AllenLowe

thanks - I love the format because it's so free.

my favorite format. https://www.pointofdeparture.org/PoD84/PoD84Lowe.html

this is one of those moments you know is going to come, but it still sucks.

Are there any samples of this around? Sonny Red is great, and I love Elmo, but Hope declined a bit in the '60s.

what's left: Ahmad Jamal The Complete Collection Part 1 1951-1959 8 Albums, 4 CDs, still sealed. $20 shipped media USA Anthony Braxton Live Montreaux 1975 BMG $15 shipped media USA Thelonius Monk Quartet Complete 1966 Geneva Concer Bonus tracks: Live at the Bluenote with Ernie Henry (sound on these is so-so) Solar $23 shipped USA Media Sonny Rollins The Complete RCA Victor Recordings 6 CDs $33 shipped USA media Wes Montgomery Back on Indiana Ave STILL SEALED Resonance $13 shipped USA Media Bill Evans in England In STILL SEALED Resonance $13 shipped USA Media Albert Ayler The Copenhagen Tapes Ayler Records $13 shipped USA Media My paypal is allenlowe5@gmail.com

Strangely, in my opinion, Kenton was no more inconsistent than Ellington was. At his best he was superb (remember the Graettinger recordings, which are epochal). Plus there is a Gene Roland piece, kind of like a country/train in the distance blues piece (I cannot remember the name) which is probably one of maybe 5 great jazz down-home blues performances, and I mean down home. Here it is:

Age, near-death (recently had another cancer scare; biopsy showed no malignancy) have made me decide to take some big steps toward divesting my CD collection. Most of the jazz is going to the Los Angeles Jazz Institute, but I am also selling off various things, mostly (but not all) jazz. So I start with the following (all CDs) Ahmad Jamal The Complete Collection Part 1 1951-1959 8 Albums, 4 CDs, still sealed. $20 shipped media USA Anthony Braxton Live Montreaux 1975 BMG $15 shipped media USA Thelonius Monk Quartet Complete 1966 Geneva Concer Bonus tracks: Live at the Bluenote with Ernie Henry (sound on these is so-so) Solar $23 shipped USA Media Sonny Rollins The Complete RCA Victor Recordings 6 CDs $33 shipped USA media Hassan Ibn Ali Solo Recordings 2 CDs Omnivore $13 shipped USA Media Wes Montgomery Back on Indiana Ave STILL SEALED Resonance $13 shipped USA Media Bill Evans in England In STILL SEALED Resonance $13 shipped USA Media Albert Ayler The Copenhagen Tapes Ayler Records $13 shipped USA Media My paypal is allenlowe5@gmail.com

FWIW I love that album; Gene Roland was a major talent. Dan Morgenstern originally told me about him.

thanks, and I am thrilled you found a recording where she takes a full piano solo. Obviously very talented, not quite fully developed musically, but getting there. She was a terrific singer, as on Gone With The Wind.

I don't know if it's what you are thinking about but my project, Turn Me Loose White Man, has two books and 30 CDs, and is a breakdown and analysis of over 800 songs from the history of American vernacular music, 1900-1960. It's got virtually every style of music in it.

sorry, I thought you meant World War I.

that's the guy. Great player. James's soloing is a very interesting, I think, amalgamation of Armstrong and Eldridge; a little florid at times, but really fine work. I want to post this, though it is slightly off topic - it does show how well Harry James played and was regarded by fellow musicians with less commercial cache even early on - Buck Clayton, t / Vernon Brown, tb / Earl Warren, as / Jack Washington, as, bar / Herschel Evans, ts / Jess Stacy, p / Walter Page, sb / Jo Jones, d. New York, January 5, 1938

one thing I almost always note - I love that 1950s edition of the James band, and he had a trombonist, Carl Elmer, who I think may be, after Knepper, the best bebop trombonist I have ever heard. You have to search for his solos, but they are great.

he's still alive? Wow, I thought otherwise. I always try to keep track of Jewish jazz musicians.

Plumb has some interesting sonics. My problem is, you've heard David Murray once, well, you've pretty much heard what he can do. And Questlove sounds like a drum machine.

Paul Oliver was a smart guy and a decent writer, but just lacked - a certain creative spark in his blues work. And I will say something self-serving; my blues collection Really the Blues? with accompanying book is a far better examination and explanation of the blues than anything else out there; the field is rife with fans who really cannot write. I plan, if I live that long, to put the CD set that goes with it on Bandcamp, and then just sell the book. But I think the book hangs pretty well by itself.

it's interesting to hear how musicians loosen up when playing "live" as opposed to recording. Particular Hardman here. And I don't know if anyone has mentioned it but I've always heard a similarity, tone-wise, between Cook and Booker Ervin.

I really like all of Ammons' later work. It's always interesting to hear when a musician from that generation gets a little restless, artistically-speaking. Very few of them really changed.

heres the whole Sweden thing: sorry - it wasn't the Dexter/Ammons, but the Moody Ammons I was thinking of (in addition to the Swedish concert, above): https://en.wikipedia.org/wiki/Chicago_Concert

Ammons In Sweden, and a very interesting recording he made with Dexter Gordon (possibly live in Chicago): https://www.amazon.com/Chase-Gene-Ammons/dp/B000000ZF1 https://www.amazon.com/Gene-Ammons-Sweden/dp/B005D2ST9E/ref=sr_1_1?crid=1NKJ8044MBYKI&keywords=gene+ammons+in+sweden&qid=1692128402&s=music&sprefix=gene+ammons+in+sweden%2Cpopular%2C101&sr=1-1 neither is a radical departure, but there is, to my ears, a sense of impatience with the more orthodox lines of bebop.

that's what I like about it - it violates the Sacred Order of the Jazz Solo; and I will say, though this is not necessarily a recommendation, that from a technical standpoint it is masterful. I am going to add something that strikes me here as relevant, as a player myself - bebop and its parameters can be quite oppressing, as a schematic requirement for musicians to design their playing in specific and "correct" ways. Truthfully, though I loved the man, this is the reason I had to finally detach myself from Barry Harris when I hit my 30s (we had been very close) as I decided to get serious about music. And since then I have noticed a number of players whose work reflected the outlines of bebop but whose playing reflected a fascinating impatience with the music's contours - late Gene Ammons, Von Freeman, Ira Sullivan are just three, Aaron Johnson is a great contemporary example - and I very much, after frustration with the free-jazz cult of today, decided to construct a way of playing that encompassed certain spiritual ties to bebop and swing, but which allowed me to discard all of the so-called lessons learned and abandon the rules in the interest of creative freedom. THAT is what I find so interesting here about Wynton, that for a brief moment or so he had a similar revelation and applied it in a brilliant way - though as we can see, the lesson didn't really take, as middle-class precepts of art as a form of lesson-learned gratification and personal nourishment took over from the idea of art as revelation and risk.

exactly. I find this disturbing. Like a violation of certain sacred principles.

Larry Kart pointed out to me once that Wynton Marsalis has changed his style from his early years, when he was a much more creative and exploratory player. I just found this on Youtube - an amazing solo with VSOP - from the '80s? I don't know, but I do know that it is one of the more amazing trumpet solos I have ever heard, free, inventive, playful, intense:

I blame myself - they finally did an article about me and then they died.

Roswell Rudd told me that Shepp was so popular in France that people were naming babies after him,