AllenLowe

I haven't even checked the number on mine; I think I ordered in the Fall.

from our live Brooklyn concert that a few of you may have failed to attend; my portrait of Jaki: Jaki's Delight, with: me, alto; Kirk Knuffke, trumpet; Paul Austerlitz, clarinet; Kevin Ray, bass; Jeremy Carlstedt, drums, Lewis Porter, piano: https://allenlowe.bandcamp.com/ available on the upcoming CD set -

sorry I can't be there, Joel, would if I could; unfortunately, Organissimo New Yorkers are not particularly supportive of fellow Organissimo-ites who actually play in NY. Hope things are going well.

just his poor way of describing stride piano (I believe this was talked about earlier, with Larry Kart giving a good illustration of the contrast with someone like Dick Wellstood).

me neither; though I think my next idea is to have more of me on alto appearing on a recording. Hopefully the thing with Nels Cline will be wide open. After that I do have a women's project I want to finish. Will see.

got mine too, and loving it; only dissent is that I think the notes are really, really......not good.

almost at our goal; this offer expires...well, whenever I feel like it. by the way I want to add - and you can check with Larry Kart on this - that one of the highlights of this project is the baritone saxophonist Lisa Parrott, who is truly a brilliant player.

well, personally I'm tired of me. But - we are at about 40 percent of our goal; need to sell about 20 more sets to make a go of this baby.

whoops, left out Paul Austerlitz, great clarinetist. And thanks; my wife has made me promise to lay off recording for a few years, though I do have one little session left, with Nels Cline, in March. I guess I feel like I should compose as long as my mind is (relatively) clear; have a few more pieces in mind, really want to write more for multiple horns, since one piece on this recording is a small/big band and came out pretty well.

On October 18, 2015 we did a marathon recording session in Brooklyn, over 7 hours; we came out with a series of very good musical performances - solo piano by Loren Schoenberg and Kelly Green; a longer piece recorded with a small band of myself, Paul Austerlitz, Ava Mendoza, Miki Matsuki, Shayna Dulberger, and Kevin Ray; a big band piece with Bobby Zankel, Hayes Greenfield, Paul Austerlitz, Randy Sandke, Lewis Porter, Lisa Parrott, and others; a small group with Ken Peplowski, Ursula Oppens, Kevin Ray, and myself; an "Americana" group doing gospel, blues, and country-based work with myself, Lisa Parrott, Ava Mendoza, Kevin Ray, Larry Feldman and Miki Matsuki; and a wonderful sextet with myself and Kirk Knuffke on horns, Lewis Porter on piano, Kevin Ray on bass, and Jeremy Carlstedt on drums. My hope is to get it all pressed - 3 cds worth of music - by selling in advance. I will send it in individual digipaks with basic art work and personal info - and, with advance sale, in order to get this out, I will sell it for cost - which is: EACH 3 CD set for $15 shipped in the USA; Europe, add $12 - in order to put it out I need to sell 100 total - and if I don't I will refund your money - my paypal is alowe5@maine.rr.com

thanks; that's not really entrapment in the classic legal sense, which is why I asked. As for leaving Mississippi because of the racial scene, I have no doubt that anyone in that environment who was black would want to leave if they could; but I did learn from one of the truly great historians, Larry Gushee, that we should not accept that anything is true unless we know it is true; a lot of misinformation has been spread in this way, so I would be cautious about making historical claims that we cannot really prove - unless we indicate as such. I think your project is extremely important, which is why I am picking these nits.

Henry - reading this: "His actions spoke louder when he left his father’s band in the 1920’s because he didn’t want to submit to traveling the toxic landscapes of the south." do you have a citation of Lester actually testifying to this reason for leaving? It may be true, but I have never heard this before. also was wondering about: "He was entrapped by a zoot suited officer and forced to enlist else go to prison." What kind of entrapment was it? Drug-related? This is also something I have never heard about.

oh, hope not. I like Paul. I did talk to him about a year ago and he sounded very weak.

feeling better now; won't punch anybody out. I yield to the majority opinion; will only say that my problem with her playing that I have heard (and I have not seen her in person, only have heard a lot online, plus plenty of videos) is that there is, to my mind, a difference between playing that poses a certain stasis as part of a bigger and more complex picture (a la, let us say, Beckett's novels and stories) and playing that shows me the fragment and nothing much beyond it; in such a situation the fragment has to be really, really compelling. This is what I find missing in her playing - something beyond the gesture. Clearly others see something where I find little.

for some reason I feel like Stanley Crouch all of a sudden.....

it's not my favorite.

except the opening paragraphs is so dumb I find it offensive: "Jazz owes its origins to the bump and grind of turn-of-the-century brothels and the colored waif orphanages of the South’s great cities, but where is the wellspring of swing? If you say Chicago, the answer is no. Benny Goodman would be the first to tell you so. The fountainhead of swing, children, is a little white frame house with a tin roof, on the black side of the tracks in Cuthbert, a red-dirt Georgia cotton-gin town. This is where they used to lock Fletcher Henderson in the parlor with a piano, beginning about 1903 when he was six. If he didn’t practice, he got whipped. He was a sweet-faced child, with his mother’s light skin and his father’s old eyes. Sometimes the house grew quiet and Fletcher curled up on the floor to take a nap. Even at an early age, he showed signs of what the great white jazz mahout John Hammond would one day call “lassitude.” complete nonsense. I love FLetcher but he couldn't and didn't swing until he heard Louis Armstrong. and there is a lot of bogus stuff, sorry, in this article; waits too long to mention Redman, who was way ahead of Fletcher in the early day - and this, just cliched garbage, sorry: "Some of Henderson’s best work happened when he would rake the cheap veneer of lyrics right off a trite white Tin Pan Alley song and make it new. He could peel a hurtful racist song down to its studs, then renovate it into a statelier mansion in which a black soul could stand at its full height. While white America was still drunk on ragtime and bogus blackface “coon-shouter” songs, Henderson minimized lyrics and substituted jazz breaks. Louis Armstrong learned the hard way that Henderson didn’t have much respect for scat singing, and he began to pour his whole story into his horn." no citations in this article, no documentation of anything. About half made-up. That thing about Armstrong at the end is total stupidity.

just as an aside, I've always thought that Cherry, on the Hillcrest recordings, shows a very strong Clifford Brown influence. but the odd thing about Williams, to me, is that in the years just prior to his death he was a different player; to my ears, much more generic. I never understood why this happened. .

barry was my first real jazz musician friend in NYC; great man -

I tend to agree; in other words I always think music first, audience second; but....it is nice to have people listening -

funny you mention that because I have given up Sibelius and gone back to hand notation; I work better in this, the music comes out better because I spend less time fighting the program.

oh, I have not a clue; well, I once wrote a violin part.

well, I am working on a Miley Cyrus album..... but seriously, I actually would love to do a strings thing -

yeah, I am aware of this; we had to transfer the web site to a new server with very little notice, and then I got sick; though if you were on the old site there were a lot of samples for prior CDs; at any rate, this will be fixed pretty soon.

thanks Jim, this all makes a lot of sense. Working with a new web person now, and do plan on incorporating more visuals, et al. I just have a sense that it might be a good idea to stop knocking my head against certain walls. and thanks mjzee; yes, that's stuff I have to do; I do still really love performing live and recording, so hope to get back to that after a break. As for the pain, physical therapy will hopefully even this out in a few months -