AllenLowe

thanks for the help - so it likely was Ware that I saw. I'm glad that I saw him play, only wish I cold remember more of the gig -

all seriousness aside, one of the best clips of him playing is The Sound of Jazz -

let us not forget his name change, after the move to Philadelphia -

I spent one very interesting if strange afternoon with Pepper in Boston, maybe around 1977, 1978 - he played brilliantly, he was very smart and fun to talk to, but he was, as a personality, a case of classic arrested development. Like a 12 year old. Laurie, supposedly his rock, was not, in my opinion, much more mature than he. Now I see it is a classic creative personality; not to start a big fight here like I once started on Jazz Research, but he fits the profile of a contemporary diagnosis of Pervasive Development Disorder, which is also on the Asperger's spectrum. But that's for another day -

if it was the clap I not sure he could have lived as long as he did (I saw him almost 15 years later) - don't know, but I always assumed it was alcoholism - yes, Clem, Long Island Hospital - Schaap is a complicated case, neither one nor the other - knows his stuff - sometimes - and has known all these guys and helped a lot of them. Has his foibles; seems to make up some stuff but honestly thinks it's actual; knows the history but doesn't know what he doesn't know. Drove some musicians crazy by correcting them constantly on dates and places. But I like Phil, though I have not seem him in some 15 years -

he WAS nuts - when I lived in NYC in the late 1970s he played occasionally at the West End Cafe. Musicians were always walking off the stand because of his insults; about once a month Sammy Price, my friend Judy, and assorted hangers-on took him to NYU Hospital (I think it was ) on Henry Street near Brooklyn Heights to dry out. He would come out and get juiced again almost immediately. He once pulled a knife on somebody, I remember hearing. Still played OK, but not really as well as he had, though he looked pretty good close up. He had one very nice quartet with Harold Ashby (a monster tenor, had to have heard him play Moose the Mooche in person!) and Peck Morrison on bass; Peck picked up his instrument and stalked off on the second night. When you looked into Jo Jones eyes it was like looking into a crazy mask. I asked Al Haig if he wanted to go down with me to listen and Haig said "not a chance; he'll make some kind of nasty remark about me."

I honestly don't remember who told me it didn't happen - the only thing I wish I could accurately remember, in terms of the Vanguard, was whether Ware was playing with Monk or just in the audience -

great article - and it set my hair on end and I'll tell you why - one day in 1970 (I was 16) a friend calls me and says, "let's go see Monk at the Vanguard" - and we go and guess who's playing sax - Pat Patrick. Years later I recall that gig and mention it on the jazz research list and everybody tells me I'm crazy, that Patrick never played with Monk. I thought I was becoming senile, memory playing tricks. And I remember two other things from that night: 1) Monk kept introducing Patrick as Charlie Rouse; 2) my friend introduced me to Wilbur Ware (now, as time has gone by I THOUGHT Ware was playing bass with Monk that night, but I may be wrong) - Ware just kept hitting my friend up for money and I met Patrick briefly and thought he was a strange guy - dream is over...

his ex-wife is doing one, and I was told, at one point, that Cadence North Country was going to publish it. I've talk to her, she's nice, but I do have a feeling the book may be, let us say, poorly written. With a good editor, the excerpt I saw years ago might have possibilities. BUT I have my doubts; the tone of the excerpt was pulp romance -

and one hard-boiled egg -

Paris Hilton and her boyfriend - oh, sorry, mis-read the thread title -

actually, she appeared in the film The Girl Can't Help it in 1956 - married Max in 1962 - so it turns out I'm right after all -

I love Hank's playing, but I do think he was best in the 1950s (like the Savoy solo sessions) - had a little more Nat Cole bounce to his playing. But he always sounded great -

the sound is pretty much the way it's gonna be on this, on all issues - you can brighten the high end, and if you have an eq I would take some out at about 535 hertz and may at about 125 hertz - other than that, it's a not super-well recorded 1950s session. Still, it' the one thing we have that shows how brilliant Haig was. Bill Crow once remarked that he thought Haig was the pianist who really set the pace for chord changes on the standard tunes that jazz people were starting to play more and more in the early 1950s, and you can hear on this how much harmony he knew, as well as how original he was in a post-Bud Powell way. Barry Harris, Tommy Flanagan, and Hank Jones have all cited Haig from this period as being extremely influential.

I walk away for a few hours and everybody's making fun of me - actually, Paul's a little near sighted and he wanted me to make sure he had a scar -

not a problem; unfortunately it's Buddy Bolden from Flatbush, a wedding singer I used to work with -

I did an internet search but could not come up with it. The Brooks article was in an old ARSC jorunal. The Friedwald I may have in a file somewhere, and will check this weekend -

hmmm... well, let me change that (I could delete my other post but I'm too classy a guy for that). As far as I know her acting career was of equal importance at one point, until she became convinced that Hollywood only wanted her for pretty girl rolls. Nothing But a Man was the exception, but For Love of Ivy was wallpaper. Problem with the article is that they clearly have no sense of her career -

just to add a little Paul Bley news; he called me about a month ago to see he's just had hip-replacement surgery and is feeling great - I hope Paul gets all due credit re- his important place in jazz history; he's also a nice and fascinating (and opinionated - in the good way) guy -

as usual, clueless writers - she "married Roach and later starred in films" - as far as I know her film career came first -

"I think singers have always been popular. Whitburn aggregates somehow the hits to establish a top ten sellers for each decade. in the 1900-1909 period, the top 10 sellers were all vocalists, or vocal groups. In the next decade, one band - Prince's Orchestra - was in the top 10. In the twenties, there were still Jolson, Gene Austin, Ruth Etting and Marion Harris in the top 10." Not to belabor this, but you really cannot say this with even the slightest degree of certainty - Whitburn has no numbers and no good stats to back this up. We are really flying blind in this era -

in all honesty, the Whitburn data on those pre-chart "hits" has been demolished by two wrtiers who really know this area: Tim Brooks and Will Friedwald. Unfortunately I don't have the artiocles they wrote (may be buried in a file somewhere) but Whitburn's citations are completley fictitious and I would not even trust his re-evaluations, unfortunately, until he can demonstrate that his methodolgy makes any sense-

Joel Whitburn - just looked it up -

I honestly don't know, and those numbers are interesting. However - I wonder what your source was because I don't think such stats were kept in the 1920s; so, whoever cited those "hits" may be guessing. Is it that guy who writes all the books on chart numbers (can think of the name - Whitworth maybe)? Because if it is, he has been very strongly challenged on his findings.

thanks - that is probably where I got the Bruner though I honestly cannot remember. After finishing this project I developed some kind of amnesia - sort of repressed memory - it was so difficult and all encompassing that I think I was unable to listen to a recorded jazz performance for about a year. In looking back at it I'm honestly not sure how I did it and would likely never try anything of this scope again. On the other hand, I'm glad I did it, as it was a way of preserving certain music in a very permanent way. It would have been nice to proofread the booklets, but this project was done over a span of about 3,000 miles and took so long to get out (I finished the mastering in 2001) that I was just happy to have the thing printed and distributed - Medjuck - it was Mike Bernard, that's right, and I do find his playing annoying, like OP, but I won't belabor ol' Oscar here.