AllenLowe

well, everything has finally gone out, thanks for the orders, sorry for the slowness in shipping - I have two more sets just arrived yesterday - basically this stuff is all from a batch of promos that the distributor prepared and never sent out, so I get a real low price - absolutely mint and complete - email me at alowe5@maine.rr.com, which is my paypal - $125 plus shipping - as Berigan says, 10,000 pedophile judges can't be wrong -

"This thread proves Zorn's point. " well as the saying goes, he may have one, but if he wears a hat no one will notice -

I believe you - but this other guy, who was already starting to make his name in the new music field, worked with a friend of mine on a straight-ahead gig in the middle 1980s; it was torture for the rest of the rhythm section; kept turning the time around - 4 was 1 (he shoulda been playing with Brubeck; nobody would have noticed ) - I've never been one to advocate that a musician playing in one style needs to be able to play in another - or that a painter has to be able to do representational work before he does otherwise - but even I can count 1-2-3-4,and this guy had NO idea he was even lost - that's a problem -

"Well, Sunny Murray couldn't play time " I don't know about Sonny, but I once got a bunch of people pissed off at me on this board for pointing out a different free drummer who I'd heard trying to play straight four but failing - and this bothered me no end and still bothers me 25 years later - it does show some fundamental issue - and I will not name names this time - but I might give a few hints -

funny because on my computer real player works great and windows media screws up constantly-

bravo, CHris - you nailed it - I started to read it and about 100 pages through I just got so annoyed I put it under my bed - may still be there -

by the way, Chris is right about Sherry Tucker's book - could have been a valuable part of the literature but collapses under the weight of her ideology - like at one point telling us that Billie Holiday's admiration of the Whiteman band (with whom she recorded on the West Coast) showed that she was ashamed of her blackness -

I've been told that Eddie Durham led an all-female band at one point - don't know exactly when - there was also an all-tranvestite band that worked New York for a few years - men dressed as women - apparently Elliot Spitzer used to blow a few horns in that one -

agreed - but I (like, I believe, Larry) think it is always best to be out front about what has actually happened. Incidentally, I lived in New Haven for about 20 years and worked for some time with an excellent pianist name Mark Berman, whose father was called Sonny Berman - I never made the connection (no pun intended) originally, but it turned out he was trumpeter Sonny Berman's cousin and he told me once that it was a hard-luck family with more than one tragedy, including another family member who was somehow killed after jumping off a high diving board (water may have been too shallow, I don't quite remember) - nice family, and Mark (with whom I've lost touch but who, I believe, plays the piano on the Sex in the City Theme) was a great musician -

jeez, all this sex and drugs talk on Organissimo - can't we remember her for her artistry?

well, truth is truth, though I do agree about the music coming first - but I have my doubts about that story -

"basically is putting your critical judgments ahead of everyone else's." how is he putting his judgments ahead of others? Is Larry demanding that we all stop listening to Hamilton or that he be arrested or his recordings confiscated?- no - so in an ironic way, Dan, by making an accusation that implies that Larry has no right to his opinion, is doing exactly what he accuses Larry of doing -

I wouldn't call it gimmicky - just too much of an (almost) good thing - I used to know an alto player like that (actually fairly well known, but I don't want to get anybody else made at me right now; I need a rest) - played a great solo for the first 2 minutes, than started to go faster and faster, more chords more notes more scales more intervals more more more more more- as though building a solo meant getting faster and faster and faster and faster and faster - I found it exhausting to play with AND listen to the guy. He could play rings around me but he lacked taste. Anderson is a good player, but gives me similar problems -

I think we should share Clementine's copy -

why do I get nervous whenever I appear to be the most conciliatory person in the room?

"I think this strikes at the heart of the meaning of artistic criticism. Are you asking for some unassailable ranking where you judge how people stack up? And who judges the judges." 1) critics, it is true, don't require licensing (though I think Larry has gotten his shots) - we judge them on their own merits, sometimes on credentials (and credentials can just be prior work) - but any good critic - or really great critic - in my experience, offers as much insight in his criticism as that which he is criticizing - for me Larry fits the bill. Maybe not for you. But that's ok - 2) we judge the judges right here - no need to say - "well that's only your opinion" because nobody, unless they specificially claim otherewise, is saying anything else (though I do claim to represent all white Jewish Males over the age of 50 who refuse to take their meds, are personally tired of their jobs, long for a good vacation, and who live in the past) -

"People who enjoy a lively disagreement are all assumed drunk until proven otherwise" words to live by -

there was a lot going on in Chicago at that time - that's also where Randy Sandke's from and he told me he always used to run into Braxton, whom he likes a lot: "he was always an independent spirit." Randy is also an old friend of Anderson's whom I believe is on some of his more recent recording(s).

I don't think it's a matter of that - any musician (or any artist) who wants to put his work on pubic display can and should be held up for scrutiny - as a musician myself I'm jealous of other musicans who get larry kart's scrutiny - meaning that it's rare for one of us to be examined by a critic who is so aware of the demands and needs of personal expression and who so well understands this musical world. Nothing to get mad about - Larry and I disagree on more than one musician - I happen to like Warren Vache's work as well - but I always find that Larry's criticism of musicians that I happen to like begs my attention and makes personal intellectual demands upon me that should be made - it's not as though he does a "John Simon" on musicians, he's not petty or nasty or overly picky - just absolutely honest -

I once tried to ask Herb Geller about her, and I did it carefully (actually I think he rasied the subject), and though he did not seem offended by my questions he just basically said "she died by accident." I believe it was drug-related.

well, there's compression and there's compression - there's the kind that occurs naturally in tube amplification, and when used in high fidelity playback it arrives as a very warm-sounding and dynamically pleasing effect - however I hate it in my own recordings - through something like 7 CDS I have recorded groups of my own that were dynamically varied and never used compression - just gotta pay attention to peaks and valleys; also gotta know how to use multi-tracking in a natural and room-friendly way - though theoretically compression serves the purpose of allowing the music to "breathe" I think this can be accomplished more naturally and in more sonically pleasing ways - that said, I just remembered; David Baker recorded us "live" at the Knitting Factory way back when, and he DID use some compression - but David was a brilliant engineer and really knew how to do it - it was quite transparent -

but my petty battles aside, I think Ray Anderson is a great trombonist - but there's almost always some point in his solos where I think, all right, I get the point, NEXT -

sorry, not till the fat lady sings -

well, compared to the 1940s beboppers, those guys were old men -

yes, I got to know Eddie a little bit when I lived in NYC in the middle 1970s and frequented the West End Cafe, where he played (trombone) frequently; nice man, though at that point he was alternately coherent and than somewhat confused. I had a very long talk with him one afternoon at a party at Loren Schoenberg's apartment; I think it helped that my very pretty wife was there, as Eddie always liked the girls; I remember he told me about getting a nice royalty check because there had been a disco version of one of his old swing tune/arrangements. Loren knew him a lot better than I did and is always talking about how inventive he was - like, for a simple example, if his car broke down, he would pop the hood and rig something up in about a minute to get it going; he also told us that day he had first amplified his guitar in the 1930s by constructing a resonator for it - He was just a real personable, perceptive guy, easy to talk to - Loren once told me a great story I had forgotten until recently - there was an older bass player who used to work at the West End, a black musican named Jimmy Lewis - he could really play, but he was losing his hearing and kept playing louder and louder. Loren was in a group with Durham and some other (very young and white) musicians; things were getting tense on the gig because Lewis kept turning up his amp and all anybody could hear was BOOM BOOM BOOM from the bass. Loren was getting all upset so Eddie said to him "don''t worry, I'll handle it." Durham goes over to Lewis and says, "hey Jimmy, I think you're playing too strong. These young white boys can't keep up with you." So Lewis turned it down and the rest of the gig went fine -