AllenLowe

well, I'm not feeling too reputedly well -

geez, I'm not even sure what happened to me - glad, however, to see any interview with Bothwell - would love to see the whole transcript -

conversation with Barry Harris, circa 1977: "Barry, what do you think of Dorothy Donegan?" "Man she's got chops like Tatum, but no taste. Weird broad..."

well, that was before she married Sonny Bono and than, later, Bono - Yoko Ono Nono Bono Bono - of course, for a while she was living up here in Maine, in Orono - so she was Yoko Ono Nono Bono Bono of Orono - drove the post office crazy -

I hear he was married for a short time to Yoko Ono, but she couldn't handle the name-change (Yoko Ono Nono) -

Klacktoveedesteen.com

owahtagoosiam.com

whatchafuckintalkinabout.com

yabbadabbadoo.com

I'd call Joe Bornstein, except I heard he got killed when an ambulance backed up -

well, now you've really gone too far - Jen Lo is my daughter's favorite video dancer and all-purpose Latino - have you no decency, Senator? Well, as Joe Albany told me many years ago, "Oh, Joe was hung, that's for sure." **** ****actual quote, NYC, circa 1976

well, it's not surprising that Hungarians make the best Chefs, as you indicate in that last post. The whole history of that country, including its very name, assure that food and culinary topics will certainly dominate the national dialog -

well, as Berigan would say, stop coddling her - but seriously folks, Uncle Al the Safety Guy will use this opportunity to tell you (though this is a different issue) to always carpet stairways - kids and other people falling on those things get seriously hurt (and even die) all the time -

not sure - I just find his writing on, say, the Condon crew, pre-bop, old stuff, etc, very interesting to read - smart guy - sorta like Stanley Dance in this way - it is just the way the jazz world is; even Dan Morgenstern, one of the great human beings on the planet, brilliant about most jazz, knows and admits that there is mocy plost-1970s music he just does not feel sympathetic to. I do remember calling Stanley Dance, who did a lot of good things, the crzarist of jazz critics - basically, pining for the good old days before the revolution - Larkin was like that, too -

just to put in a good word for Philip Larkin - when he writes about music which he understands and about which he has a clue, he is quite good -

I've gotten money back from paypal on three occassions after filing a dispute -

I guess nobody else saw that one -

I like the one about the donkey in the mountains whose left testicle burst at 12,000 feet, sending all 18 passengers on a 4,000 foot dive - fortunately the pilot was able to gain control with the right testicle, steer the donkey out of its spin, and make a safe lending on its front left nipple -

my mother always told me - "Never accept food from strangers - unless they also offer you a ride."

and here's me with still another guy who's much more famous - you may recognize him - this is 1980 -

that guy's an animal - well, here's a picture of me around 1970, Senior Variety Show in High School - I'm the guy with the long hair - the guitar player is now somewhat more famous than I am -

is that Ghost of Miles? Jeez, I think I met that guy in prison - I just didn't recognize him without a shiv in one hand -

my son watches Seconds From the Disaster - I like the show, but the opening credits are, I think, a little bit exaggerated: "WHAT YOU ARE ABOUT TO SEE IS BASED ON ACTUAL EVENTS. ONLY THE NAMES OF CERTAIN PEOPLE HAVE BEEN CHANGED. BUT YOU CAN BET YOUR ASS THAT IF YOU RIDE ON A PLANE, TAKE A TRIP IN A BOAT, DRIVE A CAR, OR GO ANYWHERE BY ANY MEANS OF TRANSPORTATION: YOU WILL DIE!

the point here is Hoffman's hypocrisy - because he often criticizes specific work that is done, bad mastering, bad companies, bad pressings - but apparently this is not to be done if he has a direct financial interest - cowardice andd hypocrisy of the worst kind - and if he had threatened to follow my work around the internet I would have filed a formal complaint with some agency; this is a kind of harrassment -

actually, without getting into it again in too much detail, the Pepper issue is like the one Jim and I discussed via Max Roach, though Jim would likely argue that Max was more successful at it than Pepper - an attempt to be "contemporary" by applying certain "contemporary" techniques to essentially bebop lines; problem is, he applied them in arbitrary ways which showed he had little comprehension of how to use the kind of scaluar/chordal extrapolations which go into a, let us say, post-Coltrane approach. They end up coming out as merely little slurs and occassional yelps and nothing more. And yet, when he just PLAYS - Pepper could still be brilliant. When I met him in Boston during his comeback tour, in the middle 1970s, he played at Paul's Mall and was absolutely great - he played right on the money, still had all the old intensity and invention. Only for brief moments did he try to show he had "new" chops as well, and it made little musical sense when he did it. But man, he was still incredible - between sets someone handed him a clarinet, and he went on-stage and played as well as any clarinetist I have ever heard. Of course, he was still a mess personally; I was working for a Boston magazine and went to his hotel to do an interview, and instead we spent the day driving all over town trying to make, shall I say, a connection - he was an extremely likeable guy but still into old bad habits, and that certainly did not help give him any focus - and I always disliked the Vanguard Recordings, though they were highly praised - they seemed a bit narcissistic, especially on the ballad playing. As for Konitz, I don't know if the book goes into it, but Dick Katz, who was his pianist for quite a while in the middle/late 1970s at a club called Gregory's (where I saw Konitz often, along with bassist Wilbur Little; great little club, and was the same place I got to know Al Haig) told me not long afterward that Konitz fired him because, at least for a while, Konitz would only work with Scientologists (Danko was one as well). And there was a period of time there where I remember hearing Konitz, post-Katz, and his playing seemed to be unfocused, to drift and wane. On other nights he was fine. I think the whole Scientology thing played into his own personal confusion and tendency toward self-obsession, and replaced the Tristano orthodoxy with yet another one. I don't know, however, if he is still a follower -