AllenLowe

I hope to retire at the bottom - as Groucho said, I've gone from nothing to a state of extreme poverty -

it does seem to have gone past everybody - maybe I should have said tfillin -

Powell was an interesting guy - there's actually a recording he did for Commodore in the 1940s with a large group that is quite advanced and "avant garde", especially for jazz at the time - can't remember the name of the tune - Balliett did a good interview with him - he made a brief jazz comeback that was recorded on a jazz cruise, but his playing sounds quite terrible on it - and he is now dead - I love his jazz playing from the 1940s and 1950s - old style rhythm, very modern harmonically

I will also mention that Terry is one of the nicest people I know - no "star" bs, completely unaffected by her reknown -

yes - Bennie Moten - I was thinking about Eddie Durham, who wrote Moten Swing -

Eddie Lang died while getting a tonsillectomy - as did Eddie Moten -

Wallington went into the family air conditioning business, as i recall. He used to live in the same neighborhood as Al Haig, who told me he would often see him while walking his dog. I asked Haig, "gee, what do you guys say to each other?" Haig looked at me and answered: " I say, 'hi George.' He says, 'hi Al."

last I heard, McKusic was living out toward the Hamptons, still played "fancy" gigs (expensive weddings, etc) and is/was, I think, in the antique business -

ARICEEFFRON as George Wein?

Laurence Olivier as Mo Levy?

Garth Brooks as Dave Schildkraut?

The Dixie Chicks as Lambert, Hendix, and Ross?

Reese Witherspoon as Jeri Southern?

Phyllis Diller as Paul Chambers (she plays bass)?

Tom Cruise as Bob Weinstock?

Gary Coleman as Pee Wee Marquette?

I find philacteries work well -

Terry's great, the show is great, best interviewer on the air - (full disclosure: she and her husband are friends of mine) - she's done great musical interviews -

fun stuff, good first episode - I will say that the shrink sessions have long since lost their effect OR necessity - they've been, for some time, just a device to "explain" Tony, something which is not only unnecessary but dramatically a big mistake, left over from some middle-brow concept of psychology. I had an old and smart prof who used to describe this as the "case study" method of dramatic writing - an attempt to explain everything as though the audience wasn't smart enough to construct its own reality, and based on a mistaken idea that to so explain makes it more understandable. This sort of thing deprives the imagination of the will to do its own work. Much as I like David Chase, it's this kind of thing that stands between a fun series and a really great series -

"I've heard about a dozen of his concerts" well, than it's about time for you to actually go to one -

and Jo Jones was the epitome of being crazy!

also, let's throw in Hines' early influence Teddie Weatherford, who made some group recordings in the 192os and than some solos in the 1930s and that's all -

let's not forget the 1920s solo sessions -essential - plus Weatherbird duet with Armstrong -

yes, thanks, tried that without success -

I love her early stuff from Capitol/Decca, but the later stuff (post 1960?) I find terrible - I'm not sure whether it's a matter of voice or arrangements - on the later material she seems buried in the arrangements, a small voice made to seem smaller in contrast - whereas on the earlier recordings her voice is the focus and it's allowed to work it's own magic without obstruction -