AllenLowe

I still wanna hear the Dizzy Gillespie story -

Hey - I just came up with this off of Switchboard: Valdo Williams 1261 5th Ave, New York, NY 10029-3822 (212) 828-1961 I'll give him a call tomorrow - no kidding - I like doing this kind of stuff, and if it's the same guy he'll probably be thrilled that there are people still thinking about him -

anybody know if Valdo Williams is still around?

I talk to him now and than - and I think he's still teaching at the New England Conservatory - Paul loves to talk about stuff like this - should be interesting (if he's not on tour) -

it would be interesting to ask Bley about Williams - I volunteer to call Bley and ask him - give me a few days -

isn't Duffy Jackson the son of Chubby Jackson?

it did seem very sloppy, and if the news accounts I've read are accurate, probably should never even have been brought to trial -

well, I will add that there are many good jazz books that are not technical and that can be read by the lay reader- funny this should come up tonight because I was thinking of starting a thread about good, readable music books (because I think many books on music are un-readable - not because they are technical but because of bad writing and editing, and the mysterious inability of some academics to actually deal with the MUSIC) -

the prosecutors had a weak case - and in that part of the world they can't convict someone when they have a GOOD case (thinking OJ) - Blake was innocent -

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 -