AllenLowe

well, I'm sorry -mine is just a little bigger - 13 cds -

love it - now THAT'S the Buddy we all know and appreciate -

so plural of gamut would be...gamuts? Or gami? sounds like a Stanley Crouch liner note to me -

I certainly hope he gave them one of his famous lectures -

just wondering - Monterose switched to guitar for a while - anyone ever hear him play it?

good thing he wasn't sitting in a wind tunnel -

for that kind of cash, we can just exhume the body and make him read to us -

it is a pity, because Barry is one of the last of the "old masters' - in terms of sound, touch, repertoire, phrasing, musical charisma, everything - he is a MUST SEE - and a nice man to boot -

I always found Clapton, even in Cream, to be rhythmically stiff - could not compare to Peter Green or Mike Bloomfield or Jeff Beck - just my opinion -

it's always nice to meet a swinger - but it's a little far for me to travel -

hey, I hope Buddy Bolden made it -

well, I'd like to keep going here but I have to go to work - WORK!

like, I'm all misty now...

Sun Ra! Great on the Wurlitzer and other assorted early electric keyboards, since the 1950s -

thank you -

yes, absolutely, thinking of Gunther Schuller's famous essay on Blue 7 - Sonny at his best had a way of almost juggling the melody, re-organizing it little by little until it was completely his - like Monk; the problem is that in order to do so he needs a real melody to work with -

I had a few conversations with him but he never got into much detail on it - I think it may have been post-mortem regret - a sense, like you have, that he did not sound very good on it -

another digression, but just thought you might find this interesting - I got to know Bill Evans's wife pretty well in the late 1970s, and when he died she offered to sell me his Rhodes for something like $1,000, which I did not have at the time - it's killing me now that I didn't grab it, for both value and sentiment - and as a matter of fact, somewhere in a box is a photo my wife took of me playing that piano - which Evans, by the way, hated -

me like Sonny... how come no complaints this week about Francis Davis's Village Voice review of said concert? Ther must be something wrong with it -

the Gaslight stuff is astonishing for how MATURE a performer Dylan was - I'm just finishing the writing of a history of rock and roll (1950-1970), and though I have a lot of problems with Dylan, I make a point in the book about how musically accomplished he was, even though we tend to concentrate on the "poetry" - in the midst of writing the book I interviewed Ed Sanders (of the Fugs), who told me about a benefit that was thrown, ca. 1963, for the Living Theater in NYC - Dylan showed up, and did a few songs; though he was barely known, the crowd went wild at his charisma, and Sanders said how obvious it was that here was something (someone) special and new and quite important. Another intersting thing about the Gaslight recordings (and his work up until, I would say, the early 1970s) is how well he uses his voice - it's so perfectly expressive, focused, pointed, and modulated. That is something he seems to have lost quite suddenly; the later singing is, to my ears, a parody of the early Dylan, annoying and grating and completely unfocused -

not to change the subject, but just to veer a little off the path; I would strive, in my studies, to make it not only well-researched but readable - I read a lot of academic books, and about 90% of them are just impossible to get through - dense language, bad sentences, impenetrable rhetoric and, worst of all, re-statement of the obvious but in pseudo-intellectual terms. I know this sounds harsh, but the good jazz writers are a precious few - Mike Fitzgerald (and I ain't just saying this 'cause he's here), Dan Morgenstern, Gary Giddins, Francis Davis, Bob Blumenthal, Gunther Schuller, Larry Gushee, Loren Schoenberg, Martin Williams, Larry Kart, John Szwed, and there are more, I'm sure, that I am forgetting - the fact of the matter is that most jazz writing is either pop-bad (like Scott Yanow, who is prolific but mediocre) or fake-smart - or, as in the case of Baraka and even Sudhalter, loaded with politics that distort history -

Gene Taylor on bass - a quartet (Loren played piano) - first and only time I played with Mel - nice guy, great drummer, and he knew quite a few of the guys in the Charles band- it was a lot of fun, I even got to meet the Rae-lette's -

and even tougher to find - a left-handed trumpet -

I'm not certain but I think that was a problem post-1970 - with new tape formulations - also, I'll add, and hope not to offend anyone, that Graham Newton's transfer work is inconsistent -

For stuff as important as this, Chris, I would be careful, as it's irreplacable (as you know), and you want to get the best possible results; I would contact someone like Doug Pomeroy, who's in Brookly and who is a master at transfers of all kinds -