AllenLowe

no figmeat, Jim - a good room is a good room is a good room -

Shepp certainly did some nice stuff - which is the session with Izenzon? also, years ago I heard a god-awful concert up in Hartford for Martin Luther King Day - Ray Anderson, Threadgill, Shepp - an aimless mess, almost a parody of free jazz - HOWEVER - they played one arrangement of Shepp's that was short and quite gorgeous, Ellingtonian in sound. The guy is talented - I've just gotten bored with him, sorry - if I hear Mama Rose one more time I may have to exhume her myself and bury her at sea -

I actually knew Phil pretty well back in the late 1970s when I used to practically live at the West End - and he has done a great deal for the music - problem is he really does make things up - more than one reliable historian has told me of sitting and hearing Phil speak at various conferences and just coming out with complete fiction - so I don't mind the trivia stuff, I just think some of it is false - as for Haig and the dates, the point is that Phil would have these great muscians on his show and would interrupt them so much with corrections that it became quite comical - hey, and Haig was no druggie when I knew him, he was only a rapist -

well, he really didn't care - figured Shcaap was both asking the questions and giving the answers -

well, he killed my auntie -

I love Guarnieri and saw him only once, playing solo at a bar called Hanratty's, late 1970s in NYC - I always considered him and Art Hodes to be two reasons things were so f-ed up in jazz, and later with the Lincoln Center crew - if those guys had been black they would both have been held up by Crouch/Marsalis et al as shining examples of primary source jazz, as the tradition, as the true meaning of jazz - but both were pretty much ignored by the NY jazz establishment - shameful - Guranieri was brilliant in person, could play the most amazing stride, swing, anything - and Hodes, also, was wonderful (his records don't do him justice; the sound of his playing had to be experienced up close); he had a touch that made you feel like you were in Chicago, ca. 1930 -

Al Haig on why he would not go on Schaap's show: "I say, 'I played with so and so in 1942.' He says, 'no, you played with him in 1943.' I figure, he knows everything already, so what does he need me for?"

"Walter Schaap would drop off his son at Jones's apartment" believe, me, I spent some time near Jo Jones in the 1970s, and this explains a lot -

I didn't work with Taylor, but heard him speed up on a few recordings - also, this is what Dick Katz said when I asked him about Taylor: "Ahh, he's a momma's boy who always rushed the time..."

as for the cash side of it, I'm sure Shepp has been able to command large fees for some time -

"They're not playing dance music dude.. " the Miles group was a different animal - listen to Taylor with George Wallington's band on the "live" recording - it's one thing when the tempo swells and subsides, speeds up, slows down, in an organic way - Taylor just speeds up - and hey, it IS dance music, dude - ask Ornette - or most musicians -

Art Taylor had a tendency to rush the tempo - very annoying -

"livin' on the East Side always gettin' stoned - livin' on the East Side - glad I'm not home -"

I like my little drum machine - never plays too loud, stops when I tell it to, never speeds up or slows down, always on time to the gig -

I thought you were saying he had butt surgery -

indexing is hard to do and time-consuming - though I do think a name index is very worthwhile, because it at least saves the reader a lot of time and focuses on specific areas -

well, I think he can play - but whether he has put his talent to good use is an open question - in a way he reminds me of David Murray, who found a certain musical path, turned it into something of a gimmick, and decided to coast for cash -

Ragtime doesn't count for Cagney - they had to embalm him before he could do the role -

best idea I've heard in a while - especially since lp/78s are the only medium we know will physically survive the passage of time -

Lenny Bruce's wife: "Let your chicken get your dinner!" (after she caught him in the yard with said partner)

no, and neither has Stevie -

actually, some wiseass told him that was the microphone - he was presenting the best spoken word LP award to Helen Keller, who unfortunately couldn't find the awards ceremony -

one set left - the usual - $125 plus shipping conus - a promo, but mint, all complete - act now and I'll throw in the "male shrinkage" DVD -

I find ebay is getting more and more risky - after having maybe 2 problems in 5 years, I have had to contest 3 out of the last 4 deals I made through paypal - in each case I got my money back, fortunately, but they were all sleazy deals from people with good feedback - so much for that -

as I recall, WNEW became the progressive rock station in NYC when WOR either closed down or faded out (or maybe they were competitors, don't remember) - Murray the K was on WOR, did great shows, and I remember Scott Muni from WNEW - by the way, someday I will tell the story of how I invented Album Oriented Rock as a station format -