AllenLowe

just for the record, the monk it referred to (according to a documentary on Goodman) was a local guy whom Benny was told was a great jazz player but whose playing turned out to be a complete dud -

he actually stole "My Ding a Ling" from Dave Bartholomew - tried to take writer's credit, when it was Bartholomew's - so the chicken's may roost with his royaties, as far as I'm concerned -

1) I actually think the released recording of Massey Hall is in very decent fidelity - BUT 2) If you've ever heard the version that is the ORIGINAL (before Mingus overdubbed) - it is MUCH better - it's a pity that Mingus messed with it -

this crime sounds like a nocturnal commission -

well, maybe she thought she had oral consent -

maybe from now on these series should read: THE COMPLETE* *except for whatever we couldn't find, the janitor stole, or we did not think would sell enough copies -

just to let everyone know - all orders have gone out as of today - sorry it took so long, but I got delayed because of the hurricane - well, it did rain last week -

has anybody noticed that the song actually rejects New Orleans at the end: "And there’s one thing more...I miss the one I care for ....more than I miss.......new orleans" not really a good advertisement for the city -

I believe the Hawkins LP had a song with maybe my favorite song title - Miss GP -

the Wells sessions are solid - not great if you know what Dickey was capable of, but worthy, especially considering how little he recorded -

how limited? How many copies?

well, ther's under age and there's under age - from what I recall this kid was maybe 14 or so - maybe somebody else here has better info -

hey, it's late and I'm tired - but isn't the bridge to Angel Eyes also similar to the bridge to Do You Know What It Means to Miss New Orleans? (not to change the subject) - also, reminds me of the night a very good friend of mine, a pianist, always drunk, was playing at a club in NYC and started to play You Took Advantage of Me - now think of the bridge to that and the bridge to Wrap Your Troubles in Dreams - well, he got a little confused and basically just kept going from one song to the other, sorta AABABBBBAAAAABBB - it was quite hilarious and he, himself, too drunk to really remember the difference, began to try to see if he could lose the bass player. the next day he had absolutely NO recollection of the incident, and about 20 years later he stopped drinking -

who's joking?

could be Dizzy Dean that they're talking about - and I think one of those guys once got a letter from Dizzy Reece -

I think they recently beat up a few women -

I'm partial to the stuff from the 1920s - incredible energy and very personal takes on the new sounds -

now that you mention it, I do see the resemblance -

1) anybody want to buy an orgone box? 2) Interesting about Ind's hate of the avant garde - I once did a talk for a jazz seminar called: "Who Hates What And Why?" and it was about the generation of 1950s jazz progressives who hated the post-Ornette generation. It was prompted by a long interview I did with Johnny Carisi at which he displayed a huge amount of hostility for "free" players - I think the problem was that the 1950s guys had more of a traditional theoretical basis for what they did, almost an academic slant to justify and explain their ideas. It always bothered me, as I liked Carisi a alot personally, and I wished he could be more open to this kind of change. And I will add that in addition to the theoretical rejection of the new music, there may have been a racial resentment, as Carisi and his fellow '50s progessives, largely white, were really pushed aside in the 1960s and were often told how irrelevant and un-influential they were.

bump for the weekend crew -

actually I was making a bad joke abut drug use - sorry -

"so perhaps Al Killian just was playing too high!" well, this applies to 90 percent of the beboppers as well -

I'll only add this to Larry's comment - I spent approximately 2 hours with Tristano, trying to interview him (not sure of the date but it must have been 1976-77); he was scary, had an aura of the type I have only read about in accounts of certain kinds of cult leaders whose strength of personality and ability to read people makes them want to please them - it's hard to explain well, but it was a bizarre and somewhat scary experience for me (I was maybe 22 or 23); I felt as if he could read my every move, sense what I was thinking. It was fascinating at first, because this was LENNIE TRISTANO, a guy I had dreamed of meeting - but after a while I just wanted to get out of there because he was so damned controlling. And in retrospect I can see how so powerful a personality could have an effect on people who tend to be socially unformed (ie. jazz musicians), fragile of ego, brilliant but insecure -

Love is a no-talent butthead who screwed underage girls and physically abused Wilson -

no one admires Tristano's music any more than I do (and I did spend an afternoon with him once, but that's another story) - what disturbs me (and maybe Larry - can't speak for him) is the cult around Tristano, the fear of criticism, the Jim Jones- like adulation - as a matter of fact, I understand it, as I found him damn scary (I was only 23 or so) and would likely have taken that kool-aid if he'd asked me - I prefer John LaPorta's very clear-headed assessment of Lennie in LaPorta's autobiography -