AllenLowe

and that Mr. Haney sure can scat -

sorry - everything's gone -

"hey anyone out there has got any food recommendations for jazz strings material?" personally Ilike to eat a burger while listening to jazz violin - others I know prefer vegetarian fare, but I would stay away from the soy dogs, as one double-stop and you will likely regurgitate -

Mike actually did a session I recorded there with Enja about 15 years ago - this time we had Rich Lamb who was terrific -

crap - I thought we were talkng about Eddie Albert - I mean, the way he phrases that Green Acres theme, man, it swings -

we did a trio session for my upcoming CD - me on alto, Randy, and Scott Robinson on contra-bass clarinet - we did two tunes I'd written, one based on the changes to I'm Coming Virginia, the other on the changes to Yardbird Suite. It was quick and smooth (always easier not to use a drummer - no setup time), Scott played the bass lines. Every time I play with Randy he comes up with great stuff, lots of variation and great ideas. I was a little nervous, as I haven't recorded in some 15 years, and I've been playing alto only about a month (having switched from tenor), but it was a terrific studio (Systems 2 in Brooklyn) and we did it like the old days - in a circle, no isolation, essentially "live." (I also recorded three tunes with Matt Shipp at the same session, 2 of him solo on pieces I'd weitten, a third in a duo with me on guitar).

yes - I no longer buy anything, as I can read about all of it here -

what? You didn't quote me? well, ok, than here's one you can use on the next show: "I like eggs." Let Sangrey top that -

actually, it's a double trick because he played, finally, both -

the re-mastering was done by some butt-head engineer at Rhino, who were handling this for Collectables - what you heer are digital artificats from the use of digital hiss-reduction - it's particulrly bad on the Bob Brookmeyer, the Max Roach (with Hasaan) and the Dick Katz - disgustingly bad work -

I do like eggs... me a wise guy? Dolphy was well liked, though, amusingly, the several times I tried to get something out of Jaki Byard about him ("Jaki, there's very little on Dolphy - what was he like?") he just kept saying, "he was a nut."

glad to see the piece on Randy - I just did a session with him in NYC about two weeks ago - incredible musician, one of the most creative players I have ever worked with (not to mention that he's a great person as well) ; I had a long conversation with him just two days ago in which he discussed his frustration at virtually never working in New York; he spends a lot of time on the road -

you can say that again -

yes - I can't forget her her album of greatestits -

you're thinking of Trumbauer - Tesch was a wild man on clarinet and an early influence on Benny Goodman -

my biggest complaint about academic jazz history courses is that they tend to distill everything down to the SOS - not understanding or representing the fluidity of jazz (actual any music's) history, using over-simplified maps of cultural evolution. Either that or they are socially determinist to the detriment of really understanding the music, making errors as they try to fit history into ideology -

you can say that again -

thanks - that was a great group - Jeff is one of the greatest bass players I've ever heard, Ray an incredible drummer -

I remember that song - "I Think I'll Hang My Laundry Out To Dry" - sounds like a hip guy to me -

not sure what you're implying...should I have just let him give the wrong titles for Duke Ellington tunes, to confuse Bird's Dial and Savoy recordings, to identify Al Haig as Bud Powell...?

well, when he was a baby we used to call him young Lester -

1) I don't know if this is what Chuck is referring to, but I encountered Dixon at a few conferences in the 1980s and thought he was a bag of hot air - full of himself; on top of that he's a bore as a musician - IMHO 2) Funny about famous musicians teaching jazz history. Anthony Davis taught a jazz history course at Yale in the 1980s that I sat in on - he made a lot of historical errors, and I finally stopped attending, as I raised my hand so many times to make corrections that I felt like a wise-ass, even though I was not trying to be a know-it-all - I was just trying to set the record staight -

well, mine is 11 foot - but don't feel bad - it's not the size but the way you work the keys -

the quartet sides on "Dark is the Night..." were recorded live to 8 track in Verna Gillis's house - Roswell plays great on these and he once told me that he felt these captured his sound better than any recording he'd ever made - I'm proud to say I also engineered this. The trick was to use a good ribbon mike that could handle one of Roswell's blasts without overloading - the reason, I think, that he does not always sound right on his recordings is that engineers will use compression or limiting to deal with the volume problem, and this ALWAYS sounds fake - that plus isolation makes a lot of current recordings sound artificail, IMHO - that CD has a good room sound, everyone leaks into everyone else's mike, it sounds like people actually playing together -

do you guys know the story about the jazz group playing the Mafia bar in New Jersey? A guy comes over to the bandleader and says,"hey the boss would like to sing a song with youse." "Sure, fine, what would he like to sing?" "Strangers in the Night, in 5/4 time." So the boss comes up and starts singing: "Strangers in the fuckin' night, exchanging fuckin' glances, wondering in the fuckin' night, what were the fuckin' chances..."