AllenLowe

Somewhere there's a spectacular 1940s Metronome All Stars version - I'll have to do some research -

1.000-3000 - a broad range I would say - and to think I've only written about 76 -

not a great book, but intersting pics and the commentary is also worthwhile, as a contemporary witness -

I hope she has some tongue depressers -

I also didn't know "sophisticate" was a verb -

that may be true, but it's really an absolute journalistic no-no about reviewing someone's book in that case -

Now that Clementine's on the road it might be safe to wade in here and take myself more and less seriously - I like Signals to Noise, and coinsider it to be the best contemporary jazz mag - sure, not everybody who writes for it knows a lot, but they try and there's a lot of good info in it - HOWEVER - that review of the Bailey book was a SERIOUS breach of journalistic ethics - note that the writer points out, toward the end of the review, that he is criticized by the author of the Bailey book, in the Bailey book - this should have disqualified him immediately as a reviewer of said book -

"Into the face of death Duke Ellington wrote music until the end, and we are all the better for it." In addition to his other problems Stanley can't write - this is redundant and/or makes no sense as language.

I gotta make an appointment to see that nurse -

Just to add a postscript, when I interviewed Jordan back in the 1970s he informed me that the song was no longer his, lost in a sleazy publishing deal - and I do remember, on one of his later recordings, hearing the song under a different title -

"Blakey not paying his band on time" - this is just the tip of the iceberg. If anybody ever gets Blakey's sidemen to speak candidly, it'll be a major event of National Enguirer proportions -

The Marsh CD is Live In Los Vegas - for detail on this see my post in the Warne Marsh/artists controversy thread -

PERSONSALLY I PREFER B7 -

"But what are people called who live on Uranus?" Hemorroids?

THAT'S OK I UNDERSTAND

or if Martians think of themselves as Martians -

Yeah, I always wondered if people fighting World War 1 thought, "hey, this is World War 1" -

THAT'S A GOOD QUESTION; YOU WILL HAVE TO ASK TOSHI. OR MAYBE HERB ALPERT. THE MAIN POINT HERE IS THAT GERALDYNE AGREED TO THE TERMS THAT I PROPOSED, AND SHE WAS PAID A ROYALTY. I DID NOT SEE ANYONE MENTION THAT IN THE THREAD -

Actually I think the whole thing is a hoax - come on Chuck, fess up -

yeah, my problem with Wynton is how damned middle class he is - this idea that if you listen to good music and educate yourself in the right way (shades of the Great Books curriculum, Chicago readers) you will become a good person because this is all so good for you - and good is, after all good - my feeling is that you listen to the stuff because it's great music, the hell with personal betterment. And as George Steiner pointed out some time ago, culture does not make one cultured, hence the Germans and their development of Mozart, Beethoven, Heine, etc - I'm sure Adolf and Eva spent many a quiet evening together listening to the Victrola -

How about all those records with Freddie Green?

"As it is, however, to dwell on what isn't at the expense of what is there would be too typical of the time we live in now." I agree - so where's the six minutes?

Well, I'm a few months late to this discusion, and at the risk of pissing some people off, the previous comments (and I have not read the ENTIRE thread) about Live in Vegas and Toshi Taenaka are not exactly accurate. I knew Toshi when he was putting together the Live in Vegas CD and offered to serve as a US distribution point. Toshi, who will have to speak for himself, assured me that clearance was not a problem; when the CD came out I put out a fair amount of money to wholesale the CD; it was released. I received a call from a third party who advised me that Geraldyne was upset at it's release. I called Geraldyne (this goes back 4 or 5 years). She told me she believed that there was not permission to put out the CD. We made an agreement of a royalty rate of 50 cents per CD that I would pay her. Now, it has been a while, but as I recall I payed her enough to cover the sale of some number of CDs that we agreed on at the time. I did this even though I was really a distributor and not the record company. The CD was basically withdrawn from general distribution and, since than, I have attempted to sell them off at cutout prices, just to get my money back, which I have not. I am also reasonably certain that I have sold less than the amount for which I paid her a royalty (the CD has sold MAYBE 300 copies). Geraldyne was agreeable to this -

Yes, Nate, that's the name - Loren Mazzacane (has used some other names as well) - a nice guy, I knew him in New Haven 15 or 20 years ago - he came up with a nice idea of sustain and a nice, ringing sound on the guitar - but, honestly, he could not do anything else, and I've listened to the recordings, as much as the Wire and Cadence like to rave about him, there's no there there, as the saying goes. As for open playing I've done both inside and out and am aware of certain pitfalls. Larry's book has a particularly smart section on the use of outside techniques for standards and his weariness therein (he particularly mentions some David Murray performances, as I recall) - I will say that on the surface it is easier to play without chord changes than with them, and at the risk of being coy I did work with one VERY FAMOUS player who was shockingly weak on playing changes, though his other work is quite good - and also with a well known free drummer who, try as he might, could not keep 4/4 time. Now, that doesn't mean they HAVE to be able to do these things - but, given that they cannot, they need to be aware of their limitations and not go in that direction. And this time I will not reveal names, and I do apologize in advance. Now, as one who plays chord changes and more open pieces, I do work less hard (or, maybe, I work hard but in a different way) when playing "free"- but on the other hand the standard with which to judge my own playing should remain the same. The problem is more with my accompanists - if they know how to deal with this kind of playing (open) than it can be as satisfying and artistic as playing changes; if they do not, it than becomes something of a chase to nowhere. I've been lucky in this respect, but am skeptical about the internal editing mechanisms of many musicians. I think one of the reasons I have done no recording in 10 years is that I am so bored with jazz in general, and am looking for a vehicle to make it fresh to myself, a way to integrate some different ideas about older music and about newer techniques applied to traditional forms of pop. Some of this boredom is my own doing, the result of having having spent 30 or so years in almost complete jazz-surround. I hope to have some vague resolution to this in about 6 months.

Actually, no it's not Joe Morris - intials are L.M., though I don't think he's particularly known among the jazz crowd, more of a new-music type - as long as we're talking about annoying modernists, there is a certain kind of minimialist, sonority approach to composition that makes ME crazy - one note played, repeated, a la Lamont Young, recycled, repeated tones, "soundscapes" that make their point on first impact, and than quickly lose their impact - and than an idiot interview with same in the Wire, in which the musician seems to think that he/she is the first to discover all this -