AllenLowe

well, just as long as it's maintained -

I don't think it'll happen unless it's "unauthorized," as Sonny holds everything so close to the vest -

could be bull turds - or maybe that's more what he likes to serve -

interesting, to me, as much for what he doesn't say - this period is my favorite Sonny (love the Impulse and RCA recordings), but I also believe it indicates the beginning of a very confused journey - bells, mohawk haircuts, spiritual yearnings - I once had a very interesting conversation with the bassist Jamil Nasser who told me he thought that Rollins was sent spinning by Coltrane's rise in dominance; whereas Sonny had been the king of the hill prior, Coltrane was now the one on everyone's minds - and within a few years (not to start that old thread again) he would basically stop making decent recordings and begin the accumulation of electric baggage -

Der. Rat nails it, as far as Clem's style, IMHO - but I do disagree about finding Faulkner sloppy and unedited - Sound and Fury is it's own universe -

a true giant, and what a pity he gave up music - even understanding the conditions that made him do it, he's one of those who, if he had stayed active, would eventually have reaped the benefits both here and in Europe -

I believe he was from up here in Maine - has a brother who's a great acoustic player -

August Light is my favorite - nothing Clementine-ish about it - and speaking of Faulkner, you might find the Southern novelist WIlliam Gay intersting - writes beautifully in that Southern vein. Nice guy, too -

CLem and Faulkner? Puuuuhhhhleeaaaase... give me a break. I find Clem's posting to be second rate stream of consciousness. Even when I agree with it -

Clem is extremely smart, no question about it - but so is Karl Rove, and I wouldn't want him as a penpal, either -

well, than, let's make that semi-literate - after all, who knows if he really read that stuff or was, in reality, consulting the post-modernist edition of cliff-notes?

exactly - I first heard him playing with Craig Harris in the 1980s, and called him up afterwards to do a session - he was flattered to be called, but he really has something that shines in a free context - on the tunes with chord changes I can almost hear him thinking - he's figured out how to do it from an analytical standpoint, but it just does not come together, IMHO -

actually that chord progression and basic melodic outline was around for quite awhile, probably derived from ragtime - somewhere I have a recording of a South American string band playing with that chord progression prior to 1920 -

I would have responded earlier, but everything on my computer marked Clem is blocked - actually, lately I have everyone on Organissimio on my ignore list, and it's great, I have whole blank pages of people who agree with me (mostly myself) - but all seriousness aside, Clem's ok, he is full of shi* but in an entertaining way. I'm also amused by ther fac that he told me how good my work was until I started to disagree with him -

the great thing about Randy is that he is a true post-modernist, in the same sense as someone like Jaki Byard - he has a complete and natural commmand of the history of the horn and the music, but never uses it self-consciously, just plays what he knows and, like Jaki, seems to know virtually everything -

Don is an absolutely great player in an "open" context - where's he's gone wrong, IMHO, is when he tries to play on standard changes, as he does on Ivey Divey - Don playing chord changes sounds, to my ears and IMHO again, as though he's working too hard, concentrating too much on just getting the right notes, as opposed to relaxing and blowing with any degree of relaxation and command -

well, we've got ghost bands - we might call these Corpse bands - (and I don't mean the Marines)

I agree, but emulation is a funny thing - let's not forget all the horn players who started shooting up because they thought it might help them get closer to Bird - at least the Clapton pedal doesn't require any needles -

might call the Four Freshman the 4 Seniors, now -

hey, I knew Al Haig and Curley Russell - if I can talk Roy Haynes into it, I can also re-form the Charlie Parker Quintet (gotta find a trumpet player; I'll ask Randy Sandke) -

maybe McCoy Tyner can tour with the John Coltrane Quartet, with himself and 3 strangers (I'd be willing to play sax if the money's ok, and I know a good washtub bassist) -

hm....and why would Lon have something to say?

boy, that does look bad -

I have a lot of the Ambassadors - early ones are extremely good, later ones they started to fu-k up with noise reduction - the early ones have almost no processing, which is good, IMHO - the earliest ones, anyway, are the most essential -

the Jaki Byard album has a duo on Memories of You that is, pure and simply, one of the greatest recorded performances in the history of jazz - but that's just my opinion -