AllenLowe

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sorry to hear that about his management - but he won't be the first musician whose manager had similar delusions - the untold story of jazz is of the careers of musicians whose bad business decisions (and those of their management) have turned potential success to middling acceptance - and some of those names have cropped up in this thread -

there's also ass-wipe - one of my all-time favorites -

actually, should be smartass - or: smart ass - or: sm ar t ass or: s m a r ta s s

you might ask him if he's ever seen Jazz on a Summer's day - in which I believe he appears (with Monk?) - also, how he could possibly not have known about Albert Ayler's death - also maybe about working with Sonny Rollins -

is that pig still alive?

I think we need the cone of silence for Zwerin...

actually, Jim, I think Zwerin just got confused - he meant to say "The Theme From Get Smart" -

Jim - 1) not only do Get Smart and Walkin' sound too much alike - they have almost the identical chromatic descending phrase at the end (sure, they're 1 step apart, but that's a musical smokescreen) I know a lot of spy movies/tv shows used these basic blues phrases, but these two are just too close to avoid plagiarism charges - 2) Topsy: Sorry - gotta disagree with you her, whatever the source - we have two copywritten pop tunes, and Durham's came first - 3) Bag's Groove and the Odd Couple Theme have identical melodies, pure and simple. Case closed -

just to add that Al Lewis is a hipster and a jazz fan - John Szwed told me he ran into him at a Jazz Journalist Association event last year in NYC -

1) getting back to this late - the whole feel of the Get Smart theme, the way it phrases etc etc is a real ripoff of Walkin - don't have the music in front of me but listen to both and you know the Get Smart composer ripped it off - listen to the opening phrase of Get Smart and the end - it doesn't have to be note for note to be a steal - 2) Inspector Gadget is almost exactly Topsy - I got a call from Eddie Durham's daughter about 10 years ago on this and she was talking about suing but I don't think anything ever came of it - 3) and Bag's Groove/Odd Couple Theme are absurdly close - Neal Hefti shoulda sent Milt Jackson some money on this one - we're not talking theory but a theft of feeling and basic melodic material -

I understand your point Jim, but it's instructive that I saw him on a TV show playing after Claudio Roditi (Brazilian, I think) - who is also a virtuouso but a musical one, full of beautiful ideas, great sound, a brilliant jazz player -

nah - I got the REAL one -

man, that's strange - I guess it comes under the heading of: "you know you've made it when..."

well, at least I got Bird's axe -

well I'm glad it ain't just me, as his playing drives me nuts - and I mean that in the BAD way - maybe THAT'S why Castro didn't like him -

that everything Arturo Sandoval plays sounds like Flight of the Bumble Bee?

must be a coloring book -

they must know something - even if it's not about jazz -

so what's in it? Strangely enough, all the internet descriptions tell virtually nothing - Claxton ought to fire his agent and publicist -

forget about Bird - who are those two babes in the other picture?

the most important records are the early ones put out on Eubie's label, for ca. 1919-1921 - you get a real idea of what he sounded like - interesting for a number of reasons; from this we get a sense that early eastern ragtime was a little bit stiff, not quite as swinging as it would become post-Armstrong or after the influence of the early New Orleanians who came north. Even James P. changed a lot after 1923 or so. And it's also interesting to compare Blake's early recording with the 1921 solo recordings of Zez Confrey, who has been disparaged as a novelty composer/player; they sound amazingly alike.

I hope the operation was a success -

hey, how did you get that Umlaut?

Schoenberg, Verklarte Nacht - (spelling?)