AllenLowe

it's ok by me -

bumping this up - don't want anyone to see Clem's misquote as the last word -

Just found this - from my old post, it was in the middle of a discusion about Francis Davis: from 4/24/05: "So he criticized Peacock, a pretensious, if talented, 60's junkie?" no need to apologize Clem, as I know that's not your style - just put on your glasses -

funny this should come up as I remember the A&M LP with those short pieces and I loved them - something about the format made Taylor really work and concetrate in a particular way (not to say he did not otherwise) - but this format really allowed a closer look at this methods - good stuff, in my opinion, and very valuable music - not "commercial" at all, though I can forgive the naked photo on the sleeve -

didn't realize that this had picked up again - thanks, Larry, for pointing that out - yes, I was quite offended by Clem's remarks, though, of course, they were intended to offend me in a way that goes beyond garden variety insult - and as I pointed out, that got a little too personal, these guys are friends as well as colleagues, it's like me telling Clem I've spotted his wife turning tricks downtown - and Clem's at it again - I never called Annette a talentless junkie - this is just bizarre - I think she's an interesting musician - (must be confusing my labeling of his posts as "talentless junk")

let's not forget that Ben made some great 1940s recordings - there are wonderful transcriptions with Hot Lips Page and Clyde Hart (and I think, maybe even Sid Catlett, but I'm not sure and will have to look) from ca. 1944; I've seen these on LP, not sure if they are on CD as well - this is a very interesting period in jazz, especially when listening to the older, pre-bop players. You can really tell by the energy of their playing that something new was in the air - for playing tempos, I like this period Ben Webster the best -

I'm through, Jim -

"welcome to the party, bro'-- pls share with us your considered opinion more often. i (have) cooties you (are) actually great repeatedly, explain to us oh great musician, all yr musical arguments (your organ is) illustrious & quite long, MUSICAL genius"

Brownie: I figure if I don't see the word "merde" in your post, it's complimentary -

I love Link Wray, though the thing about being the first to get "fuzz" is over stated - about 10 different guitarists going back to the 1950s have stories about holes in speakers, dropped amps etc - truth is, there is classic guitar distortion on a recording as early as 1945, made by the guitarist Junior Bernard with Bob Wills's band (and Bernard was likely a pioneer in this respect, though it is also very possible that he heard others doing this first - but no way of knowing) - my favorite Link is the 1960-1966 period; on a Sundazed collection there is a version of Ain't That Lovin You Baby (my favorite Jimmy Reed song) in which he sounds strangely like Howlin Wolf -

sorry - can't see anything right now - but I'll assume anything you've said about me is complimentary -

just re-did the ignore - here's how Clem's post reads to me now: "jesus... Lowe's untypically asinine post from this ex-musician; (I'm a) half student of character & rhetoric, I really have no clear ideas I (need) therapy, however-- got SERIOUS issues & a bitter streak T-H-I-S wide. i've said dopey stuff in life like "douche" (I can't) write or read yes, i fake it all. i'm a fuck Lowe's career as musician & writer, rises on its own accord. it's amazing (and) real" you guys were right - I feel MUCH better -

Clem, I would respond but I've been instructed by everyone here to use my ignore function - I've got it set so it filters out every other word in your posts - funny thing is, you make more sense that way -

you guys are right - I'll put everybody on ignore and just post whatever I feel like - hey, I do that now anyway -

and by the way - and here it is just possible that I agree with Clem - Ribot is probably my favorite contemporary guitarist. Saw him solo about 2 years ago and it was brilliant-

I should use the ignore - except, in my paranoid fantasies, I than imagine everyone is picking on me through the ignored user, who is thus acting as an agent of my enemies, who laugh to see that my responses take no account of his evil attacks -

amen - I haven't hugged a hairy fat guy in some time - other than myself, of course -

sorry, Chuck, I'm working on several fronts tonight - in the big picture I don't really care if Clem is on this forum or not - maybe this has been a good way to let off some steam - but let me give you an equivalent - I know you were very close to Lester Bowie. If I happened to say in some post, as we argued, "hey did you really have any relationship woth Bowie or did you PAY HIM?" (read Clem's reference to this per me and Rudd and Hemphill) - well than, Chuck you would be quite offended. Hemphill was a wonderful guy, I still grieve for what was a very untimely death, I recorded with him twice (a third recording was cancelled when he got sick at the end), and I spent time with him in his last days and I was utterly devastated by his death. Clem's glib reference to this has upset me quite a bit, but I'm over it now and that's that.

well, you can criticize the critic for missing a point, for being wrong, for not understanding something - but to call him a douche and other assorted insults, to say that his problems are personal (like he's too intellectualy fucked up to know right from wrong and that professionally he's the equivalent of a pimp) is not really the same thing-

hey Nate, don't be so surprised - yeah, I do like that CD, I think it's easy to mistake Frisell's great musical patience and almost slow-motion Americana for dullness - he does walk that line sometimes, but I find it works for me, though I do agree with you about the earlier stuff and wonder if they were trying to push him a little bit into the middle-of-the-road for a time. His approach is much different than mine; I tend to like my guitarists (and my own guitar) to sound less digital, more connected to strings and tubes, but he is one of the few that I like who have managed to digitize the guitar's sound and touch.

there is a line here that I think was crossed - it's one thing for someone on his board to tell me I'm full of shit - that would not thrill me, but I don't think it would be out of line in a spirited intellectual/musical discussion. It is another to basically raise certain questions about me personally, my profession, and my motivations. That is a much different thing and, IMHO, out of line and contrary to the spirit of this forum -

no Chuck, you're missing the point - I just did not see anything on the Organissimmo cover page indicating a specific grievance procedure - and THIS is the forum for discussing forum questions and problems -

I have taken no personal snipes at Clem prior to this, that I recall (if I have I'm willing to look at the evidence and confess accordingly)- I have merely had the gall to disagree with Clem. COUW, there was nothing crappy about my behavior - you behaved nastily, had a nack for putting a gratuitous response to things I posted, and the email I wrote was an attempt at preventing escalation. That was the way I saw it, though clearly not the way you viewed it - but it ended - so what purpose was served by your bringing it up here again as a way to divert this to an attack on me? and no, I did not approach the moderators privately; I was not aware that this could be done -

Larry, are you saying I'm predictable? Well, my wife feels the same way... Paul, please don't act so superior, if I told you you were a douche and a phony and associated with people who only associated with you for the money, attacked you professionally as well, etc etc, well, than, I think you might respond, unless you were completely comatose or catatonic. It's natural, there's nothing wrong with it, and it's appropriate.

back to Frisell - I like Blues Dream, and the trio with Elvin and Holland - also, his stuff with Paul Motian -