AllenLowe

All Prices Include Shipping Charlie Parker The Complete Dean Benedetti Recordings Mosaic $80 shipped media Thelonious Monk Les Liasons Dangereuses 1960 $12 shipped media Elmo Hope Sounds From Rikers Island $12 Shipped media Jackie McLean One Step Beyond RVG edition $15 shipped media Jackie McLean Destination Out RVG edition $10 shipped media my paypal is allenlowe5@gmail.com

sale has ended. To the landfill.

I loved John R.T., nicest guy ever - and he was able to transfer music in the best possible way - and the key, other than his expertise, was the sources he had. He and Brian Rust were able to acquire test pressings and metal masters from sometimes mysterious sources (meaning someone spirited them out of certain places), clean sources in mint shape. The tragedy of American music is the loss of masters, from Victor, Okeh, Columbia - though some still exist, clueless engineers have no idea how to handle them (and also, note, that Davies, by the time of the above transfers, was using CEDAR digital noise reduction; he was no Luddite).

I would tend to ignore anything recorded after, maybe 1955, in order to get an accurate aural picture of the times. Don't forget Kid Rena, one of the first to record in the revival. Tons of Bunk Johnson, inconsistent but some moments of real beauty; I would pick up the Decca sessions for a start. Some else mentioned American Music, Bill Russell's label, I think, and almost everything on that is worthwhile. Tom Brown (trombonist, not so known, but may have even been playing jazz in Chicago and elsewhere even before the ODJB). He recorded in the 1950s Johnny Wiggs, fine trumpeter, distinctive player and even more distinctive for being an active supporter of MLK; also had a clear Bix influence. Sharkey Bonnano Paul Barbarin, great drummer. Lizzie Miles, a singer who, at her peak, was, IMHO, the equal of Bessie Smith. Ann Cook, singer, who recorded in the 1920s with Louis Dumaine, and then later on for American Music after, IIRC, she got out of prison for stabbing someone. She became a church lady. Big Eye Nelson. Geroge Lewis. JELLY MORTON - get the General Recordings of his solo piano, amazing, brilliant stuff reissued on Commodore. Made just before the revival, as, sadly, Morton died too soon, but gives you a clear picture of what a more progressive New Orleans player was thinking about. Louis Prima - few people realize what a terrific trumpeter he was before he became a star. Irving Fazola - beautiful clarinetist. One of the best. Died young. I am sure there is lots more; I would avoid Al Hirt and Pete Fountain. That's really tourist music, though both were excellent musicians.

Step lightly, ye who are un-hip; no reasonable overpayment refused; 3-day Sale, until Monday only: Miles Davis Complete Bitches Brew Sessions Box 4 CD. $25 plus $9 media shipping Don Cherry Cherry Jam 1965 Copenhagen concert Gearbox $15 plus $5 media shipping Art Ensemble 1967/68 Nessa (I have doubles of this one; essential) $75 plus $8 media shipping Hasaan Ibn Ali Metaphysics: The Lost Atlantic Album Omnivore Still Sealed $10 plus $5 media shipping New Vocabulary One of the rarest Ornettes. System Dialing Still Sealed $30 plus $5 media shipping. Thelonious Monk The Complete 1966 Geneva Concert. Also, two bonus tracks with Ernie Henry. 2 Cds, Solar Records. $22 plus $6 media shipping. Andrew White The Living Legend Live Gigtime 2000 Vol. 1 Nouveau Fonk Andrew’s Music $15 plus $5 media shipping. Gil Melle Andromeda Strain soundtrack Intrada $60 plus $5 media shipping. Sonny Sharrock Guitar Enemy Records $15 plus $5 media shipping. Thelonious Monk Les Liasons Dangereuses 1960. $10 plus $4 media shipping Ken Mcintyre The Complete United Artists Sessions 2 CDs $20 plus $5 media Shipping Charles Mingus Passions of a Man Complete Atlantic Records Atlantic. 6 CDs Still sealed $22 plus $6 media shipping John Coltrane Complete 1961 Village Vanguard Recordings. 4 CDs Impulse $22 plus $6 media shipping Sam Rivers A New Conception Blue Note. $25 plus $5 media shipping My paypal is allenlowe5@gmail.com

thanks, I will check it out.

I am interested to see the interest in Matlock. He lives around here and we have worked together, but I have yet to hear him do anything that really moved me. Can you guys give me some recommendations?

it was Doc Cheatham who told me how Percy died; quite awful.

what a tragic story. I never knew how he died, and was hoping it was not the usual musician's drug trajectory story. Now he's out there with Eddie Costa and Dave Lambert and Clifford Brown, just for starters.

it may be time for me to revisit Ran. I just never warmed to his playing, I tended to admire it without liking it. When I listen I always find myself waiting for something to happen. But I am an impatient listener, so I cannot say that is my final verdict.

it's probably not a popular opinion, but non jazz musicians do not realize how much of the music they admire in the creative/free music scene is simple to play or re-create. I think this is an aspect of simplification which we don't talk about much. I was able to play in that style when I was 16, and play in it sometimes now, but am shocked at how lazy and repetitive so much of it is as supposedly "composed" and performed today. It is the path of lease resistance.

but if the pond is huge - really an ocean - the Scum Also Rises.

well, you cannot avoid the stagnancy; if you are a musician, or any other kind of artist, the stagnancy becomes the standard, and makes it harder to function except as a rebel, and rebels are often rejected and prevented from working.

well, from the way this guy responded to me, I would still wonder; chances are that what they are doing is converting their back catalog to CDR,

I like the label, but for a while, and maybe now, they were/are using CDRs and not informing anyone. When I sent an email complaining politely the guy who answered got pretty nasty.

thanks, much appreciated -

just to correct, not that it was mastered too hot, but that there was a lot of distortion introduced with whatever system they used to re-do it.

probably not; check back with me in the Fall -

yes, ESP will set that up.

thanks - I want to mention that this was recorded without isolation, basically live in the studio; I've been talking about this idea a lot lately, and our new project is all recorded au natural.

Available for Presale Louis Armstrong's America will be available in August, but I am offering a deep pre-sale discount to help with the financing of the project. Louis Armstrong's America is meant to evoke, with original music, the musical eras that Louis Armstrong lived through, from ragtime to early jazz, swing, bebop, the jazz avant garde, Dada and rock and roll. We are going to release 4 cds total, on ESP DISK, in two separate 2-CD packages. It will be real CDs, and each two-cd set (Volumes 1 and 2) will be available at an advanced price of $15 each – or, if you can, both double-cd sets for $25 (plus $5 for media shipping). So if you order one it is $20 with shipping, and if you order both it is $30 with shipping. The best way is to order through Paypal (my address is allenlowe5@gmail.com) but I can also accept Venmo or Zelle, or you can mail me a check. Just let me know. Participants in the recordings include: Marc Ribot, Ray Anderson, Frank Lacy, Lewis Porter, Aaron Johnson, Elijah Schiffer, Matt Shipp, Ursula Oppens....and more. There may also be some older cuts mixed in with Doc Cheatham, David Murray, and Julius Hemphill; and possibly Roswell Rudd (still working on some of this) - thanks, and please order as soon as you can.

just to add, there are some incredible Youtube videos of Garner playing live.

1) per Dan Gould's question, I like Gene Harris; not my favorite pianist, but a really fine player with a sense of pace and real feeling. 2) To say that someone who does not like OP is "narrow minded" is unfair. My feelings about him are clear, but I probably have more varied musical tastes than about 90 percent of the jazz population. 3) I am a little distressed at the comments that still describe Tatum and Peterson as similar in some ways. Not to pull rank, but as a musician I hear a world of difference, and it is primarily harmonic. Tatum was one of the epochal harmonic masters of American music, and it takes a different kind of listening than that which you might bring to OP or most pianists. If I can I will find Lewis Porter's take on Tatum's brilliance and post a link. here - start with this. Lewis is brilliant, he writes clearly, and he is a great pianist himself: https://lewisporter.substack.com/p/tatums-dissonant-avant-garde-side and this, from Lewis' thing on WBGO: https://www.wbgo.org/music/2017-09-05/deep-dive-with-lewis-porter-in-praise-of-art-tatum-stealth-radical-in-the-jazz-piano-pantheon

Oi, my head is spinning I just read this whole thing again. FIrst, let me say that I love Errol Garner; unlike OP he really swings, and it's a much different matter. There is some pacing, some genuine improvising, and those intros are mini masterpieces. Next, I would like to apologize to Jim for whatever little feud we had back in 2011. I remember a bit of it, but it is all water under the bridge (unless OP is playing that bridge, in which case it will fly by in a whirl of pointless phrases). I want to mention Bud Powell - as great technically as OP, no, better - but a real improviser. His lines have an amazing thud and whirl to them, with space and air and true originality. He is the real thing, and i would say that his touch is percussive in an older fashion, along the lines of the way black players have of phrasing with emotional continuity rather than with just scales and patterns. OP just snaps it on and proceeds like a machine, with a supposed clarity that is, to me, contrary to the spirit of jazz tonality. Bud had a humanity to his touch and sound that OP could never reach. Bud's lines breathe; OP's lines charge through like a freight train in which the brakes have given out. I do find OP offensive, as I have said. It's a visceral reaction at what I hear as artificial. As Dick Katz said once, there's a difference between technique and facility. What OP had was facility, and it does not compare to Tatum, whose harmonic mastery was genius and constantly in motion (Lewis Porter has written beautifully on how and why people misunderstand Tatum). As for Justin, he has continued to stalk me from time to time, telling me whenever I dislike something that I am simply jealous. That's a great line of argument. As for his complaint about why it is ok for me to severely criticize OP while I take offense at Justin's criticisms, well...if he has musical arguments with me or my music I welcome him. But what he said was deeply and offensively personal. As for the rest, well, I'm still alive (I didn't expect to last this long when things started to go south for me in 2019) and I try to remain calm, but when you are a musician for as long as I have been and have gone through what I have you tend to feel a little bit raw about certain kinds of insinuations. But I am sorry if my response to those insinuations crosses certain lines from time to time. I have just been through too much to react passively and without response (and many thanks to Dan Gould for what he said in the early days of this conflict).

for overseas people or Canada, don't give up. I want to get this out there and I should have pricing in about a week or so.