AllenLowe

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 -

you gotta guess -

well, they live on in our hearts - and our CDs -

original band was clapton - Jeff beck was next I think - and than Beck and Page together for a little while, and than Page - I may be wrong on this - Clem - I love their Sun reissues, have many of the CDs (in excellent sound) - I think there was a time when Sun was in something of a limbo, and than things got tight and the lawyers got involved - however, I'm probabaly condensing a lot of history here -

"We had a three LP deal with Bob Shad of Mainstream. However we were signed to his son-in-law Maury Apatow as our manager" - from a 60s rock group web site - classic Shad -

he was a crook - that was his label -

someone once said (and I am paraphrasing): "the interesting thing about Oscar Peterson is NOT that he makes everything sound easy, but rather equally difficult"

I know that picture of Haig - much as I liked him he was an odd-duck and a world-class cynic, and you never knew what he was really thinking - as for Lewis - I've always thought his blues playing in particular was pretensious and self-referential, a kind of pseudo-sophisticate/down-home approach. All right - here is a quote from a famous jazz pianist I once interviewed - can anyone identify him: "John Lewis? Why don't you listen to somebody who knows how to play the fuckin' piano, like Hank Jones?"