AllenLowe

this is different because its...WKCR - a superior station in every way, which should be supported - Melbourne is ok, but let's face it, it's Melbourne -

jeez, that record Hot Dog is god-awful, to me it smacks of the sad-ass jazz attitude that "hey we can make one of them rock and roll records and make lotsa cash 'cause them kiddies don't know one thing from another it's all the same to them"

I think it's nuts to leave tube equipment on all the time - NOS tubes are slowly disappearing, current production tubes suck, and I hope you guys are all using the good old stuff -

He made some live recordings with Frank Sinatra that are quite good -

ahhh - all those other recordings are masterpieces compared to Hot Dog -

Hot Dog is the worst and most inept attempt at funk that I have ever heard, and that's saying something -

1) Deep Night is a beautiful old tune - my favorite version is Booker Ervin's on Structurally Sound. 2) Evans was also a big admirer of Oscar Peterson. So his taste could certainly waver from the sublime to the ridiculous...

Hot Dog by Lou Donaldson -

I don't know - I recall them together on one of Nieldinger's private releases - I'd have to check my shelves -

There was an album from ca/ 1964. PLays Jazz Standards. Great stuff, not the edited performances. As for the Bridge, I just find that Sonny sounds constricted on that -

Isn't there some stuff he did with Marty Krystall/Buell Neidlinger?

one of the things that happened after the 1950s was that Sonny, who was used to being the dominant tenor saxophonist in jazz, was thrown for something of a loop by the rise of Coltrane. What followed was a real time of search - some sabbatical, some time on the bridge, head shaving, and than a flirtation with the avant garde. (Paul Bley, by the way, has given a fascinatnig account of the session with Hawk). I love Sonny's 60's work, if not all of it is fully realized, especially the "Our Man in Jazz" material. Peronsally I find The Bridge dull and still-born. But I love the Jazz Standards recordings, which are incredible. All and all this is my favorite Sonny -

another fasincating, Monk-related piece, by the way, is Mary Lou Williams' 1944 solo recording of Caravan; it is unlike anything else she ever recorded, and is remarkable in that it shows the INFLUENCE of Monk - very unusual for its time -

maybe we SHOULD end this thread and get onto wholesome pastimes, like making fun of the dead -

The Monk tracks are interesting for a number of reasons. Mary Lou Williams once commented that Monk, in those days, was playing like Teddy Wilson; on the evidence of those recordings he was definitely working in that idiom, though he already had his own take in it. And he developed very quickly - there is an Onyx LP of Monk backing another soloist - I forget which - in which he plays Nice Work If You Can get and Melcancholy Baby; it is from 1941 and he is already the definitive Monk -

What's wrong with you guys? Can't you see "she's" definitely a cross-dresser. The jock strap bulge gives it away -

while I like those songs, I think they represent what is truly wrong with Dylan, and why, though I admire his music, he is really not the poet he wants to be - he is just so above everyone and self-righteous that it blocks any true vision. At the risk of inflaming Clementine, I must quote something that Francis Davis, in his article on Dylan, notes, from Yeats: "we make out of the quarrel with others, rhetoric, but out of the quarrel with ourselves, poetry.” As Davis correctly adds, “Dylan has never been able to tell the difference.”

Hardman appeared in Hartford with Junior Cook sometime in the 1980s, I recall. I knew the bass player he was working with, so I got to meet him briefly - I heard him talking about Blakey backstage. Boy, if someone had a tape recorder, it would have been almost as good as the Buddy Rich tapes. Let's just say he was hostile for financial reasons -

When he was in Boston we spent a day together, as I was writing a profile for a local jazz magazine - he had missed his methadone shot, and was arguing with Laurie about it - it turns out, the real reason he missed it was becasue it required a drug/urine test, which he did not want to take, for obvious reasons - so that day, leading up to the gig, at his request, I drove him around Boston where he made various stops to see "friends' - by evening he was feeling much better -

good points - funny thing is, for me, when I heard him in person (in Boston, near the beginning of his comeback, can't remember what year) he sounded great on everything, ballads, tempos. Than I remember listening to the Vanguard recordings and thinking, "this is a different guy" -

Interesting, Mike - it was Dave's wife who described it to me as "the Buddy Rich Band" but I never asked her (or Dave) for a time frame - and it's also possible that, having met Dave in that band in 1950, that that was why Buddy hired him later on. Unfortunately, both Dave and his wife are dead so it's unlikely I'll get a definitive answer -

Yes, I forgot about the Nat Cole/Prez/Buddy sides, which are among my favorites; but I don't think I would put Buddy ahead of Dave Tough, who was really quite fantastic in both small and large groups; for small groups. off the top of my head: Improvisation for the March of Time (1946, led by Wild Bill Davison),and I'm sure there's others, for big band things, of course, the sides with Woody Herman. I once had a nice conversation with Max Roach, who described how much he liked Tough's playing, and how Tough used to sit right in front of the drums on 52nd Street, fascinated by the beboppers. He was also a bit of an intellectual, wrote a column for Metronome I think, and died very tragically in the street, from a drunken fall. Barrett Deems has described how Tough's family refused to let his wife, who was black, come to the funeral - typically tragic jazz story, all in all - the amazing thing about Tough was how much his time seemed to breathe with the band - his playing had an elasticity, inwhich he almost seemed to stretch the beat, and then snap it right back into place -

How about, for a title, "Am I Blue"? That shows that you are asking the question of certain singers who would not necessarily, in the conventional sense, be put in that category -

Maybe instead of "overlooked" we should charcterize certain altos as "underlooked" -

I must admit I never liked the Buddy Rich big band - too much bombast, and I found his playing to be very brittle and showy - and than one night I saw a clip with Buddy and a small group from the Playboy jazz Fest and was completely knocked out - he was with an all-star small band that included Dizzy, and maybe he didn't feel like he had to show off or something, but he was phenomenal, really kicking and driving it. Sounding - though I didn't really know it than - a LOT like Dave Tough -