AllenLowe

yes - and I liked the naked scene with Glenn Close -

hey, at these prices I don't want to work too hard - covers are fine, if you hold 'em sideways you can probably look up her dress -

well, big mob bosses don't cry -

For Sale: LP: Charlie Parker: The Complete Savoy Studio Sessions - Box of 5 LPS in mint shape, nice booklet with notes and an interview with Teddy Reig. Everything and I mean everything on Savoy. $25 plus shipping in the US. The Very Best of Bird: The Dial Sessions: 2 mint LPs, Warner Brothers reissue, liner notes by Ross Russell, booklet with bad paintings. $15 plus shipping, in the US of A. Paypal preferred; email me at alowe@maine.rr.com, which is also my paypal address. make me an offer for both

I have 4 Julie London LPS I need to sell, raising cash to buy a new alto sax - so spring for it - I want to sell the lot of 4 LPs together and they are in varying condition - but hey, Bobby Troup liked her and so will you: All Through the Night - w/Bud Shank Quartet - decent shape, scuffs. Liberty. G- Sophisticated Lady - lots of marks. Liberty. Julie London - Guest Star records - weird label, record is vg++, plays well Love On the Rocks. Liberty. VG++ I'll sell the 4 of 'em for $24 shipped priority in the USA. Otherwise they become coasters. email me at alowe@maine.rr.com I would like to do paypal: my address: alowe@maine.rr.com

well, nobody seems to give a shit so I'll repeat - listen to the drums - Doc West as it turns out (who, to further prove my point, is with Bird later on some Dial sessions) -

at least he wasn't chained to the bottom of the ocean -

the scary thing is not that there's so much good stuff that he doesn't know about, but that he doesn't KNOW he doesn't know about the good stuff - incredibly stupid for someone in his position -

thanks - there's a little more to go but I'm optimistic about this one - I've been up in the boonies (Maine) a little too long, so it was nice to work with such world-class musicians. There'll be a few surprises, I think -

I agree in almost ever aspect of that - the only thing I would add is that every great musician I have known appeared to me to operate, in terms of initial inspiration, from a part of the self that was not socially defined but more from a very deep and complicated but inter-connected series of intellectual/intuitive impulses - I believe that that is where it starts - once it surfaces, however, social context immediately mixes and interacts - of course, all of this is like trying to separate intellect and emotion, idea and feeling, etc etc, a largely futile exercise in which we (meaning I) end up trying to prove the unproveable, which is where creativity comes from-

unless I get a call from Chuck Nessa I'll probably put it out myself - it's interesting, though not surprising - - of the 6 CDs I've put out prior to this, three were on regular labels, three I put out myself - and I always made more money on the ones I financed - has to do with some sleazy European publishing deal and the general accounting practices of even small independent labels -

I agree that the end result may certainly have been to develop a musical form, bebop, whose origins were uncontestably African American (as earlier jazz was) - I just think that the imperative to create this was artistic and not racial/social -

just came back from NYC on Tuesday night, having finished a recording session in Brooklyn on 4/17 with Matt Shipp, Randy Sandke and Scott Robinson, and am quite happy with the results - I haven't set foot in a studio in about 12 years, and I'm working on a complicated new project for which I'm playing alto and guitar. Shipp did two solo piano pieces that I'd written, and we did a guitar/piano duo of an 8 bar blues. Matt is a sweetheart and a brilliant musician; it was the first time we'd met in person (we've been talking on the phone about the project for about 4 months); it was my recording debut on guitar so I was nervous but it went well. I than did a trio with Sandke and Robinson; Scott played the bass parts on contra bass clarinet - we did two tunes I'd written, one based on the changes to I'm Coming Virginia, the other based on Yardbird Suite - I played alto on these - and I want to praise Randy as one of the giants, an amazing soloist and the nicest guy on earth - and Scott was brilliant if a little cranky (he came back from Moscow the day before; and is still recovering from a broken leg) - I'm going down again to NYC to record with Marc Ribot on 5/15 and will probably do the final recordings back in Maine at the end of May with my local group - should also mention that we recorded at Systems Two in Brooklyn; great sounding room, nice people, excellent engineer (Richard Lamb) -

I don't doubt that African Americans (musicians and non-musicians) had an active consciousness of racial issues and of being exploited/cheated by whites - I just do not believe all of ML Williams statements - they are just too prescient, too prophetic, she is just always in the right place at the right time, steering the music and musicians in historically correct directions. It's just too convenient. And I do not think musicians were, at the time, making any kind of conscious social statement, though one can, certainly, in retrospect, see the social connections (on the other hand one might make the argument that artistic changes/modernist movements ARE social movements, though in a different way than Deveaux represents). The truth is that we have no primary-source proof of these intentions, and people like Max Roach spoke of the idea of taking back the music too many years later for us to know the veracity of the statements - and, as I said, they were too couched in post-1960s rhetoric for me to believe them -

exactly - though I would be a bit skeptical of that ML Williams quote - much as I admire her, her own historical recountings are fraught with "I was there" as the music went through cataclysmic changes. Still, one never knows...

well, yes and no - it is true that the kind of direct protest we may be looking for might manifest itself in songs within certain styles of music - but this is unlikely with bebop, uinless we can find Bird's version of "Whitey You Suck and I'm Taking My Music Back." These musicians were quite personally articulate, and I will tell you that of the beboppers I knew who were really primary sources - Curley Russell, Tommy Potter, Al Haig, Dave Schildkraut, Duke Jordan, and more - not a one, black or white, ever mentioned the possibility of bebop as protest - so I would be interest in contemporary quotes that indicated anything of the kind -

yes, thanks Larry for those insightful comments, as I have not read the book in some time and must admit that not all of that had occurred to me - it does illustrate a problem of history (especially cultural history) being written so long after the fact. I have seen quotes from black musicians like Max Roach describing bebop as a taking back of the music - but ALWAYS from the perspective of 30+ years, a kind of post-era rationale that I am somewhat skeptical about. On the other hand, there was a new racial consciousness coming to the fore (hence, among other things, the adopting by a few musicians of Moslem names) , but I wish there was more contemporary documentation. Now, one might (correctly) make the argument that mass media of the time were not going to write about racial consciousness, and that few musicians would discuss such things publicly. The reality is that African Americans do not speak with white people about many things political. So we should not discount that aspect, I just wish there were more accurate ways of documenting it, WITHOUT the kind of post-1960s militant consciousness that so distorts the reality and the rhetoric -

in other words, like most organized religion - without the child-molesting -

plenty left: Lee Morgan/Best of-Bue Note Years. Blue Note. $6 shipped. Cannonball Adderley. Know What I Mean. OJC. $6 shipped. MJQ. Fontessa. Atlantic. $6 shipped. Art Pepper. Live in Toronto. $6 shipped. Bud Powell. Time Was. Bluebird Recordings. $8 shipped. Bird, etc. Jazz at Massey Hall. Debut Japanese Issue. $8 shipped. Teddi King. In the Beginning. 1949-1954. Baldwin Steet. $8 shipped. Dizzy Gillespeie. Duets (Stitt, Rollins). Verve. $6 shipped. Stan Getz Plays. Compilation of Verve Recordings, w Raney/Jordan/Rowles/Roac. $6 shipped. Dizzy Gillespie Quintet. Copenhagen Convert. Steeplechase, w Le Wright, Junior Mance, Art Davis. $8 shipped. Bob Dorough. Devil May Care. Bethlehem. $8 shipped. Charlie Hunter. Copperopolis. Ropeadope. $8 shipped. Teddy Edwards Octet. Back to Avalon. Contemporary. $8 shipped. Stuff Smith. The 1943 Trio. Progressive. $10 shipped. Hank Mobley. Breakthrough. 32 Jazz. $8 shipped. John Coltrane. Live at the Village Vanguard. Impulse. $6 shipped. Bill Evans. Explorations. OJC $6 shipped. paypal, check or money order. email me at alowe@maine.rr.com

Fats was great, and it's been a staple of revisionist history to say yes, his jive was serious and it's all great music. Still, we can't ignore what Teachout is saying, as there is plenty of truth likely to this, especially based on Fats's own expressions of frustration. One does wish he had lived longer and drunk less but, as one finds with many musicians with substance problems, at some point in their careers they tend to follow the path of least resistance; so it ain't necessarily "the business" or his "management" which is to blame; try managing an alcoholic someday and you'll know what I mean.

nothin sub-par about it - but I found the most interesting thing, musically, to be the drummer - if you want to hear how muich the music was changing (and we're only a few rhythm steps from bebop here) listen to what the drummer is playing, and understand how the things that led to bebop, though a radical change in many ways, were in the air-

personally I go for his haircut -

interesting - the first time I heard that Dameron CD it occured to me - Coltrane blows those notes and wham, I thought Giant Steps - I have a feeling it was, when he wrote it, unconscious -

that's true - with those guys I was never sure if it was surface noise or just an overactive drummer freaking out on the ride cymbal -

well, I think that jazzshrink can recognize the symptoms - I would suggest that Mingus was bipolar, from all descriptions of those who knew him, and he certainly accomplished a lot -