AllenLowe

my kids yelling at me -

is it true that, at one Sonny Stitt session, Bud Powell said to Weinstock, "hey fats, go get us some sandwhiches"?

not to mention how they ALWAYS botch the sound with digital noise reduction distortion - listening to a Proper box is like having one finger in your ear, and the other up your ---

Ray Charles is still available - order it and I'll throw in a Zoot CD -

I think it's an older tune than that - Organ Grinder's Swing goes back to Jimmie Lunceford -

look - we can't "prove" that he was doing this to make money, even though it's pretty obvious that's what he was doing - but just think - would Cannonball have been playing this way if jazz had not been going through this particular eclipse? I think not...

I doubt it - the point has been made before this that a lot of what Cannonball was doing was related to some of the more populist tendencies in his music, which is indeed true. But if you'd seen him as I saw him in the early 1970s, it was pretty sad stuff, long vamps with nothing happening, he was definitely playing well below his capabilities - it is one thing to goose the crowd (a la Louis Armstrong), another to just try find a groove that'll get you work and record sales. Nothing wrong with this, but we should recognize it for what it is/was -

Adolf Hitler Adolf's Meat Tenderizer Eva Braun (who served the above function)

my only Weinstock story is per Dave Schildkraut; I aked Dave once why he sounded a little out of sorts on the Miles/Solar date. He said that they were driving to the recording studio, and he was in the car with Weinstock and Miles. Weinstock said to him, sarcastically, "so I heard you were working with Stan Kenton?" It seems that Kenton was considered less than first-rate as a jazz band, and not the place for truly hip musicians. Dave said this rattled him, and he was determined to show Weinstock that he could still play, and had Miles record the tune without the extra run through or two that he probably needed, just to show Weinstock. So he never really settled down - as you can hear on the date - Dave plays well, but does, indeed, seem nervous and not quite comfortable -

better late than never -

bumping up for the night shift - will thrown in those extra cds for anyone who buys this -

act now, and I'll throw in a few extra CDs - Zoot Sims at the Half Note, Dave Schildkraut, Last Date - and Art Pepper Live in Toronto -

this is the whole shebang, 8 CDs, nice box and good graphics, but I prefer the old Rounder sound - a little too-denoised for my taste. NOTE: the piano box has a small cross-ways tear, it is not separated, but this is the way it came. $65 plus shipping, I'll find a nice big box to send this in and will pack well. (figure probably $10 shipping in USA, but I will refund any overcharge). Prefer paypal - my paypal address is: alowe@maine.rr.com email me direct: alowe@maine.rr.com

didn't he go blind?

Hertz rent-a-car Dick Hertz Dick Nixon

it's too bad she had to do those deoderant commercials -

lordy lordy I'm saved - thank you mrjazzman -

I'm not obsessed with mrjazzman... mrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmr mrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzman jazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjamrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazzmanmrjazmanmrjazzmanmrjazzmanmrjazzman

too many hot dogs -

I think my sociology is fine - we may have a certain critical disagreement here, and I wish Larry kart would step in as, in these kinds of situations, he usually has something important to say - there is a fine line between the kind of entertainment/good music you guys are referring to and bad music, and I'm not so far from it as you think. I came of age musically working with organists like Bobby Buster in New Haven, also his brother Eddie, as well as a great organist from Jersey named Richie McCrae who seems to have disappeared; also did a few gigs with Jeff Palmer, though those were of a much different nature. Yeah, in the clubs where Bobby used to play people were always having a good time, and sometimes the music was great and sometimes it was piss poor (bad drummer, bad guitarist, some mediocre element) - and people rarely distinguished between the two; unfortunately the musicians were so jaded as to not really give a shit as long as they were paid. But the socio justification for music is just not good enough for me, not good enough from a critical OR personal standpoint. What you're really saying is that, because the music serves a community function it is above criticism as long as the people are enjoying it. I believe this is really unfair and unfair to the music as well - each performance deserves it's own attention, and not some kind of overall social justification. I was attacked in the Dexter thread for smething I never really said, that drugs were bad for musical performnance - and here you sem to be saying that I reject the communal aspect of the music, which I certainly do not. I reject specific music and specific performances. like the one I heard from Cannonball more than 30 years ago -

I never said he did not have a style. I just find his playing at that late stage in his career to be less interesting than at some other stages.

"Maybe you had to hear and see the impact that this band had in a club that had a mainly black clientile, to see the "sociological theory in practice". " well, maybe we have to watch Kenny G's audiences, amongst the happiest and most content we will ever see. This does not really prove anything at all -

Jim - more interesting music, period. Not something that makes its musical point in the first 30 seconds and than relies upon hip cliches and references that are/were already out of date. Jazz musicians, through their own particular and peculiar techniques, have liberated many forms of music, from Broadway show tunes to novelty Tin Pan Alley pieces - they liberate them by taking them out of their common context and showing that their is more to the pop dream than repetition and formula. That's one of the things that makes jazz so advanced and interesting, at least to me. If I want to hear funk/blues in its most basic form I will not listen to a jazz musician like Cannonball who is, let's face it, over-quallified. I want to hear musicians who know how to express these forms, whose technique is more purely a function of their style, and there's lots of 'em who do/did it better than Cannonball. Liberation of a form does not necessarily mean that the original form is inferior or even suffering from a kind of imprisonment - it is simply the act of showing that there are new possibilities within that form. This is something jazz musicians have always done; just as certain novelists liberated the form (which does not imply that there is a problem with, say Dickens, only that it is a new day) - jazz musicians thrive on the renewal of older and dated forms -

well, Jim, I tend to think it sounds better on paper and in theory than in practice - and I saw/heard lots of it in those fallow days of jazz in its between years, especially around NYC which was really suffering jazz-wise between, say, 1968-1975. I don't question Cannonball's sincerity or authenticity, it's just that the music was largely a bore, and I always wished that jazz musicians like himself might use those root forms and make something just a bit more interesting out it - like Albert Ayler, for instance. Or Crawford, to use another example of a musician that I liked a bit better at it. Or, of course, Mingus, who truly applied his jazz life to it. Or Ornette, or Hemphill, etc etc. Of course, funk is a bit different than the ways those guys were working, but I honestly think a later generation of musicians was better equipped to liberate funk, as they understood it better, grew up with it. With Cannonball, as with lots of other jazz players, it was just a bit too genteel. I loved Cannonball, great player, and, as I said, I think he was doing what had to be done with sincerity and a nice appreciation for his audience. It just, as I've said, at least to me, sounds better in sociological theory than in practice -

I thought she drowned in that boat accident (and I don't mean Poseidon Adventure) - whiney bad method acting at its worst, I fear -