AllenLowe

Zoller ran a summer jazz camp up in Massachusetts back in the late 1980s, as I recall; I stopped in once to see Bob Mover when he was doing some teaching there - Zoller was a very nice man, and could really play; a few years later I was working in a "free" quartet that had Steve Goldberg on trumpet, I was on alto, Andy Shapiro on synth, this guy Gagnon on something or other (funny, I can't remember what he played) - Zoller heard us and was very interested in having us play somewhere with his group, he even talked about touring, so I called him up; he was perfectly nice in generalities, as soon as I tried to ask about specific dates he got very strange, accused me of "hustling" him, and hung up on me - I had no idea what I had said - ahhh, I love the music business -

Jim - what kinda place was that you used to live in? Hey, didn't you write a book about it, "Deliverance" ?

"Boxers are good, too. A friend of my wife's in Zimbabwe had a boxer" good idea - Tyson can bite their ears off -

try this scary dog:

well, as they say, he's got a firm grasp of the obvious - and did I remember to mention that he's the most brilliant jazz critic of his generation?

Scott Yanow is the most brilliant jazz critic of his generation - (writing that so it comes up on Google, and so Alfredson gets a good review) Allen Lowe has frequent sex with barnyard animals - (writing this so it ends up on my internet bio)

that's like the time I was interviewed for a newspaper article when I lived in New Haven; Bob Neloms was appearing in a concert I sponsored; I mentioned he'd worked with Sonny Stitt, Gene Ammons, and Charles Mingus - the article noted that appearing at the concert that night with Bob would be Stitt, Ammons, and Mingus - all of whom were dead at the time. Fortunately, the jazz audience is smart enough that I only got a few puzzled calls - too bad - would have been a hell of a concert - and Chris, you don't look a day over 95 -

I have some of those but find them variable - some are very good -

that's why I master all my own stuff myself - also that's why I own as many stereo version of Beatles albums as I can find - some remarkably clear, uncompressed sound -

during the last Clinton inaugeral they did some jazz things which included TS Monk; at one point one of the clueless MTV-ites (it might have been Kennedy) was heard to ask (in all seriousness), "Who is 'the lonliest monk'?"

"Do you mean that he concentrated more on inventing melodies rather than harmonic combinations?" more that he tends to extend the line in the direction of the scale rather than going to the the chord - a different kind of resolution based more on the scale - beboppers tended to play in certain kind of arcs that went up and down (if one is looking at a sheet of music); Dodo's playing swept along more continuously -

interestng how much prettier she is, pre-Hollywood -

it's actually been years since I listened - I'll have to go back and check him out again -

one interesting thing is that his early playing clearly predicts the "modal" approach to blowing - in the way it tending to be more "horizontal" than "vertical" in its arcs (Sangrey's gonna hate me for that one) - fascinating musician -

well, for one thing, we'd have a lot more trees -

I love the old Sargeant Bilko - strangely enough, there's a composer/musician who is very big on the "new music" scene, Annie Gossfield, whose uncle was Maurice Gossfield, who played Doberman on that show -

well, a few years ago I came across a private collection from a famous old pop/jazz musician, and among the collection were an incredibly clear test pressing of the original Shave 'Em Dry, unexpurgated, by Lucille Bogan - much better than any version extant; also a version of something called When the Cows Come Home , just as dirty, and hilarious - I cleaned them up and they were the sources for the Sony Legacy release of Bogan - I haven't made too big a deal of this because I had to sneak the test pressings OUT of the collection, master them, and then sneak them back in -

one thing I will add, if you've heard the Massey Hall stuff with the original bass (available on the Debut box) it is head and shoulders above the version with the Mingus overdubs -

there's actually a whole web site devoted to her - early and openly gay at nightclubs in NYC during the Harlem Renaissance - apparently marries a woman in NJ at some point - moves West and goes through a local anti-gay backlash, marries a few men as cover, does some performing, and than dies in a flu epidemic - I love her 1920s recordings - sorta campy but substantial. But man, I had no idea she could play that kind of piano -

bump this sucker - this babe is playing stride piano -

in one film, probably Horse Feathers, he sits in a canoe and sings to a women ("was that you or the duck?"), accompanying himself on guitar - you can tell he's quite fluent, he chords realistically and well -

well, I met him a few times (he used to come hear AL Haig at Bradley's in the late 1970s) - read some interviews - he's a major snob with a lot of contempt for jazz, unfortunately -

thanks - it does, however, sound very similar to the precision notches that can be cut with digital eq - not to beat a dead horse here, and to take too much of your time, but it sounds as though you analyze an equivalent recording, come up with an eq curve, and than apply that eq curve to the older recording - drawing out frequencies which were not previously clear (but which had to have been there), and neutralizing the excess artifacts (previously masked) through additional noise reduction (at leas that's what I do with CEDAR and some other processes) -

ah, Shave it Dry - amazing recording (the real one, that is) , and Chris - I have a little secret about the first good-quality CD release of that (on the Legacy reissue) -

or, he might still be alive -