AllenLowe

yeah, that's my winter resolution; will not be goaded into any more organissimo fights no matter how vicious the attacks on me or how pervasive the incidents of character assassination or how many of my dogs that you kill (you know who you are): CDs for Sale: (All Prices Include Shipping First Class in Plastic Sleeves accompanied by Smiley Faces and Hallmark Cards): Lee Konitz: From Newport to Nice: "Live" recordings from 1955-1980, with: Russ Freeman, Henry Grimes, Johnny Smith, Jimmey Raney, Jimmy Rowles, Rene Thomas, Attila Zoller, Red Mitchell, Shelly Manne. Philology. $9. Pentangle: The Pentangle Family: Double CD Anthology, includes early Jansch/Renbourn sides. Castle: $8. Van Morrison: Astral Weeks. Has Richard Davis and Connie Kay. How can you go wrong? Warners. $6. Gram Parsons: Another Side of this Life: The Lost Recordings 1965-1966. $6. Sundazed. paypal preferred. Email me at alowe@maine.rr.com, which is also my paypal address.

the problem with the Bridge is that it never seems to get going - and I think it is his weakest studio date up until that point (and maybe until the late 1960s) -

Shipp is an absolutely amazing musician - suffice to say he can do anything - give him a tune that's open and free or a set of chord changes and he makes something out of it. I don't think there's any musical context in which he would not be able to fit in -

not to worry - think about Django and his fingers -

"sigh" just when I said to myself, don't start any more trouble on that board or Alfredson's gonna kick you off... but... I've always thougght The Bridge was one of Sonny's weakest albums. He sounds constrticted, never seems to get going. I much prefer the Jazz Standards recording from this period - this is not a flame -

I'll fix it for you Chuck - first I'll need: 1) Your social security number - 2) your credit card number 3) your bank account number 4) your mother's maiden name 5) your shoe size and not to worry, this is a secure server -

Prices include CONUS shipping first class in plastic sleeves - email me at alowe@maine.rr.com, which is also my paypal address. Gerry Mulligan: New York December 1960. The concert band live, with Don Ferrara, Condoli, Travis, Brookmeyer, Willie Dennis, Gene Quill, Bill Crow, Mel Lewis. $9. Jazz Anthology. Gerry Mulligan Live In Stockholm 1957. With Brookmeyer. Moon Records. $8. Tubby Hayes Quartet and Orchestra. The Swinging Years. Jasmine. $6. Michael Bloomfield. It's Not Killing Me. $7. Tommy Ridgley. The New Orleans King of the Stroll. Rounder. $5. MJT +3. Harold Mabern, Walter Perkinds, Bob Cranshaw, Frank Strozier. Koch. $6.

gotta add - ditto to Clem on the Strausbaugh book - and I love the old Amos and Andy Television Series - one of the few things that employed black actors back then; more important, genuinely funny -

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 -

in this regard, it is quite true that their have been musicians (of all genres) whose music I did not really, at first, understand or appreciate, until I knew a little bit about them, their lives, or the context in which they performed. More than once, such information and/or background has illuminated the music in sudden and surprising ways, and led to a much deeper way of listening - I have heard this context referred to as a "social construct" (accent on the first syllable), I think, so, yes, many times this kind of thing is invaluable. As with everything, it depends on the writer; the prime problem with so many academics whose work I've read is that they really do not understand the music in detail, or have not, really, listened to enough of it. So it is rare to find a writer who can satisfy this critical standard from both sides, in the historical context and from the aesthetic/technical point of view. Once again, too many seem to just spend enough time with the music to make sure that they have information that fits their ideological precepts. On the other hand, I have seen criticism of the general standard of jazz/pop critics as being mere "hobbyists"; this has come from some so-called professionals, and I have been at the other end of this (a proposal I did for the NEH described me derisively as such, because I do not have a degree in music or related field) - truthfully, it IS a problem, and too many critics are deficient in too many ways. On the other hand, time after time, the most perceptive things that I have read are by journalists.

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 -

strange thing, however, is that there is a good deal of truth in that particular passage - I'm just not sure that it applies to Hammond and Feather -

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.

amen, again. Deveaux's statement abotu breaking free from isolation is ironic, given how isolated from reality most academics in this field appear to be - another problem with all this, as I've said before, is the desire by some writers to claim a certain "American" space, as in American studies, to show how fatihfully jazz (and other American, ususally vernacular) music fits into the so-called American scheme of things. Think about Wynton and Crouch crawing on Ken Burns about how democratic jazz is and thus how American it is, a big bunch of BS. It's really an attempt to corral something that cannot be corraled so gliby because, as others have indicated here, the first impulse in creating the music is personal and expressive, and thus aesthetic. Like Gilman said, people like Armstrong and Ellington are writing a counter-history to American life, which is far different and much more complex than merely, as Wynton and Courch would have it, reflecting some sort of socio-historical circumstance. Much as they might fit certain sociological categories, thir work far transcends such categories. One writer who has really gone off the deep end in this is Greil Marcus. His first book on Elvis et al is really quite smart; from there it has all been down hill, I think, as more and more he has tried to cram the round peg of American culture into the square hole of cultural theory. His justifications for "Americana" as a point of study are getting more and more silly and absurd.

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 -

I don't know, youse guys are losing me here. We better ask Scott Yanow what he thinks about this...oh no - that's that other thread -