AllenLowe

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?

mmmmmmm........oats...........

if you can find it, the absolute best remastering of the 1923 piano solos (even better than John RT) are on a Folkways LP - they were mastered by Carl Seltzer, now deceased, who did a lot of work for that label as well as Rosetta - amazingly good sound -

it ain't jazz, but I really hate Hall and Oates - fake soul. If there was a dictionary entry for "white bozos," their picture would be used as an illustration -

also like the Eminey (not sure about the spelling) - especially the one that had the cheesy drum machine attached -

I love Cash, but I don't know if I could listen to Phoneix singing for 2+ hours -

though I always liked ? and the Mysterians - I'm a farfisa man -