AllenLowe

funny thing, by the way, about Konitz's comments on Moody - I never thought of Moody as a player who played like he had planned everything in advance - when I last saw him (maybe 1993) he was absolutely brilliant, hot as hell and incredibly inventive. Much as I like the whole Tristano school of players, they can get overly critical of people with different methods and goals - thinking of Tristano's whole id/ego stuff and his idea of eliminating ego in playing - and his famous quote about Sonny Rollins playing with "all emotion and no feeling" - a great line that describes many players, but not Sonny. I also would have liked to have heard Konitz's comments on Bud Powell, whom Tristano admired greatly. as I've mentione before, I spent an afternoon with Tristano, maybe around 1975/76, in an attempt to interview him (and that's a whole other and funny story); he scared me, and had a definite "aura" and incredibly dominating presence. If he'd asked me to drink the cool-aid, I might very well have done so -

something about vertical vs horizontal playing, I think -

I'm negotiating now with John Steadman at JSP about possibly doing a boxed-set of my rock and roll pre-history (to go along with my rock and roll history, which covers 1950-1970) - was wondering if anybody here had any direct experience with JSP from the business side - or any second or third-hand impressions -

who you calling an old fart? just because the first Charlie Parker record I ever bought was purchased at the A&P in Massapequa, circa 1968 - allright...first one to ask "what's the A &P?" will have to answer to Harold -

that's, I think, the ACE CD from the late 1960s, early 1970s. I found the LP last night but did not have time to compare - however it has a different title and it's on United - I promise I will report back tonight -

great stuff - explains why I am so bored with so much jazz playing -

I gotta send that guy my book -

thanks - I'll try to pull the LP tonight and compare titles -

just a point of info, there is a Kent CD of Ike and Tina live which is not the same as the LP I refer to; the CD that ACE distributes of the Kent show is recorded, I think, 1970 or 1971 (not certain); the LP I refer to is likely early to mid-1960s.

well, maybe she was buried at sea -

I'm glad you can affirm this, Chris, as I was pretty young at the time and so I worry about my memory playing tricks - it's doubly reassuring because a few years back I got a rather scathing "peer" review of my (still unpublished) rock and roll history from an anonymous reader at U of Illinois, who took me to task for not emphasizing Coltrane's influence on 1960s rock and roll (the reviewer, by the way, as I later learned, was likely Burton Peretti; as I told my wife, having him reject my book was like being turned down for a human rights award by Adolf Hitler) -

these day I'm buying little - only advice is to see if the seller has a tube tester; best ones are Hickock -

it's funny about the Coltrane and rock and roll thing - I wasn't exactly "there" but I was growing up and listening like crazy to rock and roll in the later 1960s, going to the Fillmore and Central Park to hear the Dead (first concert, 1967) seeing Zappa at Columbia U in 1968, and reading all I could, and even with Bloomfield's East/West, George Harrison, and all the rock press on psychedelia et all, Coltrane's name barely, if ever, came up - Ravi Shankar was the one talked about, long meditations on Indian scales via him and not Trane - to me a lot of the "Trane-was-the-big-influence" on rock and rollers like Bloomfield and the Jefferson Airplane etc etc sounds revisionist and not reflective of the local reality - and after Miles played at the Fillmore (a strange concert for which I attended the Saturday night show; Miles dressed like a piece of carpet and Laura Nyro opened with one of the most bizarre and narcissistic exhibitions I have ever seen in my life) HE much more than Trane became a focus of rockers looking to jazz for help - now this does not really include people like Davy Graham, who may have looked more that way, but I was living and listening on this side of the ocean -

as long as somebody mentioned Tina Turner (he said, sidestepping the main argument here, which was giving him a headache) I would say that she IS out of the sanctified tradition - I have an old LP on Kent or some such label which is allegedly her and Ike and the Review recorded "live" - and I say "allegedly" because in those days they made plenty of bogus "live" albums - that's the closes thing I've ever heard to a fly-on-the wall in the club in the neighborhood where-the-white-dare-not-go. Probably the real thing, crowd noises and all, and should be heard by anybody who does not frighten too easily.

I like Bessie Griffin - if you can find her stuff it's quite amazing - I also like Aretha - and on some of the early Columbia stuff she sings a Jolson song - can't remember the name of it - and shows that Jolson was a continuing influence, interstingly enough (and I'm a big Jolson fan) - and I think Mahalia is best on the Apollo material - she's less of a star, more of a singer -

now this is weird - I just looked back and realized that I actually started this thread in 2004 - I completely forgot about that - especially since most of the topics I start die a quick and painless death -

thanks for the citation Niko - I have a few of those cuts on CD, and it's interesting to hear them, but he does not play very well yet. I also have a Howling Wolf CD with a cut that has a piano intro which is uncredited, but which I'm willing to bet is played by Phineas Newborne -

funny about Dupree Bolton - I was in San Francisco in Chinatown, I don'r remember the year, probably the middle 1980s - my wife comes up to me and says, you should hear this guy playing trumpet on the corner over there, he sounds good; I go over, and there's clearly something a little different about this guy, a sound and phrasing that makes him not just another street performer. Well, I go up to him, ask him his name - and it's Dupree Bolton! I almost fell over, he was very pleased that I knew who he was, we talked, he was basically a street-guy and a a junkie, very nice but very sadly deteriorated. I think a few other people ran into him in this way as well - and I know he has since died -

or, one might live on 35 Cup Drive, Apartment DD - or, as one might say, that's a cup that's more than half-full.

just as a point of information - Strozier makes some very early appearances on alto on some Memphis black/blues recordings made for Sun Records (ca. 1952 or 1953) and there were, as far as I know, no mixed bands recording there in those days -

well, I tried lighting my horn on fire one night - it woulda worked, except the damn pads wouldn't stay lit -

there used to be this idiot saxophone player In New Haven who couldn't play his way out of a paper bag but who was able to do the circular breathing thing and hold a note for about 3 minutes, or something like that - the crowd loved it. I used to follow him at jam sessions by playing a lot of quick, short notes, holding nothing for more than a split second, but nobody got the joke except me and the bass player - the crowd probably thought I had emphysema -

check out Ebay - you can get good used 12ax7s for OTHER brands that sound terrific - National, Sylvania, Raytheon, some GE, even an occasional used RCA; don't worry about that one on that site - find a good ebay dealer with a good tube tester and good feedback; I've bought about 50 12ax7s this way, and I run three different amps with them; same with 6v6s - even 6L6s if you know what you are doing, also 5881s - and 5932s, which are military spec and replace 5881s - also you can get plenty of inexpensive 12au7s, which are good for audio - also 5751s, which are low-gain 12ax7s and great in audio; 12ay7s, however, have gotten a bit too expensive -

well, I don't want to cast any aspersions, but Patterson's Leslie was a male - not that there's anything wrong with that -

my problem with Gutbucket is that they never get below the surface - which may work in certain circumstances - it's just, to me, another trendy roots band, don't mean to insult anybody here, it's just that jazz guys dealing with these styles either tend to sound like they are slumming or they just don't get it (another good example is the guy who plays banjo for Cassandra Wilson - he has not a a clue) -