AllenLowe

sorry, this topless cellist has got 'em all beat - and they swing - meet Charlotte Moorman -

yes, Alfie is an incredible piece of work - actually the 1960s is my favorite period for Sonny - and I think he reached a peak in those years that he's never equalled since (allright Sangrey let's not start a fight here) - to get back to the theme of this thread, Sonny's work in those days does speak to how an older musician can come to terms with changes in the music in an organic and convincing way -

I'd recommend Wild in the Country and King Creole - I also like Jailhouse Rock and GI Blues - and how could I not like a movie (Jailhouse Rock) in which they mention Lennie Tristano (really, they do) -

well so much for my not posting - I spent some time last night going back to listen to Perkins - it's funny but he's one of those people whose playing just never registered for me - I don't like his tone on the earlier stuff, the later just doesn't convince me, though I can always hear how good a musician he was, I can understand how restless an intellect he seems to have - it's just that he was one of those guys that seemed on the verge of surprising me, but never quite did - oh well, will have to listen a bit more - on that issue of musicians turned around by changes in the music, with things that they fear they cannot keep up with, well this happened even to Sonny Rollins - I had a very long talk with Jamil Nasser one day and he told me about Sonny's response to Trane, as Jamil had been doing some gigging with Rollins - he basically said that Sonny was completely thrown by Trane's ascendance; previously Sonny had been king of the hill. Jamil felt that this was connected to some self-conscious eccentricities on Sonny's part - the Mohawk and the practicing on the bridge for two examples; Sonny, to his view, was just trying to find his place in the scene. A similar thing was said to me by Paul Bley, who thought that the Our Man in Jazz period was interesting, but not as good as Sonny with a more conventional group (and Bley's tales of Rollins with Coleman Hawkins are quite funny -Sonny basically kept trying to lose Hawk and Hawk kept asking Bley to cue him in) - I saw this fear of keeping up with the musical changes in Art Pepper, who could not do it convincingly; I think if one listens to Frank Morgan's latter-day playing one can hear him trying to play things like Wayne Shorter tunes and not really knowing how to approach the line and instead substituting (as with Pepper) just pointless flurries of notes; I even thought Jacki McLean succumbed to this on occasion, running fourths in order to try to extend the harmony, instead of working within his own stylistic parameters (though jackie finally adapted well). And when Dave Schildkraut recorded for me in concert in 1978 he was clearly trying to work at Coltrane - whom he told me he believed had been influenced by Dave (something I believe, by the way, based on some other things Dave talked about) -

well, I guess for the French, he's no Jerry Lewis - though Elvis and Jerry DID make similar quality movies - : )

the live Hayride recordings are quite amazing if you can find them with decent remastering - as a matter of fact they may be in that '50s box -

and I think I'll bow ot of this thread now, as I gotta admit I never liked Perkins's playing -

maybe I've missed some Kamuca, but, though I loved his plaing, I never heard it as edgy - there's also the LP Drop Me Off in Harlem, which I love and found very Prez-like, as I recall -

I understand, and hope I didn't over-react - it's just that I've also felt that the distinction between intellect and feeling is really false - I don't think anyone can truly separate the two, can really ever say, this is something I am expressing by intellectual association, or this is something I am just pursuing on instinct - I've always felt that the intellectual and the instinctive were two sides of the same coin - of course, everyone has their own ways of doing things, and I am, musically speaking, analytical by nature; that's how I taught myself. But I do think that the satisfying thing about the analysis of something like Larry Kart is that, when I read it, I realize how amazingly well he distills the process from all sides -

Fasstrack - Larry doesn't over-analyze, he analyzes, so spare us the anti-intellectualism - I'm a musician and I DO take this stuff seriously - as did Bill Perkins, John Lewis, et al -

I heard that the title of the Lee Morgan bio is "A Shot in the Dark" -

I was wondering the same thing...

I just never liked Perkins's sound - too steady and lacking in nuance, at least on the stuff I remember - like he was using the mouthpiece that came with the horn -

seem to have had a little trouble with the bold -

All CDs: each: $8 shipped - prefer paypal: my paypal address is alowe@maine.rr.com email me at alowe@maine.rr.com Art Blakey and Jazz Messengers: Paris 1958 Live at the Club St. Germain (Timmons/Golson/Lee Morgan) - Bluebird Richie Kamuca/Bill Holman: West Coast Jazz in Hi Fi - w/Candoli; Rosolino. OJC LTD Chuck Wayne: String Fever. Don Joseph, Eddie Costa, Gene Quill. RCA Jimmy Guffre 3: Hollywood and Newport 1957-1958. w/Brookmeyer and Jim Hall. Fresh Sound. Lee Konitz At Storyville. Black Lion. Milt Jackson. Plenty, Plenty Soul. w/Lucky Thompson, Cannonball Adderley, Jimmy Cleveland, Pettiford. Atlantic Donald Byrd: Byrd in Paris. Live with Bobby Jaspar, Walter Davis, 1958. Polydor. Coleman Hawkins and Roy Eldridge. Live in 1959.Stash. Dexter Gordon. Daddy Plays the Horn. Bethlehem. Tubby Hayes. The Swinging Giant. Jasmine. Dexter Gordon: The Resurgence of Dexter Gordon. OJC. Gillespie and Getz: Diz and Getz. Verve. Art Farmer: Modern Art. w/Bill Evans, Golson. Blue Note. Sonny Clark Trio. w/P. Chambers, Philly Joe Jones. Blue Note. Birdland Stars 1956: Phil Woods, Kenny Dorham, Hank Jones, Al Cohn, Conte Candoli, Kenny Clarke. Bluebird. Clark Terry with Paul Gonsalves: Daylight Express. Chess. James Moody: Return From Overbrook (also includes Flute 'n the Blues). Chess. Rene Thomas Quintet w/JR Montrose: Guitar Groove. Warne Marsh Quartet: Music For Prancing. Mode. Cannonball and Coltrane. Emarcy Johnny Smith, w/Stan Getz. Moonlight in Vermont. Roulette.

well, remember the old saying: there are no stupid questions, only stupid people asking them -

Cohn - throaty moan, think Hershel Evans - Kamuca - light but some bottom, very buoyant - Perkins - whatever's left - actually, more of a plain, un-colored sound - the least interesting player of the three - hope this helps -

I would stick to the Sun stuff, which is quite amazing - there's a few good compilations; of course they only go from something like 1954-56, but they're worth it -

one of my books has a foreward - or maybe a foreskin - and it was written by Roswell Rudd -

I didn't know that - Nance is also on a Byard/Prestige called Strings Attached -

I don't think Byard is on the UA session -

as long as you bring the vaseline -

best violinist I've heard these days is Andy Stein - the ONLY one I've heard who can swing the old style authentically -

well, 78s have lasted over 100 years -

here's what's left: The John Lewis Piano/Jazz Piano International - (garbage) Collectables Steve Lacy: Plays T. Monk: Reflections - OJC Jackie McLean: Jackie's Bag - Blue Note Thelonious Monk: San Francisco Holiday - Milestone Thelonius In Action - Live at the 5 Spot w/Johnny Griffin - OJC MJT + 3 (Modern Jazz Two plus 3): Message from Walton Srteet: Mabern/Strozier/Bob Cranshaw etc - Koch Red Norvo/Mingus/Tal Farlow - trio - VJC Anita O'day Sings the Winners - Verve All are Cds: all $6.50 plus shipping. Paypal only. email me at alowe@maine.rr.com (which is also my paypal address):