AllenLowe

about 2 political prisoners and a copy of the Magna Carta?

it's ineresting to contrast his book on improv with Berlins' book about same - while Berlin's was full of academic double talk and re-statements of the obvious, Bailey's was quite illuminating, spiritual and practical at the same time - indispensible, even for non-musicians -

at the risk of appearing to be a troll - which I am not - I have to say I do not like Gordon's playing, even at its best - at that best he is a fine, average player with occasional fits of inventive energy. At its usual he is a good player clearly impaired to the point of playing well but so blocked by drugs that he plays right on the money and that's all. Just my opinion boys - feel free to ignore and move on -

funny to see that this is still going on, though I've gotten a little lost in the various suggestions, comments, etc. I won't go into detail now, but I liked Cline's Interstellar Space, probably because it's so much more focused than when I heard him in person. I'm looking back at this whole thread and Clem, though calling me a "douche," actually has a lot to say of importance as does Steve and quite a few others here, though I gotta admit I feel helpless at times as I'm not as familiar with a lot of this music as I think I should be. My problem has been over-saturation, performing and writing for years and than getting so heavily into the old stuff (and trying NOT to end up intellectually, like Greil Marcus, but that's another topic for another day)- that I've become a little worn out with new music, and sometimes that old hillbilly and country (black and white) is the perfect antidote to modernist overload. Add a day job and it gets even harder to keep up. On the other hand this thread was something of a wakeup call to me to get back on the stick and listen to more contemporary musc. Try as I might, it's a problem up here in Maine where there's a good alternative station but not a like of real new music/jazz on it. Oh well, I will probably print this whole thing out and make it my 2006 project. I think the formalism issue is real, and not just among music people; I was watching the Ovation channel on TV the other day and they have a regular contemporary arts show, and it struck me how mastubatory so much of it is - bad art with smart rationalization, great theory, mediocre practice, but than I don't suppose this is really new in the scheme of things; I do believe, thinking of publications like Signals to Noise and Wire (both of which I read and enjoy) that we have produced a post-modernist generation that talks the talk better than they walk the actual walk. This may be related, as well, to a larger problem of a post-literate generation that has really neglected history (and I ain't talking about GREAT BOOKS history but Harold Rosenberg, Richard Gilman, Beckett, Isaac Rosenfeld, Isaac Babel, Peter Handke, to name just a few of major modernist impact on me) - and that has learned the symbols but not enough of the substance. Same is true of American music - ignore Wynton's middle class crap about why you should know music history (because it's GOOD for you) and listen instead becasue there's so much amazing music that's been almost forgotten. Listen for the same reason that I should listen, as Clem Says, to Davey Graham or, as Steve says, to Keith Rowe -

Bird In Igor's Yard came out on a Capitol reissue LP years ago, but it's nice to have it together with the band - interesting, as well, because, though DeFranco is a great player, he is not at Russell's level; like a fair number of moderm performances of that era that fall within advanced arrangements, it's a little jarring to hear a new sound come out of the arrangement, and than have the soloist play as though it were just any contemporary piece - but than, there were no real "free" improvisors at that time, Trisano et al nothwithstanding -

well, Kenny G DOES also appeal to transgender types -

I haven't listened to it in years and don't have a copy handy - as I recall the section comes after a series of sustained notes and is a very sudden rhyhmic change. I will try to locate a performance and report back -

well, as long as I can whistle the tunes afterwards...

the 32nd piano sonata has a rolling left hand that is amazingly like blues/boogie woogie - that's the one I'm referring to -

I keep trying to look up that dress, but I can't get my monitor to the right angle -

Michael Michael (an actual childhood friend of mine) John-John Bam-Bam

well, personally I like his Tenth - actually, has anyone here ever head the 32nd piano sonata? It's boogie woogie, and I kid you not -

well, I guess in the dark...

I like Flaubert, especially rthe short stories, and especially the one about the wet nurse -

you mean I just made a date with Johnny E?

well, wadaya expect from kids named Dweezil and Moonunit?

well, she's right that his playing WOULD make Bird cry - but who wouldn't?

I always confuse those two -

well, would you believe...Barbara Bush?

well, as the old saying goes - remember to keep the HA in Hanukah -

sorry you feel that way...

and I'm sorry that he's sorry...

oe thing that I have noticed with these digital multi-trackers is that, even though they have built in mixer/pre-amps, they sound MUCH better with even the simplest of external pre-amps -

I'd rather see him dead in Fresno - might be a little more fun - and might improve his playing -

my apologies...