AllenLowe

let's not forget Omer Simeon, one of the greatest jazz clarinetists -

well, for best sound I would get a good phono pre-amp, send from the pre-amp to a power amp, and go out from the power amp into an A to D converter- from here I would go digitally into your computer. This is more complicated but the sonic difference will astonish you -

actually, I was thinking of suing Weizen for giving me a headache -

that's the label - it's fairly easy to find these as used LPs -

if I remember correctly, he died very young - Al Rose wrote about him in his autobiography. I've heard him on a few LPs that were ok but somewhat disappointing, but I'm not sure if I can put my hands on them - as I recall they were on some label that was dedicated to New Orleans -

sorry, I love Dolphy, but nobody steals the show from Jaki -

I saw the original band in 1968 in NYC - I've always thought that there was a loose edge to them that no suceeding Zappa band has matched, a much closer tie to older rock and roll, and more of a feel for the old stuff, which made the NEW stuff even more interesting. one intersting thing about Zappa, to me, is that, though he claimed the opposite, he was a real lover of old fashioned rock and roll, and understood how great that music could be. The night I saw him, he introduced Sam the Sham, who was in the audience, brought him up on stage, went into a huddle with the band, and produced a letter-perfect version (with Sam singing) of Wooly Bullly -

I'm sure these guys are fine, but the original band (1968+) had a nice precise/roughness to them, much funkier than the Steve Vai generation -

just wanted to post my apolgies fort the lateness of shipping the last few orders, which all went out this weekend - I had a bit of a personal tragedy this last week, and on top of a new job and schedule, things have been a little difficult - everything is on its way -

I know there are some ethical issues but, trust me, nobody gets rich issuing (or reissuing) this stuff - and without these guys we'd probably never see these sessions again -

I like Handy, but I don't see any stylistic connecrtion with Dolphy - and, as Handy has indicated in interviews, he had/has little sympathy for free or tonally extended improvisation - he's a good player but a bit conventional for me, even when playing in more open contexts -

I'll take 19 - and than see you guys on Ebay -

Bobby and I worked together a lot - he was a terrific musician - his brother Eddie was also a fine player, but Bobby was really the pro in the family (Eddie was a fine accompanist but not much of a soloist) - I liked Bobby, though he was one of those guys who was so personally bitter that I never quite felt he was telling me to my face what he really thought about me, or life in general (read: race) - and he knew the tunes, which was why I liked to work with him, just to get away fromt he real-book stuff. He died in a car crash, apparently after having a heart attack -

Berendt is quite the poet, and for those who haven't seen the DVD, he says the following; "Ikh ver alt, ikh ver alt... Un der pupik vert mir kalt."

at New Haven jazm sessions at the old Monetery, Bobby Buster used to turn up his amp and start doing this when he decided the soloist had gone on long enough - it was funny, as his expression never changed, but everybody got the message -

it wasn't me -

it wasn't me -

it wasn't me -

Just to revive this, I just sent the following email to Scott Saul: Hi Scott – I’m have been reading Freedom Is/Freedom Ain’t, and wanted to make a few comments. 1) Per Mezz Mezzrow – I think you’re being unfair to ascribe racialism to Mezzrow’s attacks on modern jazz as neurotic, savage, etc – they are not unlike Louis Armstrong’s, who referred to post-WWI jazz as “that modern malice.” It was fairly common to read into bebop as being indicative of modern neurosis, as being representative of a new age’s increasing self-consciousness. Probably much the same would have been said by people like Pops Foster and Baby Dodds. I also don’t know if you’ve listened to a lot of Mezzrow’s music, but his performances with Sidney Bechet/Sammy Price/Pops Foster (King Label) are quite good and certainly not indicative of any ideological confusion. Ultimately the music is the most important thing, I think, and I wish you had considered more of Mezzrow’s; it is relevant because it shows that he not only talked the talk but could actually play the real thing. 2) If you are going to deal with the 1950s and it’s relationship to changes in the 1960s, especially as regards Mingus, there is a whole school of music you have missed. Mingus himself was very influenced by his association with a generation of 1950s avant gardists, including Teo Macero and John La Porta, and was listening very closely to Lenny Tristano, Lee Konitz, etc. Paul Bley would be a good one to talk to about the low-profile modernist concerts of the 1950s, the experimental work being done by musicians who are not normally well-considered in jazz histories (think also Teddy Charles, George Russell, and Hall Overton). Mingus was not afraid to admit the importance of these associations, and Max Roach also spoke about the importance of Tristano and his 1950s progressive movement, which really should have been integrated into the book (see the recording of Ezz-thetic, a George Russell composition, with Miles/Roach/Konitz/Sal Mosca). It also might have been relevant to talk about Dick Twardzik and Jaki Byard; Twardzik was doing advanced work in the 1950s, and Jaki was playing in open forms in the 1950s. Surely this also impacted on the changes in 1960s music, as well as on the development of hard bop. It might have been interesting, as well, to look at Bill Evans’s association with both Mingus and Miles Davis (not to mention George Russell). 3) Per Sam Shepard, I was a little disappointed that you did not mention his association with the Holy modal Rounders, with whom he recorded, Certainly this was an important part of his musical response to the 1960s. Thanks, Allen Lowe

don't forget Triglia - his knowledge of that time and that club (he was house pianist for a while) is essential

Jane is a great player and a nice person - and she's married to the actor Joe Grifasi -

Especially Calculated Music

don't forget Triglia - his knowledge of that time and that club (he was house pianist for a while) is essential -

interesting interview - a little discouraging that the interviewer never heard of Slugs, which was one of the most important 1960s clubs in NYC - does not fill me with confidence about his knowledge of that era -

I'm glad this thread kept going - as, until I read about it here, I was certain that James Spaulding was dead - which he apparently is not - and I for one am glad to hear it -