AllenLowe

trust me, I understand - I'm living in a town (Portland, Maine) in which I haven't had a gig in 5 years because of the local performance space's prejudice against anyone over the age of 25 - somewhat ironic, I think, because I have a better sense of old AND new music that the people who book the place. and a whole bunch of the younger musicians in this town, whose work is an interesting amalgam of indie rock and improvised music, admire me and consider my work important - but that's life -

and does anyone ever ask me how MY day was? Do you think cleaning the house, taking care of the kids, walking the dog, neutering the cat, and shtupping the mailman ISN'T a job?

also, my response was not to EVERY post in this thread - of course, maybe I'm just jealous because I feel taken for granted. Nobody seems to have noticed that I just had my hair done and I bought a new dress -

Jim - I have a daughter who is 14 - my initial impression was that her post was "professional" - there did seem to be something not quite authentic about it - I have been told that my impression was inaccurate, which certainly may be; but my response was really the OPPOSITE of the way you are interpreting it -

wow - and was that Maynard Ferguson?

well, I was thinking of making a bonfire - now, in terms of this thread, I won't post my earlier comment that got snipped, by the powers that be - but I will repeat what I said in an email to someone - watching this thread is like seeing a bunch of old guys in a bar tripping over each other to light a young babe's cigarette -

thanks - yes, he took some amazing solos on some Bill Russo pieces (Edgon Heath was one) and on a record of Holman arrangements - Fearless Finlay was one cut. Also, Fresh Sound has out out Pensive, a George Handy session with lots of Dave solos; they also re-issued Handyland, which has some of the best Dave on record -

"real book, or the big book" I'm still selling my Slonimsky -

someone is watching

me too

xeeee

I would say something, but I seem to be posting here in invisible ink -

only 747 copies left -

thanks for the $ - actually, it is recorded in stereo - you could go for quadrophonic -

stero jack mononucleosis quadrapolegic (wish they had spell chek on these things)

1) Jimmy was good, and Dave, like Jimmy, doubled on clarinet. When he played in Buddy Rich's band, Rich was quoted as saying Dave was the greatest clarinetist he'd heard after Artie Shaw - 2) ah, yes, the 19th century, I miss those years too - slavery, outdoor plumbing, and infectious diseases -

I have not read it, but people's whose word I trust have been on the negative side -

not sure, but it was about when the cat population began to increase exponentially -

just one? The really hip people are ordering two -

thanks gang - will ship all orders out by tomorrow, weather permitting -

1) Peter - probably, though I can't quite remember - 2) Mike - figure $6 airmail to Europe 3) yes, the Mingus quote is quite interesting - though Dave came very much from Bird, he developed his own unique rhythmic style - very eccentric, based at least in part, as he once told me, on anticipation of chord changes that had not yet occurred - and he had an amazing sound - Triglia told me that Bird once told him something to the effect that Davey would have a tough time as a white guy playing jazz - basically that Dave was too much in-between the worlds of white and black players - also, when Dave was playing a strip club on 52nd Street, Triglia was playing at Birdland with Lester Young and brought him over to hear Dave during the intermission - Prez immediately invited Dave to sit in with him at Birdland - Dave, of course, said no. Dave also had a note he showed me that was passed to him one night at a club; it was from Ben Webster, as I recall it said something like, "keep doing it," or something to that effect. He was an amazing guy -

thanks - the rest of you guys better hurray. I only have about 750 copies left -

thanks, Kevin - you won't regret it. It's a very interesting concert, and I'll tell an interesting story. It took me some time to convince Dave to do it; when he finally agreed, I went and picked up Curley Russell in NYC to come up to hear it,as they were old friends, so it was a bit of a homecoming. The concert was held in a music school in New Haven, Connecticut (where I was then living). At that time I knew a guy in town who was a bebop fanatic. He loved Bird and listened to 40s and 50s music constantly, but he did not know about Dave Schildkraut. I told him to come to the concert, and Dave, who was definitely a little rusty, still played superbly. After the concert I went up to this guy, and his jaw had literally dropped. He was flabbergasted, because, he told me, he never in his life thought he would be witness to music like this, basically a primary source of the bebop era. But it was more than that, and he told me he felt he'd been in the presence of a musician who was in the same league as Bird, and I think he was absolutely right - it was quite interesting to talk to musicians about Dave in those days - I did a gig with Mel Lewis, who was not a guy who praised people easily - he heard Dave's name and went on and on about what a genius he was. Al Cohn responded similarly, as did Ralph Burns when I talked to him on the phone a few years before he died. Art Pepper said he never met Dave but that he felt Dave had more soul than any alto he ever heard. Dave just walked away from it all; some was family issues and personal tragedy, some was just self-destructiveness; Norman Granz tried to take him on the road as a featured player and he said no; Dizzy kept calling him for record dates and Dave refused. He ended up in a clerical position with the City of New York, working the occasional Bar Mitzvah in Bensonhurst -

I understand - if there's anyone else you want to refer my way, please do -

well, if we're talking Getz, it's worse and worse - I remember BIll Evans's wife telling me about how, on tour, he always tried to pick up the other musicians's wives -