AllenLowe

wait - are you agreeing that he has a right to disagree, or that Frank sucks?

I would add a few things, which I hope are relevant and which you probably already know - work within your lmitations, don't necessarily compare yourself to other musicians - find what you do best and than do it. Doesn't necessarily have to be great technique or high notes or speed, but EXPRESSION- and than m, document your playing when you are ready -

Frank (only his friends can call him that) was the best pop singer of the 20th century, no question about it - if you can't hear that....well, than, we shall politely disagree vehemently - though you might ask Lester Young what HE thought -

just found this thread - don't think it's been mentioned but somewhere I have a copy of her country and western album - nice record, and when I spoke to her a few years ago she did not even own a copy herself -

you think the cover's bad, wait'll you hear the music -

"While the Tristano "influence" was certainly present, there was more rhythmic diversity" - a common misconception, I believe - the real Tristano stuff is quite rhythmically complex -

yeah, it's kinda flaccid -

and note that I did not say he was ONLY a follower, not a leader, but MORE a follower than a leader - check out, eg, Allan Holdsworth's 1968 British recordings -

oh, probably something he heard on the radio - at this point he was way behind the curve -

well, I would argue that the early Columbia years were the innovative ones - the fusion stuff was more Miles the follower than Miles the leader - now, everbody, yell at me -

well, this place can make you a little gun shy -

"Very direct, but not controlling" I really don't believe this - fellow musicians witnessed something much different, and my (albeit brief) experience with Tristano shows him as a martinet - also, read John LaPorta's book, which describes a Lenny Tristano who was pathologically controlling - I spent only 4 hours in his presence and he sought to manipulate and control every thing about the interview - just the fact, by the way, that Lenny asked Warne Marsh to go into therapy with Lenny's brother is EXTREMELY controlling and quite unethical besides -

Spielberg's filmmaking in movies like this (and Sgt Ryan) reminds me of the comments a piano player friend made about a saxophonist years ago - the pianist described the saxophonist by saying"he swings but he has no brains," meaning he had few good musical ideas - well, Spielberg is a genius film maker but he does not have the intellect to match, IMHO -

Gene Barry from Burke's Law? I missed that. I did enjoy the film - it just gets spoiled by the fact that in films like this I feel that the script writers are taking lazy short cuts, as though the audience is too dumb to realize - but than, scripts are usually written by committee, so probabably the writers (and Spielberg) were too dumb to notice - as for Cruise, I think he's become a very good actor -

not a problem Chris - I'd be happy to re-do the whole thing, but for some reason Sony and Phil are not asking...

thanks - it takes a little work, but CEDAR is a powerful and user-friendly tool. It also helps to understand EQ and, last but not least, you need a reliable set of monitors -

too many inconsistencies and too much ill-logic - right at the beginning Cruise stands around and watches the city destroyed around him while his kids are alone in the house - no parent would stand and watch - every one would head for the house and the kids - at the end - when the aliens get sick and die - why are the shields non-functional? They are not susceptible to illness, even a sick alien can push a button to activiate - and, how the hell did the son get to Boston, and why is a major city area like the ones his in-laws are in untouched? Also, when they intially get to his ex-wife's house - 1)why is the door open and the lights on? And 2) why do they need to eat the food they brought with them and why, having refused that food, do his kids remain hungry? Woulddn't the house be well stocked? Spielberg is a great filmmaker but this script, while not as bad as Sgt Ryan, shows that brawn still comes before brains in his movies -

I think that Junk presentation refers to a Chinese jazz cruise - but back to the subject - what Eldridge does the Mosaic cover?

Chris - you really ought to publish a jazz scrapbook, along the lines of the Condon book-

there's a cut from a Savoy collection, '46 or '47, that's incredibly modern, must have been a big influence on Rollins - I'll have to look up the citation -

I enjoy the give and take, not a problem ever for me- and no, I never did hear Taylor with Frank Wright- did they ever record it?

well, maybe, but...I think it's also (in the same connection) related to Tristano's overwhelming need to control everyone with whom he came into contact - that was the real nature of his personality -

well, Pepper was strung out to the end - contary to the official story he was taking large amounts of cocaine, supplementing it with methadone when he could pass the urine test - so it's not surprising to see him strung out at this time. Pepper was really hung up, for the last 15 or so years of his life, with sounding "contemporary" - to the end he would alternate sublime playing with fake Coltrane-isms and the occasional pointless squeal, as though that showed he had kept up with the times. This is all just my opinion, but his ballad playing got more and more maudlin as well - all part of a pervasive junkie narcissism, as I see it. And yet - I heard him 4 or 5 times post-1976 and there were some still-brilliant moments - and he was probably the greatest clarinetist I ever saw -

I don't care if this one is co-sponsored by the the Aryan Nations - get it - fascinating early Dylan, recorded when he still had a great singing voice, and a great snapshot of an absolutely masterful performer before he was corrupted by illusions of his own genius -

just go to the yellow pages and start calling 'em up -