AllenLowe

actually, I was never impressed with his jazz knowledge - too may upper case letters -

alas, poor arric - he was an idiot -

now, ariceffron may look like an idiot, and ariceffron may act like an idiot, but don't let that fool you - he really is an idiot -

so, Ariceffron - why DON'T YOU JUST MAKE IT GOOD AND END ALL THIS IMAGE ABUSE? SOUL STATION HAS EVERY RIGHT, IMHO -

thanks - David played well on the Knitting Factory recording we did (I played alto) but, honestly, there was nothing special about it - I've always had the impression that he has come up with certain ways to solo on certain types of tunes, and that's it - I certainly respect his musicianship, and everyone hears things differently, but I just find many other tenors to have more substance -

so what was the trade and what was the ripoff? Inquiring minds want to know -

well, I recorded with Murray in 1992 - and I know the album that Larry refers to - and I do hear a consistency -

don't know that one, but if you're looking for a good Coltrane book get Lewis Porter's -

I agree with you about Giddins, but that's certainly not true of Francis, who is very aware of recent happenings and covers virtually everything - as for Murray, my experience performing with him was well after he had fully developed his style, and I stand by what I said earlier, that I believe he has developed a certain approach and coasted on it. He's certainly a good muscian but there are many tenor players who can do what he does and can do it better -as for Larry's article, yes, it was 1985, but Murray's style certainly has not changed since than and Larry's criticisms hold up -

if you want a good picture of early American pop/jazz/ragtime, check out the site for Archeophone Records who issues a ton of pre-1920's music; their early issues had some over-processed sound, but they've improved greatly since then - pre-1920 jazz and pop is a complicated subject and I would go to the originals, as re-creations are nice but cannot capture the original energy. I have a lot on this period in my book That Devilin' Tune (and by the way Paragon stole that Black Manhattan title from me; I did a limited edition CD of early black music some years ago with the same title) -

North also did Streetcar Named Desire - and Miles Davis praised him in some interview -

If I had heard this blind I would probably not have known it was Mobley, but would have recognized it as an old-school player having some problems but emoting with depth and feeling - I repeat my earlier statement of how deep this stuff is; I'm somewhat surprised that a jazz listener could miss this -

the most intersting things of Monk in transition were issued on the old Onyx label on LP - from Harlem spots, the early 1940s - on tunes like Nice Work and Body and Soul, accompanying other musicians - on these you can really hear his style (almost) taking over - I'll try to pull the Lps later and give citations -

Tinney, by the way (who died a few years ago) is a fascinating figure - an early participant who never got a lot of credit; he taught at SUNY Buffalo for many years, and somewhere there's an excellent Cadence interview with him that's worth seeking out -

looks like the famous basement -

guys - I just listened to Swing to Bop and it's definitely Monk - especially near the beginnning of the solo, you hear phrases that he would use for another 30 years - no question about it - remember, also, that Mary Lou Williams described his playing during this time as having a Teddy Wilson influence - though it still has Monk's characteristic short phraseology; very unlike Kersey -

get the piano solos first - they set up everything else -

are you sure he doesn't mean Al Tinney?

funny thing is, I don't find his statement about his friendships with African Americans to be the least bit embarrassing - he was truly a guy who was honest in his attitudes and appraisals and a great advocate for the African American arts - certainly some of his statements might seem condescending out of historical context, but he really was not the least biut patriarchal in his attitudes, at least as I've been able to understand -

I've never really "toured," and I got burned out playing local gigs; I havent recorded in 10 years (thought that's about to change); my preference would be to be a musician like a novelist is a novelist, put something out every year or two, do a brief media thing, and than go on with my life. Having this attitude has allowed me to average approximately $500 per year in musical earnings, so I would not say it is a good career choice. I like writing, playing, and recording and, stupidly, I once thought that merit was the overwhelimg cause of acceptance in the jazz world - that if you did good work, sooner or later someone had to notice and pay you to do more good work. Happens with some, but you gotta be willing to give up a lot family wise, time wise, and personally, and physically. I never quite got there, but am ready to resume writing my musical equivalent of the yearly novel -

Van Vechten is a fasinating figure; I 've read Nigger Heaven, which he wrote, an interesting novel. Excellent photographer, and wrote some great descriptions of Bessie Smith performing (as Chris knows well) -

I'm stumped - how about a hint?

6.5 - you gotta know somebody -

too late - Chris Albertson pulled a heist the other night and grabbed it -

AHHHHHH! Sherry Tucker's book - that's the one that tells us Billie Holiday was embarrased by her blackness because she liked the accompaniment of the Whiteman band -