AllenLowe

personal story - in 1969 or 1970 I went to see Monk at the Vanguard and he had Wilbur Ware and Pat Patrick in the band - aside from the fact that Monk kept announcing "Charlie Rouse on tenor saxophone," it was a good night musically. I was with a friend who knew Ware (I was only 15 or 16); I was very excited about maybe meeting him - he had a big, dark, sound and incredible musical charisma in person - between sets we're standing around and my friend says we'll talk to him - Ware walks over, and for about 30 minutes he just keeps asking my friend if he can borrow money from him - no other topic of conversation. It was a little strange. oh well - I still have the music -

actually, it's no joke - I have a history of Rock and Roll, 1950-1970, that's finished except for the final edit - also, right now I am negotiating with JSP about possibly putting out a 4 CD set of rock and roll pre-history to go with it -

also, wanted to mention, in case anybody was wondering: I'm Spartacus

I always liked Citizen Tom Paine -

welcome - how have you handled the sound portion? Any restoration work done on that?

let's just keep talking to Brownie so he can't leave - it'll be a little like the final illness of General Franco - went on for years -

I think we should be allowed to edit each other's posts - that would make for some fun -

well, as we used to say, paraphrasing you gentiles out there, "keep the HA in Hanukkah."

Jack Washington? Nah, not really, just trying to sound smart - later Lars Gullin is beautiful; I never liked Mulligan; Serge is amazing, especially, the Capitols; Cecil Payne plays beautifully on the 1950s Savoy with Dorham, has a sort of lighter touch with still plenty of deep tones; I like Adams, but sometimes he sounds a little too bebop-auto pilot.

1) finish editing my rock and roll history 2) finish my novel 3) compose a new repertoire for a band I am putting together (maybe end up with 10-20 compositions in the book) - 4) find a space for open rehearsal/performances

and while we're on the subject, seeing Elissa's post, I will say that it would be nice if this site wasn't so much a boys club - not sure how to change certain things, or even exactly what tends to keep women away, but it would be nice if certain members of the jazz community didn't feel uncomfortable here - maybe I'm completely wrong; wondering what the few women who are lurking out there think -

thanks, RDK, I think I am somewhat nice but maybe over-sensitive sometimes - and I think we should keep the CLEM in Clementine - as for "where is dancerchick in all this anyway?" well, that's a long story; suffice to say she maxed out my credit cards, stole my dog, and ran off with her pimp to St. Louis (last I heard) -

well, it's kinda like that note they found that confirmed that the Jews had killed Jesus: "we did it. We killed him - we killed him because he wouldn't become a doctor. -Murray"

Brownie's staying - he knows too much - I've always thought of this site as like the mob - only one way out -

the insult question is complicated - I've long maintained that one tends to think attacks on people you dislike are ok, but attacks on your friends are inappropriate - so it's hard to remain impartial. On the other hand I rarely if ever see anything here that truly offends me on the level of personal attack - though the name calling thing is important, and I resolve to count to 10 before I respond to what I perceive of as an insult - also, I do NOT like the ignore function, and will not use it; geez, I wanna know all the bad things people are saying about me (thought I didn't see all those posts making fun of my club foot and lazy eye, did you, Berigan? And no matter what you say, that other thing has cleared up; it's just not apparent with my pants on) - this might be a good time to invoke the biblical injunction to turn the other cheek - I've tried (with maybe 50-50 success) and I know that there has been positive change with some other posters here (won't mention any names, as THAT may be perceived as an indirect attack) - but as Rodney King said: "Just don't get outta the car." and as part of my 12 step reform program, I want to apologize to Jazzmoose for taking things a little too far recently- I need to be less sensitive, and in my old age I'm prone to over-reacting to things that to me (and only to me) say "you are becoming old and irrelevant" - baggage that no none else needs to bear besides myself -

great news to wake up to this morning, Jim, not to mention the usual squabbles (all right, I'll remove that skinhead-nazi-pedophile-child molester avatar, as soon as Berigan stops undressing me with his eyes) -

well, he'd sell more CDs if they called him Charlie P.

well, ok, I'll be the sacrifice, but just this once...

and I'll bet we can hit up some places for sponsorship $$$ - look at all the money people here spend on Mosaic, for just one example -

or we could have a gladiator fight - everybody who's battled it out here...last one left standing gets to dance with Berigan -

how about the Organissimo big band? The Kamikaze Orchestra? The Self-Destructive 4? Allen Lowe and His Make You Wanna Sit This One Out Orchestra...

and I also say that I think the malaise we are finding in so much free playing is the result of the kind of formalism I have complained about in the past -

I've always said, people like good music - but they also like bad music - and I've been at many a mediocre performance of all genres at which I marveled at the emperor's lack of clothing - it's funny, but I often think with regret that neither my musical career or academic career ever went anywhere in particular - but once in a while I think that, in practical terms, if either of those had happened, my work might have been about half as good, both in terms of performance and research. The academic world is so proscribed and conformist and generally full of it; the music world would have been fun but probably would have splintered my family and likely, through the need of night-to-night performance, have led to certain shortcuts or certain lack of development. So, I never work and I make little money off any aspect of the music, but I feel I compose/perform and write/research as well as anyone in the world - doesn't mean much to a lot of people, and it was not really a decision I made, but rather had imposed on me - still, it worked out ok in certain (non-financial) respects -

also, Larry Gushee lives out that way -

just emailed Jim, but a few ideas for Chicago - we can rent tables to vendors (record companies, CD sellers, LP seller), have showcases, and maybe a human sacrifice -