AllenLowe

I wasn't presenting it as an edict - only an interesting comment by a major musician who was also a peer of John Lewis's -

oh, and couw - thanks for this one: "this is too stupid. just listen to the music and forget about all the shit the artists said and some on this board seem all too eager to repeat. buy more records. " That's truly in the spirit of intellectual curiousity - no sense thinking about it - just buy the stuff -

interesting quote from Litweiler - I'd like to hear more on that theme -

the Russell book is, indeed well written; it's just that I've talked to a few of the people who were witness and or participants to events depicted in the bio, and they, to a man, said that it was virtually all invented by Russell (I am speaking of Howard McGhee, Al Haig, Curley Russell, Duke Jordan, and Tommy Potter) -

well, since they're talking about basketball, it should be Big Bird -

there is a very fine version of Round Midnight, featuring Jefferson, on the Fletcher Henderson Allstars CD/Ld (from 1957 or so); he also takes many fine solos with the 1930s Fletcher Henderson band. He was a fine player, played with a more-modern sounding tone than many alto players of the day, les florid than Johnny Hodges, a little more down-to earth than Benny Carter. There's quite a few older alto players who never get enough credit from those days but who were great soloists - Pete Brown, Earl Warren, George Johnson, Rudy Williams -

no, it should be a rubber stamp because all of Peterson's work sounds the same -

I was once talking to a well-known producer who loved Booker Ervin and who did a fair amoount of sessions with him but who thought "Back from the Gig" contained sessions that were sub-par - this producer said to me "there's a REASON they didn't release a lot of that stuff." I tend to agree -

another guitar hero of mine, by the way, is Junior Barnard, from the 1940s Bob Wills band - earliest recordings I have with guitar distortion on them are his, from 1945-46 -

the thing about technique is this - there are ten pianists I have heard who can sound like O.P., but not a one who can truly sound like Monk - though I have heard Barry Harris do a beautiful job, and Bud Powell had a deep understanding of Monk's music -

Peterson is a fool blinded by his own supposed technique, and Monk was reacting appropriately - more than one first-rate jazz pianist has told me privately that he does not like Peterson's playing, which is, IMHO, 'jazzy" but not really jazz - Peterson had commented that Monk was a composer but not really a pianist -

that's him - thanks!

no one's mentioned that the Profoundly Blue session features Charlie Christian on acoustic guitar - and Profoundly Blue is an absolutely beautiful performance -

I'm in agreement about Bloomfield/Beck/Hendrix, though the jazz guys, in general, have no use for them. Peter Green I love - listen to the Fleetwood Mack BBC sessions - he may be the ONLY of the rock guys who, when concentrating, has the rhythmic subtlety of the pervious black blues players - Bloomfield came close, too, and I'm a Bloomfield fanatic (the guy could also do a convincing Blind Blake and Merle Travis). I've been emailing Al Kooper, who's supposedly working on a Bloomfield box. Some later Peter Green, when he's trying to be a "hard rocker," falls short, in my opinion. Love Pat hare, Willie Johnson, Guitar Slim ( a real pioneer), Sumlin, and the guy who used to play for Bobby Bland - forget his name but his '50s stuff is a very original take on T-Bone Walker. There's also a bunch of anonymous session guys who recorded for High records in the late '50s-early '60s who were masters, though I don't knpw names. Buddy Guy in the late 1960s early '70s (I saw him in NYC circa 1970 and he was incredible - check him out in the film Festival Express, because that was the Buddy Guy I saw) - can still play great, but the fire is not always going. Clapton, as I mentioned, I've always found a bit dull if dedicated; even some of the Cream stuff, listening now, sounds stiff to me. One thing not mentioned enough is that the rock guys, beginning with Bloomfield/Butterfield essentially, really revived the electric blues, gave life to a music that was starting to sag into formula (and I also like the much-maligned Big Brother and the Holding Company, a group that was rough but real) - also have to mention Graham Bond -

instead of removing Brookmeyer from the list, why don't you just remove his valves? And than we can take away Dolphy's mouthpiece, and than you will be happy -

check email - I'd like it -

actually, I think Tristano PREFERRED that people not listen to him - so if you really want to get back at him, listen as much as possible -

amazing thing on the Hot House kinsecope is how little his fingers move -

that was Al Haig who suggested they call the witch doctor - and, from what I've heard, the assembled musicians were not amused -

there's also an old Max Harrison monograph on Bird - and much as it pains me to say, I think Giddins's book is very good -

I love the Yardbirds - Clapton was, to my way of thinking, the least of their guitarists, rhythmically unimaginative if techically "authentic" at the beginning. Page was better, was experimenting with some "modal" ideas," but ultimately was very limited. The best, however, was Beck - his stuff I can listen to over and over -

I think Wynton said it died - until he came to save it -

they're to an individual Teddy Wilson record - I'll find the record and report back tomorrow --

oh, all right - Lenny Tristano -