AllenLowe

here's what's left: The Rolling Stones - Singles 1963-1965. Boxed set, 12 mini CDs includes Got Live EP - in excellent shape. $35. James Brown - Say it Live and Loud - Dallas 1968. Polydor.$8 The Byrds. Sweetheart of the Rodeo. $6. Columbia The Stooges. Funhouse. Elektra. $5. Dino Valente. Koch. $8. Rolling Stones. Exile on Main STreet. Virgin. $6. The Replacements. Sorry, Ma, Forgot to Take Out The Trash. $5.

All are CDs. Prices include shipping conus - single CDs are shipped in plastic sleeves - prefer paypal; email me at alowe@maine.rr.com, which is also my paypal address - The Rolling Stones - Singles 1963-1965. Boxed set, 12 mini CDs includes Got Live EP - in excellent shape. $35. James Brown - Say it Live and Loud - Dallas 1968. Polydor.$8 The Byrds. Sweetheart of the Rodeo. $6. Columbia Fontella Bass - the Best of. Chess. $5. The Stooges. Funhouse. Elektra. $5. Garnet Mimms. Cry Baby/Warm and Soulful. BGO. $5. Dino Valente. Koch. $8. Rolling Stones. Exile on Main STreet. Virgin. $6. Jim Kweskin and the Jug Band featuring Maria Muldauer. Acoustic Swing and Jug. Vanguard. $6 The Replacements. Sorry, Ma, Forgot to Take Out The Trash. $5.

1) Clem has already made a lot of the important points - 2) I write about the medicine show a lot in Devilin Tune, as this was the prime source of minstrel transmission in the early part of the 20th century - - suffice to say that the Minstrel stage, directly and indirectly, introduced nearly every kind of pop music that exists today - and to a LARGE portion of the population: a) country music - the use of the banjo of course; also the sentimental semi-pop ditty that was adapted by early country singers (Little Old Log Cabin dowm the Lane) and became a staple of country song; the whole aura of the rural singer and song - b) standard American song - the professional song writer used the minstrel stage as an early showcase; this represented an important transition from folk to popular methods of transmission, and, more importantly, it represented their complete merging - as well as the creation of a new class of musical professional, hence Tin Pan Alley, Broadway, etc - c) Jazz/blues - the basic idea of the accompanist's improvised obligato - as in, the singer sings a phrase and the backing musician plays a filler phrase - likely started in Minstresly - d) ragtime - the rhythm of early minstrel tunes was related to the development of ragtime with its duple meter, most likley - e) White absorption of black culture - it's been pretty conclusively demonstrated that, contrary to much past scholarship, many minstrel tunes had their actual basis in black folk culture - 5) gospel - gospel music at its most basic is the secular composition of religious music - and this started - guess where - likely on the minstrel stage with "gospel tunes written for the minstrel stage" as Dick Spottswood has pointed out; think "Poor Mourner," "Oh Dem Golden Slippers" (written by James Bland, a black composer) - and many more those are, in my opinion, the highlights - we haven't even begun to discuss the minstrel creation of comic archtypes still in use today -

thanks for the Lambert - I also like Bud Freeman's two autobiographies - and I've read a few of Dave Tough's old columns that I liked - Katz also did the notes, I think, for the solo Monk Sony/Columbia reissue -

Dick Katz is one of the most insightful music writers I have ever read - though it's hard to find his stuff; some is collected in Jazz Panorama; great notes for the Smithsonian Teddy Wilson. He was also the source for a good deal of Gitlers' Jazz Masters of the 1940s - Also Dick Wellstood - his notes for the album by a great stride pianist whose damn name I cannot remember right now (Pumpkin Records, somebody'll know it) are brilliant -

on Wrap Your Troubles In Dreams, Hawes does a tri-tone chord substution (basically Gb for the C at the end of bar 2) that is sublime - the kind of thing that just stays in your head -

c'mon chewy - did he write it? The first jazz version I heard of I Love Lucy was by Barry Harris - it's a natural beop tune, lots of flat 5s; very "airy" tune, Dameron-like in the way he had of ending phrases on typical bebop intervals; interesting - so tell us what you know -

Are you sure you're not supposed to play at the Baltimore Lounge in New Haven? Better make sure -

just sent responses to everybopdy - thanks - here's what's left unless anybopdy changes their mind: Sonny Clark Trio – w/ Paul Chambers, Philly Joe Jones. Blue Note, Birldland Stars 1956. Phil Woods, K. Dorham, Hank Jones, Al Cohn, Conte Cadnoili, Kenny Clarke Art Farmer: Modern Art. B. Golson, Bill Evans. Blue Note. Cannonball and Coltrane. Emarcy. Wynton Kelly, Paul Chambers, Jimmy Cobb. Jay and Kai. Savoy. Billy Bauer, Mingus, Kenny Clarke, Leo Parker, Hank Jones, Tiny Kahn, Cardboard slipcase, Japanese reissue. Roy Eldridge, Coleman Hawkins, Live in 1959: Just You Just Me. Stash. Dexter Gordon: The Resurgence of Dexter Gordon.. Dolo Coker. Jazzland/OJC. $6 shipped: Diz and Getz. Verve, O. Peterson, M. Roach, H. Ellis, H. Mobley. Verve. Thelonious Monk. San Francisco Holiday. OJC. Byrd in Paris Vol. 1. Donald Byrd, Bobby Jaspar, Walter Davis, Dough Watkins, Art Taylor. Dexter Gordon. Daddy Plays the Horn. Kenny Drew. Bethlehem. Bob Dorough. Devil May Care. Bethlehem. Dave Brubeck, Plays and Plays…. Solo at home. OJC. Fela Ransome-Kuti. With Ginger Baker, Live, 1970. Terrascape. Thelonious in Action. Quartet at the 5 Spot with Johnny Griffin. OJC. Art Blakey and the Jazz Messenger. Paris 1958. Live recording with Lee Morgan, B. Golson, Bobby Timmons. Dexter Rides Again. Dexter Gordon, Bud Powell, Tadd Damerson, Art Blakey. Savoy. Dizzy Gillespie, Sonny Stitt, Sonny Rollins. Sonny Side Up. Verve. John Coltrane: Like Sonny. McCoy Tyner, Billy Higgins, Ray Draper. Roulette. Hampton Hawes/Hariold Land: For Real. Scott Lafaro, Frank Butler. OJC. Chet Baker In New York. Al Haig, Johnny Griffin, Paul Chambers, Philly Joe Jones. OJC. Carmen McRae, with Tony Scott. Bethlehem. Kenny Burrell, Jimmy Raney. 2 Guitars. Donald Byrd, Jacki McLean, Art Taylor. OJC. Louis Armstrong. Plays WC Handy. CBS. Jackie McLean: Jackie’s Bag. Sonny Clarke, Donald Byrd, Paul Chambers, philly Joe Jones, Blues Mitchell, Tina Brooks, Kenny Drew. Blue Note. Kenny Dorham and the Jazz Prophets Volume 1. JR Monterose. Chess.

also, btw, still have 2 Devilin Tune volume 1 promo boxes, $35 each shipped -

my favorite - Stereo Jack's (Jack posts here occassionally) - on Mass Ave just outside of Harvard Square - plenty of LPs, CDs, great selection, good prices -

All prices include first class shipping in plastic sleeves - paypal preferred - email me at alowe@maine.rr.com, which is also my paypal address. $8 shipped: Sonny Clark Trio – w/ Paul Chambers, Philly Joe Jones. Blue Note, Birldland Stars 1956. Phil Woods, K. Dorham, Hank Jones, Al Cohn, Conte Cadnoili, Kenny Clarke Art Farmer: Modern Art. B. Golson, Bill Evans. Blue Note. Cannonball and Coltrane. Emarcy. Wynton Kelly, Paul Chambers, Jimmy Cobb. Jay and Kai. Savoy. Billy Bauer, Mingus, Kenny Clarke, Leo Parker, Hank Jones, Tiny Kahn, Cardboard slipcase, Japanese reissue. Ella Fitzgerald. Pure Ella. (Ella Sings Gershwin + 12 more standards with Ellis Larkins). Decca Roy Eldridge, Coleman Hawkins, Live in 1959: Just You Just Me. Stash. Dexter Gordon: The Resurgence of Dexter Gordon.. Dolo Coker. Jazzland/OJC. Stuff Smith: The 1943 Trio. Progressive. Jimmy Jones, John Levy. Milt Jackon, Lucky Thompson: The Jazz Skyline. Savoy. w/Hank Jones, Kenny Clarke. $6 shipped: New Orbits in Sound – Spud Murphy, w/Chico Hamilton, Frank Morgan, et al. GNP. Diz and Getz. Verve, O. Peterson, M. Roach, H. Ellis, H. Mobley. Verve. Thelonious Monk. San Francisco Holiday. OJC. Lee Konitz At Storyville. “live” with Ronnie Ball, Percy Heath. Black Lion Byrd in Paris Vol. 1. Donald Byrd, Bobby Jaspar, Walter Davis, Dough Watkins, Art Taylor. Dexter Gordon. Daddy Plays the Horn. Kenny Drew. Bethlehem. Bob Dorough. Devil May Care. Bethlehem. Dave Brubeck, Plays and Plays…. Solo at home. OJC. Fela Ransome-Kuti. With Ginger Baker, Live, 1970. Terrascape. Teddy Edwards Octet. w/Jimmy Woods, 1960. OJC. Thelonious in Action. Quartet at the 5 Spot with Johnny Griffin. OJC. Art Blakey and the Jazz Messenger. Paris 1958. Live recording with Lee Morgan, B. Golson, Bobby Timmons. Dexter Rides Again. Dexter Gordon, Bud Powell, Tadd Damerson, Art Blakey. Savoy. Dizzy Gillespie, Sonny Stitt, Sonny Rollins. Sonny Side Up. Verve. John Coltrane: Like Sonny. McCoy Tyner, Billy Higgins, Ray Draper. Roulette. Jutta Hipp: With Zoot Sims. Blues Note. Hampton Hawes/Hariold Land: For Real. Scott Lafaro, Frank Butler. OJC. Chet Baker In New York. Al Haig, Johnny Griffin, Paul Chambers, Philly Joe Jones. OJC. Carmen McRae, with Tony Scott. Bethlehem. Kenny Burrell, Jimmy Raney. 2 Guitars. Donald Byrd, Jacki McLean, Art Taylor. OJC. Louis Armstrong. Plays WC Handy. CBS. Jackie McLean: Jackie’s Bag. Sonny Clarke, Donald Byrd, Paul Chambers, philly Joe Jones, Blues Mitchell, Tina Brooks, Kenny Drew. Blue Note. Johnny Smith with Stan Getz. Moonlight in Vermont. w/ Zoot Sims, Paul Quinnichette, Don Lamond. Roulette. Kenny Dorham and the Jazz Prophets Volume 1. JR Monterose. Chess. Cecil Taylor Unit: Spring of Two Blue J’s. Live at Town Hall, Jimmy Lyons, Sirone, Andrew Cirille. Fonac.

I'm probably in the minority here, but I never liked the Vanguard sessions - too much room reverberation, and lacking in presence, to my ears -

well, I really had my tongue in my cheek, as the independents were still active - it's just that the musicians at the time were in tough shape, employment-wise, hence a lot of bad jazz/pop albums. Somewhat ironically, it was a perfect time to become a jazz listener, however (I started in 1968), as everything was cut out of the catalog, and one could find a bonanza of LPS that were under $2 in those days. That's how I learned about jazz, on the backs, as I later figured out, of unpaid jazz musicians (as royalties did not have to be paid on cutouts). It may also be the reason I was able to see Ornette and Mingus at Slugs for a $3 cover charge (found out years later that the little guy at a table speaking French was Jean Genet, but that's another story) -

"I think this nails it. I must say I disagree with Ornette on this point." but I think this is why Ornette is so damn smart - even when I think he's wrong, I also know that he's right, because everything he says is so correct for his way of thinking and playing - it's very similar to the way I feel when I read Larry Kart's criticism of Bill Evans - though I disagree with Larrry, I somehow know that he's absolutely right - a paradox -

that's OK - I just like to feel the blood rushing down -

if that's your idea of a good time...

anyway back to the point - they probably weren't playing much bebop in the late 1960s - was one of the worst times for jazz employment. Hence recordings like Lou Donaldson's Hot Dog. Funky time...

hey, don't insult the host, Chewy. You can hump the host, but don't insult him (to paraphrase Albee/Who's Afraid of Virginia Wolfe) -

I'm going to have to stand on my head -

well, not to beat a dead hearse here - but I've been recording lately with a trio, last week we recorded a nice blues and I went back and forth about what to call the damn thing on the new CD - finally came up with a title: "All the Blues You Could Play (if Stanely Crouch Was Your Uncle)" should go nicely on the new CD -

exactly - sort of like opening one door and finding another...however, I do think we hear hints toward the end that he was thinking of other ways to go (the duets with Rashid Ali, for example) -

Clem and I have kissed and made up from our old battling days... so there's hope for the Israelis and the Hezbollah -

ahh, it's ok - you just have to understand Esperanto -

well, we're not prejudging him - just basing our comments on our experiences with him, his intellectual dishonesty, his written attacks on people lilke Anthony Davis (whom he thinks isn't black enough because his music comes out of a tradition that Stanley sees as too Euroo), the fact that he physically attacked one guy and has threatened others (like Gene Santoro) - look, Stanely can be quite charming, and I've spent some time with him. He's also a bright guy, but he aint no genius, and his prose is not only tortured but unintentionally humorous in its badly executed slang-ese. And the way he and Wynton have made a fetish of "the blues" is particualry repulsive - I will quote a letter that I wrote to the NY Times a few years ago and that was pub;ished in the Arts and Leisure section: To the Editor: While I am second to none in my admiration for Louis Armstrong and Duke Ellington, I am becoming increasingly weary of Wynton Marsalis and Stanley Crouch's politicization of the blues. In their hands (as with their fellow Lincoln Center advisor Albert Murray) the blues has become something of an ideology, a club with which to beat all who do not share their aesthetic leanings. Last year, Mr. Marsalis told us what a blues-dependent art Ellington's was [''Ellington at 100: Reveling in Life's Majesty,'' Jan. 17, 1999], when in truth Duke used the blues so effectively because he was not dependent on them, but rather came to them, in terms of class and background, as something of an outsider. Now Stanley Crouch comes to tell us that Armstrong ''figured out how to articulate the sound of the blues through Tin Pan Alley tunes without abandoning their harmonic underpinnings,'' and quotes Mr. Marsalis as saying that ''not even Art Tatum, Charlie Parker, Monk and Coltrane did anything that sophisticated'' [''Wherever He Went, Joy Was Sure to Follow,'' March 12]. Once again, this is a case of fitting facts to ideology. Armstrong was truly a great blues player, but what he did most effectively was to expand the expressive possibilities of jazz in a way that made the blues only one element of many, in a manner that actually reduced their relative importance. Certainly Armstrong continued to play with the kind of tonal and rhythmic nuances that reflected the powerful dominance of the African-American performance tradition, but these were not necessarily related strictly to the blues. They reflected the larger picture of African-American performance styles. And Monk, Coltrane and, indeed, Charlie Parker devised musical systems that were every bit as sophisticated as Armstrong's. ALLEN LOWE South Portland, Me.