AllenLowe

I spent a strange afternoon with him some time around 1975 - scary guy, Jim Jones-type -

don't know if this has been covered, but I bought and am reading Eunmi Shim's new book on Tristano; unlike, say, 98 percent of the books I read on jazz (academic or otherwise) I can highly recommend it; well written, carefully researched, intelligent analysis, pretty colors on the cover. Get it -

it will never go out of print -as a matter of fact I just sold the rights to Concord - they're gonna hold it at Iron Mountain for me -

hey, guys, you just don't understand - there's nothing like a good pair of pants. As you get older certain parts of the body require more specific contours and support - and you cannot put a price on that - but if you HAD to, I would say $67 million is pretty close - personally I would settle for $5 million and free dry cleaning for life -

will do - feel free to add sound files if you like - did I send you the CD Jews in Hell? there are also sound files on the site, but I don't know if they are transferable -

hi Flurin - 1) love the site - if you're so inclined, my web site is finally operative - thanks to the incredible work of Nick Schweitzer, who is on this forum - www.allenlowe.com feel free to set up a link - 2) a bit ot, but I owe you Volume 1 of Devilin Tune - I just got it back in stock and will send by the weekend -

but first you have to marinate -

you better talk to that guy with the Monk acetate -

he was no Grace Kelly -

I would just get a good low-powered tube amp - the best current production one in my opinion is the Pro Junior, which uses a pair of el84s. problem is, you have to find one that does not hum; if you do, and upgrade to a weber 10a125 (like an old Jensen P10q), get a decent preamp 12ax7 and some good el 84s, it's as good as any vintage tube amp. You will notice the difference, the nice power-tube breakup, the decent headroom and the warmth - pedals tend to make everyone sound alike, I think -

I'll just have to wait for Sprinkles: The Movie

I actually found the "nothing happens" ending something of a relief - so tired of network tv cliff hangers - what the hell. Chase is probably completely burned out. Don't take it personally - I only wish Phil had been made to suffer a bit more - he's gotta be one of the slimiest and nastiest characters ever seen on TV- as for AJ, I wish they'd wacked him - or had him burn up in the car. Whiney moron, not in the least bit interesting as a character - glad Tony lived - hope Van Zandt wakes up and wacks Springsteen - and I think Junior's faking it - and I'm sorry about Bobby, though death may be a resonable alternative to living with Tony's sister - and I'll miss Sprinkles -

you gotta admit, I was pretty close about Sprinkles the cat, given the feline emphasis in the last episode; the only thing I got wrong was the hair ball -

sorry to ruin it for everybody, but just saw a preview and here's how it goes: Tony gets hit; AJ whines so much that Phil Leotardo has him wacked as well; the Soprano family cat, Sprinkles, is tortured with a blowtorch so she'll tell where the rest of the family is, but unfortunately she coughs up a hair ball as her last breath instead of giving an address; Junior is caught fellating a chicken and is confined to his room; Melfi the shrink hears about Tony's death, puts on her old wedding dress, and goes into mourning for three years before deciding to marry the corpse; they live happily ever after in Scarsdale; her shrink Peter Bogdonavitch takes Ryan O'Neal as a partner and at their third session O'Neal strangles him; Farrah Fawcett becomes a series regular and partners with Carmela (who has moved West into the witness protection program) for a new series on a new mob now being run by women; its a screwball NBC comedy modeled after the old I Love Lucy Show, and the title is: "Mama Mafia: those Wacky Wacking Women of Wyoming." almost forgot; Paulie Walnuts gets a job as an escort for a gay male escort service.

the rock and roll history covers 1950-1970 essentially, but in it I touch on the pre-history extensively. The CD set would encompass the pre-history (basically 1920-1950) -

hi guys; sorry I negelected to post earlier on some of these; I completely missed this last week - I do intend to publish the 1950s jazz book, and I am hoping to put a (small) cd set out with it to match it - after rejection by every pubisher in existence (or so it seems) I may self publish. My first hope is to get the rock and roll book together by next spring; the 1950s book will follow, I hope. And yes, I did intentionally repeat certain songs, just to shsow the devlopment of repertoire and songwriting in relation to the evolution of the music -

amazing performer, truly the best pop-jazz fusion I've ever heard. Time, feeling, chops, soul -

well, he Aeber-sold me some things I didn't really need -

I once got a rash from Jamey Aebersold - but a little penicillin cleared it up -

Lou Donaldson - Hot Dog -

equipment is important- but I also found that I was always able to get halfway to the sound I wanted on the saxophone by 'thinking' it - hard to explain, but it's not tangible from a technical standpoint. So many players sound alike because they can't think it but only finger it and blow it - not a scientific explanation but a true one - you gotta hear it in your head first -

about Dave Tough - Deems described him as a real intellectual, involved in radical politics - also said that Tough's wife was black, and when Tough died his family refused to let her come to the funeral - Tough was an amazing guy; not only one of the drum greats, but admired by a lot of people - I also once had a nice conversation about him with Max Roach, who recalled Tough sitting right in front of the drums as Roach played, trying to soak up the whole bebop thing. Max clearly loved the guy - I wish someone had done a more detailed interview with Roach about him -

glad you mentioned Dick Spottswood, as I just talked to him on Monday - funny, because they had a disagreement about the title, which Dick doesn't like, but I've forgotten what his original was - Spottswood is one of those guys who knows more than anyone about the whole picture of American vernacular music and he's beyond generous with his time and expertise - he should get one of those NEA masters awards -

"Wynton Marsalis is one person. And if he tried to hail a cab on his way to Lincoln Center, no one would stop for him either." re-read my post - I'm not ignoring the big picture of American racism, only saying that it does not help to use template arguments when dealing with specific issues -

I have made a silent vow to never again discuss race in jazz or to post in a thread that touches the topic - too complex an issue, tired of pissing people off - I will only say here what I told a writer friend of mine who published a book with the conventional wisdom about current racial conditions and the powerlessnes of African American jazz artists - as I told him, the most powerful jazz musician in the world (and probably in the history of the music) is African American - speaking of course of Wynton Marsalis. And if you than want to protest about the problems in the programs he leads and about his pronouncements I will say that's irrelevant to the point - because you are than confirming that the problem is not necessarily race. so this is not to say that the racial issues have been solved, but that in jazz African Americans have achieved a great deal of equity - maybe not the African Americans we would like to see, but that begs a separate question about art and the need audiences and institutions have to hear the same old shit; and that is a problem that transcends race -