AllenLowe

yes! how did you know that? Curley himself told me that -

I've got one - and this stumped Phil Schaap years ago, who later asked it on his radio show AND took credit for originating the question: "Who was Donna Lee?"

"liberal atheist" - redundant? like "Republican crook" -

I am the true vine...

...and she's got something between her legs that would make a dead man come -

Bernie was a nice guy but dishonest, and I know one particular guy who worked for him who told me about him changing sales numbers to stiff musicians out of royalties - there was lotsa stuff like that - in terms of copulating blues, if you want to hear the best of this, sound and song-wise, pick up the Sony Legacy Lucille Bogan, which has the first clear version of Shave Em Dry, along with another sex song called Til The Cows Come Home - it's a long and complicated story, but I turned up these two pressings in a private collection, transferred them and restored them, and passed them on to Larry Cohn - they should be heard, as they are absolutely amazing -

seconding Larry on Carmen Leggio, a nice man and a great saxophonist -

well, Hammond was good, but he was no Chris Albertson - (sorry Chris, could not resist) -

or maybe NM +2, divide by 6 and multiply by 7 - sorry for all the joking, Music Minus One was an old jazz series in which a player bought a record that had a rhythm section and no soloist and played along - because of that series I am able to say on my resume that I've played with many famous people - gotta go now, as Bird is on the stereo, and as soon as I can fit in a chorus I'm going to put him on my resume as well -

I don't want to start a fight here, but I always felt that Jordan was everything that John Lewis wanted to be, but was too self-consciously aiming at: straightforward and soulful yet lyrical, modern yet with a strong sense of the past. As a matter of fact, for all his bebop connections, Jordan's time sense was often very "old fashioned" - on the beat, very straight quarter notes. Of course, we shouldn't forget (and someone might have mentioned this already) his perfect intros on the Dial/Bird ballads like Don't Blame Me, Out of Nowhere, My Old Flame (I think he's on all those) -

are you sure it's not: "NM Minus One" ?

great pianist, lyrical and soulful - I can add a bit of personal perspective to what Larry is indicating, as I got to know Jordan a little bit in the middle 1970s (maybe late, I don't quite remember the year) - he was living in St. Albans, Queens and playing at a little club out there - also did a concert at Cami Hall in NYC with Tommy Turrentine (!) on trumpet - this was one of the strangest evenings I've spent, as Turrentine played the entire set a quarter-tone sharp, and neither he nor Jordan seemed to be aware of this - Turrentine played well, if in another key - I interviewed Jordan, talked to him a bit, and he was quite touchy - just about anything you might say could set him off, so it was difficult. He did tell me that he'd lost the publishing for Jordu and was not seeing any money from it. I can also add, from what he told me and from what Evans himself confirmed a few years later, that Bill Evans greatly admired his playing and that the two did some informal playing/practicing together (never, unfortunately, recorded). Jordan seemed to consider himself more of a composer than a pianist though, of course, his great lyrical gifts on the keyboard belied this.

well, I was kinda thinking the other way around...

just for safe-keeping, why don't you post your current credit card numbers here - and don't forget the security codes -

these are all great and essential recordings - though Haig himself was somewhat amused when many of them (with his permission, as he had a good relationship with Spotlight) came out under his name - "hey, I only have a half a chorus on some of those, and they're actually paying me as a leader" he said - a welcome change from the usual jazz biz -

I have a lot of NOS CDs from a former (and f'd up) deal with a Japanses label; you've seen me sell these here - I have titles (one each) by Warne Marsh (real bad sound), Zoot Sims, Art Pepper, Bud Powell, Percy France and Dave Schildkraut. Except for the Marsh, they're all good recordings. I'm looking to unload them as cutouts; they are all sealed, with no holes or anything else punched in them. I will sell for $1 a piece shipped, minimum of 100 pieces (ok to mix and match). The Marsh I will sell for .50, minimum 50 copies. Papypal preferred; my paypal address is alowe@maine.rr.com - I'm willing to negotiate. Send me a threatening email: alowe@maine.rr.com

I don't know if he changed it, but in the begining of the bio it has "Grateful" -

"Big Beaver" huh? Sounds like a follow up to the old Light Crust Doughboys song "Pussy Pussy Pussy" - (not kidding - it's a pretty funny tune)

actually, he spelled Grateful Dead correctly -

funny you should mention his name - I was in Amsterdam in 1988 and went to a local jazz club, and I sat in on saxophone with the band - after I played, a drummer and pianist went up to the bandleader and asked to sit in, which they both did, and they were incredibly obnoxious, overly agressive as though trying to take over the gig - the drummer thought he was hot shit and kept telling everyone that he'd worked with Jaco - his name? You guessed it, Brian Melvin -

I don't know boys...just started reading all this, a lot of in-fighting here for Organissimo, a lot of bitterness toward Mel -- I think we have to all get along. To quote the words of Lenny Bruce: " We need to get together - black and white, Jew and Gentile... we need to all get together - and beat up the Greeks."

still here, just busy these days - always glad to see a thread about Percy, who was a good friend, played at my wedding (along with Randy Sandke, Dick Katz, Leroy Williams and the above-mentioned Joel Perry, an old friend of mine, as well; as a matter of fact, I think I introduced him to Percy). Percy was one of the greatest saxophonists I ever heard, and taught me a lot about horns and mouthpieces. There's not a lot of him on records; I got the feeling that Percy, for all of his talents, avoided success, tended to avoid opportunities, but that was just the way he was. Sir Charles Thompson said he was the greatest saxophonist he ever worked with. not sure if this is whose purse was stolen, but Percy, for a long time, hung out with Singsy Kyle, a very nice lady who was Billy Kyle's widow. I have plenty of copies of the CD, $5 shipped is fine, my paypal address is alowe@maine.rr.com

I think, actually, that he PLAYS a thirteen year old sax - but he himself is 47 -

gotcha - reminds me of another story, thinking of keys - people used to say about Sonny Stitt, wow, he plays those tunes in odd keys, what a guy - when the truth was a little different - Bobby Buster, an organist I used to worked with who worked a lot with Stitt told me that the reason Stitt played in some weird keys was that he was too lazy to transpose, sometimes, when he swtiched instruments - so, for example, if he played Body and Soul on alto he'd want to do it in the tenor key, which would put it at Gb concert -

there actually is one Evans arrangement that Ennis recorded, and it's in my book and on my collection, but damned if I can think of the name of it - will report back, but I do remember it's quite brilliant -