AllenLowe

I like Braxton very much personally, but he does not return phone calls, emails, or messages left with third parties -

well, Sangrey used to wear a mini-skirt in the late 1960s - I tried a shift, but was tired of the audience always undressing me with their eyes -

it's in my tool shed - actually, I had it shredded for scrap iron - all seriousness aside, thanks for the interview quotes and other insights here. I heard Williams a few times in the 1990s, and met him briefly when I booked him for a large jazz festival I was directing. I'm not saying he played badly, but he really could have been one of a number of competent drummers. I understand the reasons a musician changes style and sound, though I also think it may have been related to his personal demons, substance problems etc etc that others probably know more about than I do. I know of several other great musicians who came out the the other side of that kind of problem, somewhat intact but never regaining a former edge and brilliance, and I have my own non-scientific theories about loss of brain cells (more specifically, Joe Albany and Al Haig were two who suffered post-sobriety musical blackouts, loss of concentration and focus) -

there is no point -

Max was incredible in the early days - what some people hear as mechanisitc I hear as the soul of the machine, to paraphrase someone else; a steely steadyness that was very modern in it lack of sentimentality and aversion to quainter notions of swing. And Larry is right on target, though I associate my problems with Max's later drumming as a somewhat unsuccessful attempt to stay with contemporary trends. It sounds, especially after the 1960s, as though he's trying too hard, working self-consciously to stay with the times. But that's just the way I hear it. Interestingly enough, at the time of Roach's greatest playing he was not personally very stable (one well-known jazz educator who knew everybody will only say "Max had personal problems in those days.") Bill Triglia told me, if he was walking down the street in NYC in the late 1940s or early 1950s, and saw Max coming toward him, he crossed to the other side of the street, as he did not want to turn him down if he asked for money or some other favor. And his violence toward Abbey Lincoln is also known, showing that he was not quite the picture of mental health even in the 1960s. My impression of him, when I ran a jazz festival in the 1990s and hired his band, is that he was a nice guy, easy to work with. As for Tony Williams, I always wonder why his drumming turned so ordinary in his last years - he lost that sound, that uncanny time sense and could be mistaken for just one of many -

ah, yes, the usual gracious and constructive Dan Gould post - good article, by the way -

just a note that at long last every order has gone out, incuding all Euro orders. The last two months have been like one long convalescence for me with a series of physical problems, so I am certain a few of you are annoyed at my slowness to ship all boxes. I do apologize but have been working at 1/2 speed with a series of serious but non life-threatening disorders. On top of the day-gig and a two-CD project of my own that will be out in about a month (and personal mild depression at being unable to play any instrument for now due to these problems), I have had to whittle away, and am happy to say (to quote William Westmoreland) that there is light at the end of the tunnel. For the first time, however, I did receive notice of a shipment that was received as an empty envelope (to Germany) along with an accusatory email saying I had packed the CDs improperly, and which threatened exposure on this forum. Well, 1) I have shipped over 200 packages in the same mailers and this is the first incident of vandalism or package damage and 2) I am mailing a replacement shipment this week. The mailers I have been using seem sufficient, but please let me know if they have been arriving with damage or other problems. I still have plenty of Volumes 3 and 4, can do $45 for one shipped, $85 for both (domestic). Or I can ship you an empty envelope for $20 (to cover my time) -

and don't forget to play that big Israeli hit tune, "A Day in the Life of a Moil."

I'm thrilled to see the Davey Schildkraut sessions on the Rugolo, and so will definitely purchase them - Davey told me about these, but this is the first I've seen them available in a while -

sounds good - and while you're at it, don't forget to up-load that video file of great Republican speeches - Limbaugh against drugs, Gingrich on family values and the evils of divorce, and, best of all, the death-bed interview with Terry Schiavo.

check out the local liquor store - cash register is usually un-guarded - per saxophones, I like Conns for alto, Martins for tenor, but they gotta be pre-war. Sound great, and the action is quite decent -

well, Cannonball had his faults - BUT - listen to: Know What I Mean - some of the best Cannonbal and Bill Evans - lets you hear the Nat Cole connection to Evans and Cannon plays great - Quintet Plus - a great session - hotter than a pistol - those are Riversides - and if course - Something Else - which no one besides me seems to have noticed was Miles's warmup for Kind of Blue -

well, unless Baby Dodds was playing pre-natally, I don''t think he performed in Congress Square (Dodds was born in 1898; those performances stopped well before that) -

hope its ok to do this - just read the article - and this is some of what I posted in another thread: "well, so much of our confusion stems from the fact that there is too much "product" or, maybe, a different philosophy of creation. I see a CD as a real project, like a novel, or a theatrical production, or a piece of performance art - in the current scene it's a business card, and I don't mean just for rappers but for many excellent new jazz/improvising musicians who don't know or care about their limits as composers. So it is one thing to have the visceral experience of seeing the music in person - another to have to wade through the 10,000 new CDs issued every month. This is, to a great degree, the reason for that recent article about the new disposable music industry of downloads and MP3s - we all want to blame bad pop music, but read the review pages of Cadence and Signal to Noise - there's just too much stuff coming out, and it all lends itself to a pick-and-choose and download stlye of listening -"

thanks guys - all the dent and scratches are taken -

well, so much of our confusion stems from the fact that there is too much "product" or, maybe, a different philosophy of creation. I see a CD as a real project, like a novel, or a theatrical production, or a piece of performance art - in the current scene it's a business card, and I don't mean just for rappers but for many excellent new jazz/improvising musicians who don't know or care about their limits as composers. So it is one thing to have the visceral experience of seeing the music in person - another to have to wade through the 10,000 new CDs issued every month. This is, to a great degree, the reason for that recent article about the new disposable music industry of downloads and MP3s - we all want to blame bad pop music, but read the review pages of Cadence and Signal to Noise - there's just too much stuff coming out, and it all lends itself to a pick-and-choose and download stlye of listening -

I understand - but I think it's like a speeding ticket - you can probably challenge it -

still have 4 boxes left - dented /unsealed of both Volume 3 and 4 - the Boxes are intact, CD and booklets are fine - I can sell these for $32.50 each shipped if we do paypal - my paypal address is alowe@maine.rr.com shoot me an email at that address and they're yours -

there exists some excellent live bootlegs of Max's group with both brothers AND Abby Lincoln, from Europe in the early 1960s - and even at a quarter tone sharp, in the 1970s, he played nice - and at least he wasn't foaming at the mouth -

Stefan - I know this accident looks like your fault, on paper - but consider a few things - given that you did not see the third car there is a good chance that: 1) he was tailgating the second car - following so close that you could not have seen him - 2) he was speeding - so you could not have judged his approach properly - or all of the above - I can tell you that I had a near-accident just like yours last year - because the last car was following too closely and going too fast, and I just saw him at the last second. SO, don't beat yourself up; AND, talk to your insurance company and your body shop - body shop guys can often tell by the angle of collision if it was caused by speeding - DO NOT admit guilt yet -

it's an interesting article, but I would pose the question: is the rise of jazz education equivalent to the rise of creative writing programs in academia? And if so, have those programs led to any substantial literary progress or to the opposite, the institutionalizing of an art form?

yeah, well, I think she finally saw that picture of him and figured she didn't want to be married to a guy without a penis -

saw him around a lot in NYC in the late 1970s - some memories: one night at Cami Hall in New York Turrentine played a concert with Duke Jordan (circa 1977); he played the whole concert a quarter tone sharp - like there was nothing wrong, they just went through each tune. I thought I was in the Twilight Zone one night at the Angry Squire, a club on 23rd Street that I used to hang out at, Turrentine was at the bar. He looked to be in a strange mood; as the night progressed he began to wander the club, staring into people's faces and growling like a dog. He came up to me at one point, put his face in mine, and roared menacingly. at one of Barry Harris's annual concerts (maybe 1979) Turrentine did a duet with Lonnie Hillyer on a beautiful and slow version of Star Eyes. It was nice, though both trumpeters seemed on the verge of collapsing. There was an intermission right afterward, and I ran into Hugh Lawson, with whom I was studying at the time. He looked and me and said: "those guys are FUCKED UP." ahh, the good ole days...

Lunceford reissues are also a good source of some very brilliant Eddie Durham arrangements - Eddie is to me one ofthe unsung pioneers of swing band writing -

yes, and I didn't realize that rats were such big jazz fans -