AllenLowe

"all these decades I've been thriving on the music, relishing its details, inspired by its nobility, and I've been getting nothing out of it." yes, thanks, that's exactly my point. Just remember that the first step in solving any problem is the admission that you have the problem -

Just finished watching part one last night - wanted to mention that that's the way Samuel Jackson talks - he wasn't adding much in the way of inflection -

there was a lot more than a "hint of personal rejection" in the tone of your posts, and it got personal in a way that was completely out of line.

I will add that, as a musician, I can attest that Larry, in his way, gets much closer to the process than nearly anyone else. And it's not the fact of the disagreement with Larry that bothers me, honestly, but the nasty and contemptuous tone of some of these posts -

well, they are precious because jazz has so few critics of his stature -

I love Meade Lux Lewis - the problem with any album by a musician like him is that it's going to be, by nature, repetitive. This is one way in which social changes have altered perception and understanding of musicians like Lewis - I really think this music is best listened to on a juke box, as a random selection coupled with others of it's style, or in-person in a living room or juke joint, up close and personal, or in concert - anybody whose ever seen any of the blues greats like Muddy Waters will know what I mean - listening to recordings is great, but pales by comparison to hearing it in person. Of course this is true of any kind of music, but I find it particulary relevant with these kinds of players -

Just to clarify my clarification - there's nothing wrong, of course, with disagreeing with Larry, as I do in more than one instance - it's the tone of Cornelius and Goulds's posts that bothers me - instead of engaging one of the country's finest jazz critics (and I am not exaggerating in that assessment) they seemed determined to prove that his whole approach is symptomatic of some kind of hyper-intellectuality - which is a lot of crap -

DAVE! I was referrring to the prior posts by Gould and Cornelius - sorry -

what's your probelm? Did Larry give you a bad review somewhere? If you get nothing out of Larry's book than chances are you get nothing out of the music. This is the problem with jazz, audiences and musicians alike - a lack of intellectual background or perspective, a decided anti-intellectualism and a failure to understand that jazz is like all art forms and deserves the kind of sophisticated analyses that other forms receive. The failure to perceive this is why there is so much bad writing about jazz. Shame on you two for being so willfully dense -

and let's not forget Mingus calling Eldridge, Hines, Hawk, et al "old ni**ers"

Sorry, Cornelius, to call Duke Jordan a "hard bop" player means you have not been listening to the music real well - name one recording of his that qualifies as such -

Cornelius - I'm not sure what the problem is, but by quoting Larry directly you inadvertently proved his point and defeated your own - it's a beautiful piece of writing that sums up the method and affect of Mobley's playing better than 10 paragraphs of so-called "technical" analysis could have - I, for one, had no trouble discerning Larry's point -

Interestingly, there's a late album by Ammons, live in Sweden or somewhere else, in which his playing shows a real post-Coltrane influence - not really a Coltrane thing, but the effects of that loosening of the harmony -

I know - i was thinking maybe boots or air shots -

Hey - here's a Buddy Rich question, and an interesting quote - Dave Schildkraut played with Buddy's band for a short while, though I don't know the dates. According to Dave's wife, Buddy told Dave that, after Artie Shaw, Dave was the greatest clarinetist he ever heard. Now - does anyone know : 1) When Dave played with Buddy; and 2) if there are any recordings with Dave in the band - thanks -

well, he might have been right for the wrong reasons - I love Mugsy's playing - and, if I added the musicians that I dislike, I'd probably get run out of this forum -

but who's the ghost?

Williams was a great critic but he did have certain blindspots, IMHO - he did not like Nat Cole's playing, and was very lukewarm about Cannonball; he did, sometimes (and this is from my readings; I knew him only briefly) tend to miss out on the emotional element of the music unless it was accompanied by a certain kind of rigorous intellectuality, conscious or not. Hence, I think, Ornette attracted him, Ammons/Adderley/Cole did not. But one finds that one has disagreements with every critic, no matter how much one admires that critic. Also, note that with Ornette, Williams was dealing with earthiness as it related to a kind of progress that he saw as innovative and advancing - this is not true with Ammons (whose playing I love, btw) -

DING ROUND TWO

I knew this was a bad day to give up amphetamines -

On the other hand this was most likely Jackson's own choice -

it's like that line in the Sunshine Boys, where the guy is talking about the old minstrel days; he says "I did black when nobody was doing black - and when I did black, you could understand the words"

Actually, I'm not really that excited - I just have a CD in my pocket -

Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown Actually, I am excited only because it's Uptown - Actually, I am excited only because it's Uptown -Actually, I am excited only because it's Uptown

I think we're missing the point on Jackson's delivery, which was likely intended as a legitimately thetarical rendering of Johnson's words -