post) on this thread. This, btw, is the kind of petty snottiness that, in the past, hurt this place. But then is then, now is now.

but her harmonic conservatism doesn't come off as any real contrast to the others; it's just conservatism and, like that piece just above, it's dull; sounds like road-company Weil.

just to mention, my collection That Devilin' Tune, 4 volumes of 9 cds each, is probably the most comprehensive you will find in one place with a variety of bands like these, small and large groups. .

well, even straight-ahead players can have that edge. It is sometimes a bit disconcerting when they start to settle down.

well, I don't know. Very few of that generation wrote for large groups. Hemphill (who was later of course) wrote in a very loose-jointed way, and some of the things I have heard of Shepp have a nice mix of organization with chaos. Braxton (also later) was wonderful on the Arista big-group stuff, he really found a way to combine techniques. And Some of Gil Evans' later things are nicely integrated; George Russell too. So I don't know. I just find her orchestral work to be surprisingly dull. ok article, by the way, but if one more writer uses the words 'deconstruct' or 'deconstructed' in the usual incorrect manner, I may have a fit. Iverson does this early on. The word(s) have nothing to do with changing and re-constituting forms, as is usually assumed. and this bugs the crap out of me: "Bley’s harmonic palette is generally simpler and leaner than most advanced jazz harmony. In addition to the Beatles, Bley told me about loving American music like bluegrass and gospel. For an avant-garde composer, rock, bluegrass, and gospel are easy meat when making a mash-up. Any melody or gesture will work against these triadic textures, just like Charles Ives sending a cheerful marching band through a dissonant symphony." utter crap, if you know anything about these forms, and typical of jazz snobbery (and he does not even realize he is being a snob).

one thing I find a bit strange about her writing - and I like some of her compositions and her piano playing - is how little harmonic tension there is in her orchestrations, at least the ones she wrote after the 1960s. Given the musical environment from which she comes - that '60s, ESP ethos - I find her writing shockingly conventional. Even the Liberation Music Orchestra - just too.....oddly conventional.

wow. Glad it got there.

it is yours - $48 total, thanks! got it, thanks, will try to mail it tomorrow -

so here's what happened; I was perusing Frog's web site, and I came to a page saying "this is the new Frog Blues and Jazz Annual." So I ordered it - and guess what? It was last year's, which I already have. Someone there never fixed the web page. I realize I should have noticed, but still, they should have noticed...well, anyway I have two of these now, it is brand new, and they are not responding to my email, so I guess I better just sell the thing. It has excellent articles, graphics, and the CD is terrific. $40, a very good price, plus media shipping, figure $8 in the USA. CD is still sealed. my paypal is allenlowe5@gmail.com here's what it looks like:https://www.frog-records.co.uk/products/the-frog-blues-jazz-annual-no-5-musicians-records-music-of-the-78-era

I recall exactly - he described how it was his job to follow Ornette, and to play a bass line that followed the melody that Ornette was creating. Pretty basic, but wondrously accomplished by him in that group.