AllenLowe

order now, and receive a threatening email from Che -

"NPR distributes Fresh Air. " sorry, I was thinking of America's Top Supermodel, which PRI handles along with The Surreal Life - and that Serial Snuff show, where they pick an American at random every week to kill -

I tend to prefer the earlier Shavers - pre 1955, maybe - he did, sometimes in later years, seem a bit of a parody of himself - but on the Savoys, or with Kirby, or with Bechet, he was absolutely brilliant -

prices include domestic media shipping Chet Baker: His Life and Music - j. de valk soft cover; good shape, back cover creased. $8 Living with the Dead: Twenty Years on the Bus with Garcia and the Grateful Dead - Rock Scully. Hard cover, excellent shape. $12. Big Road Blues: Dave Evans. The classic. Cover is creased, and some of my notes are in the margins. This book has been read. Soft cover. Big book to ship - $9. The New Blackwell Guide to Recorded Blues. ed. Paul Oliver. Soft cover, very good shape. $9. prefer paypal - my paypal address is alowe@maine.rr.com email me at same -

still have one box left -

she blew him first - and passed the audition -

prices include shipping in plastic sleeves - condition is variable, as I will describe, but all play well: Lee Konitz meets Jimmy Giuffre. 2 CD, Verve. This one's got scuffs but is pretty rare. $25. Barry Harris live in Concert - French reissue of Xanadu; lots of scuffs but plays fine - $6 Tim Berne: Caos Totale: JMT - scuffed, plays well: $6 Von Freeman: Walkin Tuff: Southport - scuffed plays fine Warne Marsh Lee Konitz Quintet: Live at the Montmarte: Storyville. Not too badly scuffed. Plays great. $8 Coleman Hawkins: Wrapped Tight: Impulse. This one's in good shape. $10 Gunther Schuller: Jumpin in the FUture. GM Scuffed, plays good. $5. Benny Golson: Walkin: Fresh Sound. w/Dolphy/Curtis Fuller/Hubbard/Shorter/Bill Evans/Ron Carter. 1957 session, some scuffs, no problems. $8. Lee Konitz (Konita before edit) featuring Bill Evans. Copenhagen and Stockholm 1965. Magnetic. Rare live stuff with NHOP. Decent shape. $12. prefer paypal: alowe@maine.rr.com email me at same

well, at those jams he was very polite -

you guys are getting me all like...misty...

found this interesting, referring to Miles: "I was looking at him because I’m pretty too"

sorry; PRI also does Fresh Air, I think. I like This American Life on occasion but am offended by some of the hisorical gaffes they make - like a recent essayist who confused the Weimar and Nazi era - certainly an important distinction. I also find that they are mired a bit in a rather old-fashioned sense of American "realism", a just--plain-folks style that mars not only their presentation but which also effects the kind of subjects they choose. It's as though about 40 years of American topical essayist/humor has passed them by, from Lenny Bruce to Donald Barthelme to Bill Hicks -

Mehlday can play, no doubt about that - I knew him as a "kid" when he used to come up to the sessions in Hartford, and he was brilliant - I just think he's gotten a little bit full of himself - there was a very unpleasant narcissism to that BET performance that just got to me -

Personally it does not worry me if a player does not know the tradition; certainly history has its uses, though in the hands of certain people at Lincoln Center it has become a reactionary critical weapon. I take the music as it comes, though it is true that the problems certain creative people have (and not only in jazz and not only in music) might be mitigated by some true historical perspective. The dangers of a-historicism are seen in all contemporary media. I was thinking, for example,of NPR's this American Life in which so many of the features suffer from the author's clear lack of awareness that certain ideas and creative angles are old news; same in film and music. He who know the past will frequently repeat that past, but oft times with a greater sense of self-conscious (and creative) distance. This is a complicated subject, and one I deal with in some detail in the notes to my new CD. Flaherty strikes me as a good player, but there's a difference between mannerism and style, and I think the kind of formalism I dislike is characterized by excessive mannerism. Now, someone might argue that I am simply not getting it, and, truth be told, I do worry that this might be true, especially given how burnt out I am from listening to so much jazz during the course of my life. I am at the point where I often have trouble distinguishing cause and effect - am I tired because of the way the music is, or does the music sound tired because of the way I feel? For that very reason I do not want to be the last word on this - on the other hand, maybe I'm right; problem is, any time I take a position with which, say, Stanley Crouch would agree, I worry. I'd be curious about Larry Kart's feelings on all of this - I trust his judgment more than I trust my own -

hey I'm not having that much fun -

I'm with Clem on this one - saw Mehldau on BET a few months back, playing a kind of neo-New Age solo piano that was truly repulsive. Also can't stand his middle-brow pseudo-intellectualism writing; kinda like listening to Sam Goldwyn read the dictionary -

well, I would never go to any club that would let me in -

yikes! sounds like bait and switch - not to worry - will send it out!

just sent you guys an email -

1) one night back in the 1980s at a noisy club in NYC called The Angry Squire (I think it was) Jaki Byard stood up at the end of his set and said - "welcome to the club blah blah blah" - 2) Al Haig was playing a set at the old Blue Hawaii in NYC (maybe 1978) and a group of people were talking REALLY loudly at a nearby table. Strangely enough, at the end of the set, they applauded enthusiastically - Haig looked over and said "I enjoyed your performance too" -

would love to see Pomeroy -

I'm too lazy to read through this to see if it has been mentioned, but there exists a very rough but listenable broadcast of DIzzy's small band (maybe 1944?) with Budd Johnson and George Wallington in which one can hear how advanced Budd was -

Flaherty used to show up on occasion, believe it or not, at a jam session at a club in Hartford in the 1980s - got up to play 20 minute solos, was something like the Mighty Autistic Saxophonist, unaware of anyone around him, oblivious to his surroundings in a weirdly contemptuous way; don't want to get into a big war here, but int he past I have criticized this style of music as being guilty of a new kind of formalism - meaning that it believes that it's own discoveries of formal innovation are sufficient in and of themsleves (thinking of Olsen's belief that an object is its own meaning). Problem is, hear it once and you've heard most of what is is, and I am NOT arguing for a return to bebop aesthetics; I am only saying that form is part of a much larger picture in which, in a successful effort, it merges seamlessly with so-called "content" - in other words, in the best of things form and content are basically indistinguishable, part of a whole. In Flaherty's work form is all, and it consumes conventional notions of musical content, which would be ok if he had more and better ideas. To my way of hearing, all that he has come up with is a method of organizing his ideas, not a way of expressing or developing those ideas. This is a corner that, imho, a lot of free jazeers have painted themselves into. Personally I can accept Olsen's dictum; but that does not mean the object is necessarily, in and of itself, worthwhile or interesting - the revolution, in this sense, has been won; the problem now is how to govern.

"My intentions of this topic was to see how everyone was doing" what? for a year you don't write, you don't call... well, here goes: 1) my dog died 2) my cat fell into a tennis racket machine 3) my wife left me for a rabbi 4) my mom was killed when she was run over by a tractor 5) Larry Kart got hold of my social security number, took over my identity, ruined my credit rating and maxed out my credit cards; he did, however, make a decent CD under my name 6) my girlfriend ran off with Larry Kart 7) my sister married Chuck Nessa 8) my mistress ran off with my accountant - I sure hope Larry remembers to file for my taxes...maybe I should give him the name of my accountant -

oboe was my first instrument; my advice: buy a saxophone - those damn double reeds are a pain to buy or make - yes, day job heck (I would say hell, but there's a minor around) is indeed a curse -

yes, forgot that Doc was in that band - I rmember hearing one of his early solos and it was as awkward in a way that was almost a parody of bop trumpet, in the same way as his LATER solos with Carson were -