AllenLowe

believe it or not, my brother-in-law wrote this documentary.

he just always seems to be holding back - but not in that Lester Young/Lee Konitz/Count Basie/JR Montrose/Hank Mobley/Sir Charles Thompson way that seems to imply so much more.

I'd like the Stitt/Barry Harris, Burnin. Will send PM.

yeah I've tried, also heard him a bit in NYC in the '70s - he is, to me, like Jimmy Heath - a fine musician but not really interesting, to my ears, as a player - however, will check out the recordings suggested by Larry. interesting - this may be the best Clifford Jordan I have heard: https://www.youtube.com/watch?v=HzuYo6OxkaY

I never like Clifford Jordan's playing - too dull - but I am intrigued by this label, of which I have heard very little.

this was her.....secret.....

I've been overlooked for good reason; great inconsistency; however, on this last session we did, everything worked nicely: https://soundcloud.com/allenlowe-1/beneath-the-blues

I am seeing lots of African American critical praise of Washington, the most prominent of which is Greg Tate's.

considering writing a (musical) piece called Why Kamasi? Though I know the answer, which is multi-pronged; a lot of it has to do with black critics' sense (and this is still an active attitude) that white people have appropriated so much Black music that it's about time that a young Black man takes the whole retro-back- to-the-future thing and turns it into "making a living." So Kamasi's success, to me, becomes another piece of racialist collateral damage, as it represents a kind of reparation to so many critics -and listeners - who know better aesthetically but to whom this music is densely political as much as it is quaintly musical. Other wise they would see Kamasi as what he is, a quaint, retro-star with few original ideas.

the reason i ask is that Ms. Pepper's recoding-release activities have been, largely and correctly, in response to her sense that a lot of people were stealing material from Art; so I would hate to see her act in ways that are contrary to her own beliefs.

yeah, kinda based on a promise to my wife to get everything done and then get ready to move and take it somewhat lighter. But everybody's in the right place at the right time.

well, it's still a few months until this stuff comes out, but here's the releases of my own stuff on my own label (Constant Sorrow), all to be out by end of year and next spring; I am on alto/tenor/C melody, and all compositions are mine; the overall series is called In the Diaspora of the Diaspora: Matt Shipp Plays the Music of Allen Lowe (w/Michael Gregory Jackson) Where Ten Men Smoke One Cigarette (with Zoe Christiansen, Miki Matsuki) We Will Gather When We Gather (with Hamiet Bluiett) Ballad For Albert (with Matt Shipp) Man With Guitar: The Robert Johnson Story (A White Fantasy) (with Gary Bartz, Dj Logic) also: The Five Stages of Grief (with Bobby Zankel, Randy Sandke, Lewis Porter, et al) The Mary Lou Williams Story (with Shipp/Bluiett/Kirk Knuffke/Ava Mendoza/Loren Schoenbert/Kelly Green/Ursula Oppens) Odds and Ends for $10 (with Ken Peplowski/Ursula Oppens/Ava Mendoza/Shayna Dulberger/Miki Matsuki) Why Kamasi? (with Ava Mendoza/Shayna Dulberger/Miki Matsuki) A History of American Song (with Ray Suhy/Jake Millett) (subject to change without notice)

I'd like to see the legal stuff on this; the rights, and whether the Hampton Hawes estate, et al, has been contacted; whether Xanadu owned this outright and still owns it, or....? A lease? This thing bothers me.

I was but a young boy of about 15 or so when I went there a few times; and I may have mentioned this before, but I was flabbergasted to realize many years later (because, after reading about it I remembered him quite distinctly) that I had seen and been right near Jean Genet, who was also spending time at Slugs in those days.

I do believe that paypal also refunds the shipping cost.

I actually never saw it. Ok then, let's say......Police Academy 36.

the thing about CDRs for commercial release, in addition to everything else, is that their resale value, for a private owner, is nil.

I can barely read music. As long as it is very simple (and forget about 6/8 etc).

the Rainey stuff has never been done correctly in toto, though I did one volume for Shout, with disc transfers by Jack Towers. The Paramounts, with proper transfer, can be very nice.

this was put up for preorders some time ago, and it will be out by the end of August; good session, and includes Michael Gregory Jackson on a few cuts. One last chance to pre-order at $10 shipped USA; $20 to Europe; may paypal is alowe5@maine.rr.com

Optatio, yes, that's the one. And her '50s stuff is very Tristano-ish; also like the recording with Hasselgarde.

Barbara Carroll made great recordings during the '50s, and I heard a bluenote LP she made, maybe in the '80s, that was terrific and showed a wonderful harmonic sense. She can really play.

thanks, I did not know that.

what is the columbia studio session of the KC 6?

we will keep a cot warmed up for you.