AllenLowe

left or right?

big crazy project with, among others: Frank Lacy, Nicole Glover, Kevin Ray, James Brandon Lewis, Randy Sandke, Brian Simontacchi, Lewis Porter, Lisa Parrott, Aaron Johnson, Paul Austerlitz, 2 sets, an examination of modernism and the single saxophone player. as I posted elsewhere:doing everything from a New Orleans-styled funeral march to some Ellington-esque ballads, not to mention a Dixieland one-step composed on the changes of Giant Steps (working title:Tiger Rage); a little piece of ragtime dedicated to Joseph Lamb; a piece of Southern Dixie whimsy celebrating the Monroe Incident, in which a group of African Americans from North Carolina took up armed resistance against the Klan; Portraits of Frank Melrose, Pee Wee Russell, and Boyce Brown; Florence Mills, Roswell Rudd, Tommy Ladnier, and Vachel Lindsay, plus a sequel to our March of the Vipers, which we recorded at the Knitting Factory with Julius Hemphill 25 years ago. Also: a Ring Shout; Dave Schildkraut Visits Coltrane, who Dedicates a Song To Him; In the Midst; Tar Roof Blues; Tea with Jaki; Pyorrhea Stomp (dedicated to King Oliver); and something I call Modal Stomp. Not all of this will make the cut for that night, but never again will I attempt to compose this much effin' music. I do intend to record all of this in 2018. I assume I will see each and every one of you there. First 21 members of Organissimmo to show up receive a complimentary sock.

Jaki Byard's two Prestige solo recordings. Some were included in another reissue, but never complete, as originally recorded. Kills me.

you, crazy. Comparing the appeasement of Stalin, or some such thing, to Harvey Weinstein exposing himself to actresses. Look, don't deny it. I have learned from years of experiences that it's always best to not only admit to your own insanity but to embrace it.

not if it was one of mine....

SOLD

message sent; it's yours -

Europ shipping has gotten prohibitive, sadly.

a bomb shelter?

in fine shape, but I think I want the Teddy Wilson more - $75 plus shipping CONUS

the Columbia LP reissues of Wilson's group work - and the Japanese CD of same - have been in horrible sound. I don't know what their sources were. Hep did a much better job but, to answer Jim's question, I hope to pick up the Wilson because of the sound. From what they say on the website, they found a lot of masters, laquers, etc. Because even the European double CD of Wilson solo piano has a lot of bad-sounding cuts. And since Doug Pomeroy, the greatest restorationist in the world, worked on the Mosaic, I have complete confidence.

the JSP is excellent. The old LPs, pound for pound, sound the best. To my ears.

sure glad Stalin came up. He was a helluva accordion player. Dmitry and Bigbandrecord have truly gone crazy here.

there was a very brief question and answer period and unfortunately I was not called upon. It is funny because a drummer friend who has worked with him told me the music was fine, but all he did was lecture everyone. Oh well.

actually I assumed that Sonny listened to Duke Jordan.

he is an ok player, but is an idiot as historian. Saw him at Yale last year; he told people that that the ODJB played fast to ridicule jazz (complete bullshit; they played fast because of the popularity of the One Step dance); that the ODJB used the term 'jass' as shorthand for Jackass (complete bullshit); that early bands didn't used drummers with drum sets (he was basing this on not understanding that early acoustic recording processes often weren't able to handle a full drum set); and claimed that there was an actual early record label called "Race Records." Left me totally disgusted, especially as the crowd kept nodding their heads in wonder. No thanks.

gross and disgusting stuff (and I'm a visiting professor there). I am more and more shocked at what men will do. I mean, there is flirting and 'borderline' obnoxiousness, but the whole 'open season' thing and coercive behavior as described are inexcusable; and it is never acceptable for teacher and student to be involved because of the power relationship.

might be a good idea to actually listen to Duke Jordan first. I will try to assist you; Duke's solo starts ar 2:00 - he uses fewer triplets and double time figures but his touch is very close and, like Clark, as I said early, he is always marking the beat (the second one here is a little more illustrative):

one of the last pianists that Sonny hired before going to the trio was Dick Katz, who was forevermore somewhat pissed off that just as he got with Sonny, he was gone. and btw, Dawn Finney:

I've always thought of Abate as a kind of 'by-the-numbers' player. Very competent but uninspired.

ah, Feather. In my one encounter he behaved like an a-hole. He also often insisted musicians record his tunes, which were usually awful; only he could produce a dull session with Hot Lips Page. as for Lees; oi. Most specifically, IMHO, his racial views were warped by his failure to understand that no matter what black musicians said to white critics about race, it was often not the same thing that they said to fellow African American musicians. It was/is essential to understand this and not accept his 'they understood that even though I was white, I understood,' routine. Also Lees has a passage somewhere in which he explains to us why jazz cannot tolerate post-Coltrane modernism; he offers some ignorant and bizarre literary theory to explain this. On the other hand, I like his books, which frequently have profiles of musicians not profiled elsewhere.

those are the obvious ones - the Duke Jordan connection is the way he phrases so carefully; the eight notes are almost quaintly placed. And he is always marking the beat. Duke did this constantly. He is really right on the beat, and almost never legato - Bud connected the notes much more seamlessly. But those eighths are almost too percussive and obvious, rhythmically; I like Clark, but this side of him I occasionally find grating.

does anybody else notice Clark's stylistic debt to Duke Jordan? A lot of very on-the-beat phrasing.

the thing is, CardinalJazzFan, that this is a problem. It is not enough for these places just to own something - it becomes like a giant albatross and they end up selling it or locking it away. Personally I will not part with my stuff until and if someone understands that it comes with the Lowe Curse - Allen Lowe. In other words, this material is useless unless it becomes part of a curriculum - it needs to be curated and taught. My last great goal in life is to establish a relationship with some such institution, but I am becoming more and more pessimistic about this ever happening. There is less and less value applied to knowing the literature of American music, meaning the music itself, and it is not good for musicians. And I don't mean in that JALC, Great Books Sense. I mean that it is artistically imperative. Just like a writer is nourished by old and ancient sources, so, theoretically, is a musician. But it ain't happening right now.