AllenLowe

the only reason I worry about the Miles credit for Donna Lee is that he was not above putting his name on other people's tunes - I seem to recall he may have taken credit at one point for When Lights Are Low -

I got Bird's axe -

musical suppositories - you heard it here first -

I like all of Priestly's work, and the Bird book is short but smart and accurate - this is interesting, Larry, as I tend to identify Bird's compositions by the ingenious harmonic extensions - usually shown in broken chords that land on odd but perfect places and which resolve quite miraculously. But Priestly may very well be right - though I do hear Bird's melodicism on Ornithology - on the other hand it, like Donna Lee, lacks the chromatic complexity of some the tunes we know to be his - thinking, also, rhythmically, of Billie's Bounce and Relaxin at Camarillo (playing that last with inexperienced rhythm sections always caused problems, somewhat like Dameron's Sid's Delight, which has the most difficult rhythmic twist I ever encountered in a bebop tune) -

correct on Jack Black and Hayden's daughter -

well, I have a private Bud Powell recording of early piano lessons from 1922 -

Larry's probably right about my previous mention of Schaap and this - ("you know you're gettting old when...) ok here's a new trivia one, maybe it's gotten around already, I don't know - "what famous actor is marrying what famous bass player's daughter soon (if not already)?"

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)