AllenLowe

sorry - missed this - it's been re-scheduled for 4/17 - the day before he leaves for Europe - will report back -

there's lots of good comps - any Document, as has been mentioned - particularly, and his is important, the Document Guitar Evangelist CD with Utah Smith who, in my opinion, invented rock and roll (see my maybe-to-be-published history of rock and roll about this strain); Blind Mamie Forehand; The original Blind Boys of Mississippi; find anything with Bosie Sturdivant, who recorded for the Library of Congress in the 1930s; pick up the Document early quartet records (from ca. 1921 onwards; also the Dinwiddie stuff from the turn of the century); and don't forget the recording which Dick Spotswood discovered, one of the earliest black recordings, Poor Mourner, ca. 1897: Cousins and DeMoss with banjo accompaniment which represents, as Spottswood has ssaid, "gospel written for the minstrel stage," an important hybrid -

sorry - I wasn't trying to start a fight - I just find Murray a useful frame of reference stylistically as someone who has certain of the same goals as Krystal - at any rate, Krystal is a brilliant player. I had a conversation with him some years ago that was very interesting - he told me that he rarely gets the gig or studio calls because he's not a Coltrane-clone, not slick enough even for some of the straight-on jazz dates. Just goes to show, as I've often observed, that fellow jazz musicians are far from the best judges of talent -

Davey was something - he turned down three recording dates with Dizzy, and he turned down Norman Granz who wanted to take him on the road - and he was admired by everyone - Stan Getz, Jackie McClean and Bill Evans all told me they thought Davey was one of the greatest saxophonists they ever heard - Evans's quote, exactly was: "As far as I'm concerned there were only two saxophonists who came out of the bebop era who didn't just copy Bird - Lee Konitz and Dave Schildkraut." I cornered Dizzy at a gig and asked him about Dave - he said: "Dave Schildkraut was the ONLY saxophonist I ever heard who captured the rhythmic essence of Bird."

actually, the daughter was killed in a car accident; she had a very crazy boyfriend, and Davey was always warning her about his driving- one day he lost control of the guitar and wrapped it around a tree, and she was killed. Davey's wife Gloria, a lovely woman, took to her bed after this, and never got out, finally dying of cancer. Davey had moved to that Coney Island apartment from a place they had near the Belt parkway where I had visited him and Gloria a lot in the late 1970s; we lost touch as Davey became more and more paranoid. Last I talked to him, in the middle 1990s, I think, he accused me of stealing money fom him and exploiting him, and told me that people where coming up to his door and than running away. That was the last I spoke to him; he died, I think, in 1998.

Fasstrack - intersting about the nephew - I spent a lot of time with Schildkraut in the late 1970s, got to know him and his wife Gloria pretty well - was the nephew's dad named Alan? That was the only son I met -

is that Sean Smith the bass player? If so, say hello for me; we worked together a bit in Connecitcut some years ago (he lived next to my wife's parents) - yes, I agree Jaki Byard was a genius (and I've met two in jazz - Jaki and Dave Schildkraut; Roswell Rudd I would consider up there, too) - as for Terrason, I agree, I find his playing to be competent but a bit precious - Francis Pudras seemed to be trying to groom him to follow Bud Powell, but he lacks the gravitas; I guess he'll never be the hair apparent -

buy stuff from us and we'll REALLY like you -

yes - MARTY KRYSTAL - simply one of the greatest saxophonists alive (David Murray does not even compare) - some of the older LPs he made with Niedlinger are amazing, particularly one of Monk tunes -

yes - MARTY KRYSTAL - simply one of the greatest saxophonists alive (David Murray does not even compare) - some of the older LPs he made with Niedlinger are amazing, particularly one of Monk tunes -

I did see the artilce, and briefly considered writing a letter, as my jazz history book/CD set includes all of those people -

record in a room that actually sounds like a room - with real and natural acoustics, not too dead, not too boomy - this makes a real difference as it brings the recording process closer to a real performance - don't let the engineer put the drummer in a booth; don't wear headphones; if you are doing muilti-track, record "live" to multitrack, with enough separation to make track level adjustents in the mix, but without so much isolation that it sounds like everybody's in a different room (and if you have a good engineer, "phasing" from microphone leakage will not be a problem) -

incredible stuff - buy it (I assume its the one with Charlie Shavers, Les Paul, Nat Cole) -

well, I can understand, as I have often had to pass as a black Jew - especially when passing through certain bad neighborhoods (I always whistle that old song "The Israelites," which has so far kept me from harm). And I think my hair is pretty nice, too -

Are you sure Reich has the right place? In his book on Jelly Roll Morton, he spends a good deal of time describing a house that's supposed to be William Russell's but which is definitley not - so I'm thinking he may have gone to the wrong club here -

will send money today - especially since those naked pictures are back -

good music, lots of digital distortion -

nice article - and I never knew that Charlie Rose had played with Monk - he should have stayed with music, as he's a lousy interviewer -

hold on to that Katz LP, as Rhino completelely screwed up the CD, which is filled with weird digital distortion -

good questions, in areas I'm not a real expert on - however, yes, the ODJB did seem to open a floodgate, as they were wildly popular and showed a new market - as to those early recordings, they were indeed for commercial purposes to feed new playback technology(ies) - there are a number of good books on the development of such, though I'd have to get back to you with some titles -

but its having no affect -

I'm the guy whose confused -

but than again -

its true -

actually, I was thinking Powers Booth as Lennie Tristano -