AllenLowe

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 -

The Uptown Mingus was a novelty? well, I'm glad the school for the deaf has joined the Organissimo family -

Hey Marcello - in 1967 when I was 13 years old I attended a music camp in Delhi, NY called new York State Music Camp. There was a young kid pianist (I'm not sure how old he was than) who was blowing very nice solos even at that tender age - it was, of course, Barry Kiener. I'll say that we didn't get along real well (he was kinda cocky), but I was schocked years later to be watching the Tonight Show to see him play. I thought he played great, if a little "Oscar Peterson-ish" for my taste. His death was quite shocking -

And just to add to the above - Williams also felt in a similar away about someone like Lee Konitz, and in this he also missed the boat on influence; I remember thinking this when Julius Hemphill told me how important Konitz was to his playing -

Yes, Williams definitely had some real blind spots - also he, like a lot of other critics, tended to regard something as less important if he didn't think it was broadly influential (of course Tristano WAS widely influential, but not in the same way as Bird, Prez, Armstrong etc). This is a real problem in a lot of histories, as musicians tend to be ignored if they are not part of the template, in the conventional sense. I got to know Evans a little bit, through his wife, after 1980, and he had two personalities that I saw - one in which he was open, friendly, generous and articulate, and another in which he was self absorbed, addicted, and self pitying. With a little bit of a stretch I think you might say that these two sides of him were reflected in his up and down musical efforts -

Willard was a former head of the National Jazz Service Organization, from which he was fired; if you get a weird vibe from him, it's becasue he's weird - and he hates my guts -

shades of Salvadore Dali -

Larry - are you familiar with Evans's first recordings (maybe 1956) in which he's still heavily under the sway of Tristano? Though they are often dismissed, I like them very much and consider them to be very individual interpretations of that style -

Dick Katz once told me that he didn' like taylor because he tended to rush the time - and sure enough, I remember listening to one of those Live at the Bohemia recordings - and on one cut he practically doubles it -

well, I'm getting old - just hope I don't run out of ink -

well, in order to get the stair attachment you have to prove you have stairs -

Yes, and especially discouraging given that I'm using the biggest pen I can find -