AllenLowe

well, next time he should use his hands on the steering wheel - or on whatever else caused the accident -

and he had a very large package -

Chuck was a great guy, but the records he put out didn't really sell that well -

Elvis was great, but he was no Katherine Harris -

that's an interesting crew - Rose Marie has got to have the worst face-lift I have ever seen - and yes, that sounds like Carmen, strange and hostile (and I could still use that $50) -

or Matha Raye... Chris - yes, Carmen Lundy is the one - she was highly praised in NYC in the late 1970s and seemed a real up-and-comer, and on the right night was quite a great performer - could sing standards, had good time, nice looking, but what a pain - difficult is not the word - I spent weeks on the phone to the Willard Alexander Agency, Carmen was excited about it, and I finally got her the audition, which she decided not to go to at the last minute, without telling me or anyone else, just did not show up - I remember telling Bob Neloms about this and he almost fell on the floor, saying that a gig with that band would have made a career, would have got her on the circuit, with bookings, agents, festivals, etc - oy veh -

thanks, Brownie - I can contact you off-line for this, but do you have contact info for him, or do you know him personally? thanks!

actually, I WAS wondering - is Solal Jewish?

actually I think he changed his name to Ernestine Anderson -

yeah, singers are a pain - as Al Haig said "they all want to be actresses." I used to do some booking for one who is somewhat well-known now (ititials C.L.) and she still owes me $50 from about 1978 - it was a frustrating experience; at one point I got her an audition with the Basie Band (someone at the Willard Alexander Agency had heard and liked her) and at the last minute she decided she didn't want to do it -

well, he DOES shit in the woods -

is the Pope Catholic?

is Solal Jewish?

Bob Neloms, who played piano on a lot of the early Motown recordings, told me that he felt one of the secrets of the Motown musical formula was that they used congas buried in the mix - he felt that this was a subliminal element that gave the Motown sides an extra kick - it's been a long time since I really listend to Motown, but I found this interesting, sort of like musical brainwashing -

that is one of those recordings that, in my opinion, sounds like everyone (except Grffin) is off their game, including Baker, who seems to fall back on stock phrases; even Haig, who plays some nice solos, loses continuity more than once - I remember thinking, "what's wrong with this record" and I always had a feeling it was a bunch of junkies - and an alcoholic - having a bad day -

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 -