AllenLowe

not sure why they need that much money to do 9 Cds and a book. Somebody's making money here.

if we care at all about history and legacy and, more importantly, the MUSIC, then CDs have to be preserved. Not to start this debate all over; but they are a proven storage medium, like LPs and 78s. They still offer random access, but are less prone, at least at this point, to failure. And sonically, historical music is being abused in the medium of the download. I have bought more CDs is the last 3 years than in the previous 10; a lot of important music - and restoration work - is being lost. I have a lot of CDs, and they could be curated (with an intelligent institution, or with me doing the work) to give a very essential picture of American vernacular music from about 1900-1960. No one else has the perspective or the cross-genre knowledge that I have, and if I can't eventually give it away (and I have tried and been frustrated repeatedly by shortsighted administrators) than I will just donate them just before I die (since I cannot do my work without them). Sorry to digress, Chuck, but I wanted to address some of the arguments being made here.

I think there are different kinds. One kind tells us things we already knew but didn't know we knew - or as Richard Gilman said, this kind of genius "tells us the next thing we will be thinking." Like Bird, Beckett. Prince. Miles. Another just has visions which they are able to express, and that describe new relationships between existing forms.

the thing about Zappa's band, particularly the first, was that it was more than his writing, though that of course ultimately made it what it was. But (not unlike the Ellington band) it was the personalities of the band that really gave life to what he was writing - and I will testify from having heard them in person that that first one, supposedly less technically accomplished than some of his later bands, was an amazing group, and technically quite up to what he was doing. Yeah, he wrote the music and owned the franchise, but he could have taken better care of his sidemen. He (and Gail) got very rich. And I'm sure the Zappa family could help out Preston (who was later, I know) if they wanted to.

my sense is that Zappa did not treat that early band (which was my fave; saw them live in 1968) well, especially financially. And just when they were starting to have success, he let them go.

just re Larry and other comments above about Hampton Hawes. Years ago I had a nice conversation with Russ Freeman when I was working on my 50s book ( great guy) and we got to talking about Hawes. I mentioned that in some of his work from the 50s and 60s Hawes tended to lean on a very robotic kind of bebop phrasing, which we hear even in good performances like Yardbird suite. There's a particular group of intervals that he hits constantly, coming down from the fifth of the chord. Freeman agreed with me, and seemed to indicate that Hawes was much looser in person. As for me, what I listen to constantly is Hawes' live work from maybe 1952 to 1956, which is demonic at times, and which Hawes later explained away as being the result of his personal insanity at the time. But whatever the cause, I love the effect, which is just…electric, for want of a better word. And just to note, to my ears it was just that worst part of Hawes' playing that primarily influenced Oscar Peterson.

I am a little shocked at the reaction here as I found this incident to be absolutely disgusting. This is child abuse and is not at all amusing. How would you react if it was a young girl? And if the drummer was my kid Hino would be in the hospital right now.

thanks - they are sold -

I gotta leave the country Wednesday for 2 weeks, so whoever wants 'em first gets 'em. As for shipping, I'll estimate what is probably high, $50 insured, and will refund the difference if there is a difference (or request above that, but these days, shipping prices have changed so much, I have no idea). But unless people want to wait 3 weeks or so, I will need a decision so I can pack 'em this weekend -

not a problem, Scott, I can use all the help I can get.

I am using bare wire - they are excellent, I just have 2 pairs of Omegas I use. If you do want 'em, let me know asap.

breaking down my mixing studio, since I am not doing a lot of work these days. New these are $499 at Crutchfield. They are like new, work beautifully. $200 plus shipping in the USA, will have to get a shipping quote when you order. my email is allenlowe5@gmail.com, paypal is same. Only gonna hold these for sale until next Monday, as I am planning on donating them if nobody here wants them.

Carl Sandburg? Oi, worst poet with a reputation. Other than that, I am jealous of those of you living in Chicago.

I like Ethan, personally and musically; but if he brings up a subject, and argues for it in questionable ways, than how can anyone complain if others like ourselves argue back?

except they keep flying me to the wrong place.

actually, Joe, I'm just pulling your chain. Nothing wrong with your opinion of the Bad Plus (i saw them once in concert and it was like watching an annoying cartoon; though I think Ethan is a terrific pianist). I actually think people tend to to think 'criticism' is bad until they find something that really bugs them, like Donald Trump or Kenny G.

Feather also, in Art Hodes telling, was responsible for killing a recording session planned for Hodes and Lester Young together. Feather disliked that whole old-school sound. Not a good guy.

why the negativity? I thought this was verboten from your point of view.

Feather was not a nice guy; I had one weird conversation with him and he was extremely nasty. Others have confirmed this aspect of his personality. As a composer he was beneath contempt. Check out the session he made with Hot Lips Page; only Feather could take Page and make him dull. He also wrote a lot of god-awful blues (had one hit, as I recall). I did talk to Hipp in the '90s when I was working on my '50s book. Unfortunately by then I was living in Maine, so I was unable to maintain contact (Marian McPartland had given me her number). She was very nice and seemed completely fine with her decision to abandon jazz. As for her playing, for me the best work is the earlier, proto-Tristano style. Later on, to my ears, she became just another pianist, which is unfortunate.

I once wrote a blues which I thought was really slick, but then I realized it was Pompton Turnpike. I did the right thing and tossed it in the garbage.

she's a thief. Plain and simple.

I sent this already to Larry Kart. Nicole is amazing; we recorded one thing together and she scares me, but in a good way: damn, it posted the wrong clip; not sure why; will try again: crap. The one to hear is called Village Green. https://www.facebook.com/allen.lowe.18/posts/1584246914939892?comment_id=1584268294937754&notif_t=feed_comment&notif_id=1503179611192660

I am sorta amazed that nobody agrees with me. This is really gross thievery.

I will dissent; it is a ripoff and extremely dishonest. seriously, whoever her record company is, they are idiots. And if I were Sonny she would receive a letter from my lawyer,

so sorry to hear this. Nice lady, even worked for Ike Turner.