AllenLowe

not nearly as distracting as having to listen to Phoenix singing for two+ hours -

I ignore no one, as I want to know who's plotting against me or is threatening my dog -

I can't believe they couldn't afford to do the licensing - and I've heard his singing, which I find unlistenable, though I have not seen the movie yet. Either way it was a major mistake, as there is really no replacing the original, especially if you want to have the performance impact. And, honestly, I'm doubtful they could have forced him to do the singing. Sorry, I still see this as a vanity issue - trust me, I know the type -

Phoenix's decision to do the vocals was a bad one and, and, I'm willing to bet, attributable to simple actor's vanity -

Miles was scary - when I saw him at the Fillmore East (yes, one of the nights they recorded) we were in the lobby at intermission, and I was just standing around with a few friends - one of them comes up, whispers something to me like "don't move, turn to your left" - as it turns out I was standing right next Davis - he was much smaller than I expected, dressed in that silly way he was dressed in those days (some kind of vevlet-looking red garment, as I remember) - I froze to the spot, even though my friend kept saying, "talk to him" - no thanks, as I'd read enought to expect he would give me some kind of nasty brush off. He definitely had an aura, however -

one difference is that Miles really created those bands from (many) relative unknowns, much more so than Shaw -

for what it's worth, I think Ware is a great tenor saxophonist -

I have a soft spot for records with fake audiences overdubbed - I was thinking on my new CD of doing a song with fake background voices, hands clapping, and glasses clinking (like on The In Crowd) -

I was thinking we'd go down to the local music school with one of those Diebold paper-less voting machines -

they don't count... actually I didn't say the ONLY influential pianist - but if we ran the numbers I am certain we would find more direct infuence of Evans than any other pianist from this period -

I'm not sure why we seem to be accepting Miles as only an inventor on a small level - as I said earlier, he basically invented the group setup for hard bop, re-designed the entire approach to bebop in the direction of modality, set an entirely new aesthetic for jazz (cool), brought Coltrane into the fold in such a way as to allow him to develop his skills and become the most important post-modern improvising influence, hired Bill Evans, who than became the most influential pianist of the post-1960 era, created a group that basically set a template for post-bop group design (thinking Shorter/Williams/Carter/Hancock), basically invented fusion - what more can we expect from any one musician?

Eddie Durham died on the wy to Freddie Greens's funeral -

I think the problem here is that we're confusing Woody Shaw with Clarence Shaw - or really Artie Shaw, and than Woody Allen, who plays a mean clarinet if you're a little drunk and not paying a lot of attention - so the equation is: Woody Shaw - Woody + Clarence + Walter Allen - Walter - Clarence - Shaw = Woody Allen problem solved

by typical triadic improvising, I mean that the line tends to relate most specifically to the three degrees of the chord (in a c chord this would be the notes C, E and G) - the movement of line in relation to the chord tends to expand and contract in prime reference to the three basic notes of the chord and it's extended intervals - of course this is an oversimplification, but a player like Miles was starting to look at the chord as a scale rather than a triad - and was also superimposing related scales - which of course all beboppers were doing. It's just that with Miles (and with Dodo) the scale, (as opposed to the triad) was the prime tonal destination -

we might say that that Belfast guy is the white Scott Yanow -

per Larry, I think we can trace some benchmark changes in the music to Miles, or at least as related to Miles's influence - bebop playing has a certain arcing density to its lines, a way in which the improvised melody tends to come back upon itself as the line moves in relation to the chord; one thing that Miles was getting at as early a the Savoy/Bird recordings was a certain lengthening of the line - a way of playing in which the line extends out and not necessarily back as in typical triadic improvising. We hear this, as well, in Dodo Marmarosa's playing - and I think this is a precursor to both modality and hard bop, in which some of the harmonic density of bebop was being reduced to longer-held chords/scales. In a way this also predicts Coltrane, who had similar ideas, though they were expressed quite differently. And it predicts what a lot of the more radical improvisers of the 1950s were trying -

"You can NOT be serious! " oh - I thought you meant Cal Lamply -

Miles INVENTED hard bop - the longer lines, the chordal vamps, the more open-ended feeling - he was the FIRST -

not to change the subject, but why does everything Sandoval play sound like "Flight of the Bumble Bee" ?

I love Cash - great dignified singer, fine songwriter, really represents some of the most important things in American pop music of the 1950s and 1960s - also, he's one of the few famous musicians that I admire unreservedly as a person - he was honest, compassionate, tolerant, treated people well, paid attention to what was going on outside of his own musical orbits, and helped a lot of people -

that's the one - you will never hear it in better sound than that - John R.T. was a wonderfully nice guy and a great restorationist, bu I'm not crazy about a lot of his pre-digital stuff. His de-clicking technique was to record everything on open reel tape at 7 and 1/2 ips and remove the clicks on the surface of the tape - but this slow recording speed led, in my opinion, to some degredation of the high end - and though his older stuff is solid, it definitely loses some of these frequencies. In the CD age he began using CEDAR - this, plus the fact that he had an amazing collection of mint-condition 78s, and because he did great transfers, led to great results.

he's no Arturo Sandoval -

sorry Marcello, I think I interpreted your remarks unfairly - it's just lately I feel on the defensive around here -

all the musicians I don't hate -

who's that?