AllenLowe

you sure you think Mercer wrote it? From what I heard Duke was putting Mercer's name on things for tax purposes.

would be great to meet you.

yeah, he's amazing.

now of course I never complain, but am still waiting for one Organissimo member to show up at a gig - and I know you guys get to NY for things like Visions, etc, even when you can't hear the music from more than 3 feet away and it sounds like the Mormon Tabernacle Choir singing under water - so - my last NYC thing for a while is an extravaganza created just for you: October 18 at IBEAM in Brooklyn, where the acoustics are good; an all day thing, probably 4-10, sort of an Allen Lowe festival - a recording session/concert - though subject to change, here is the current lineup: Ursula Oppens solo piano Ursula Oppens duo and trio with Allen Lowe and Ken Peplowski women's project quartet with: Allen Lowe, Shayna Dulberger, Miki Matsuki, Ava Mendoza women's project piano solo by Kelly Green quintet with: Allen Lowe, Kirk Knuffke, Kevin Ray, Lewis Porter, Jeremy Carlstedt Nonet with: Allen Lowe, Bobby Zankel, Paul Austerlitz, Hayes Greenfield, Lou Grassi, Randy Sandke, Kevin Ray, Christopher Meeder, Lewis Porter hope to see some of you there; more details to come; admission will be very reasonable.

here's a 2nd for Teddy Weatherford; he was an early influence on Earl Hines.

I don't mind Donaldson's remarks, he's from another generation; more offended by McBride saying how you can play 'free' and win a huge grant. That kind of crap should be beneath him.

love Newborn, but Mabern's playing drives me up a wall -

Bill Triglia was one of the greatest pure beboppers ever. and Lewis Porter, in case no one has noticed, is playing more piano than anyone I have heard recently.

it's not that 'sensitive guy' thing where everybody runs naked in the desert, is it?

wake up boys: "Cosby was asked by a lawyer, “When you got the quaaludes [in the 1970s], was it in your mind that you were going to use these quaaludes for young women that you wanted to have sex with?” Cosby answered, “Yes.” YOU DONT GIVE QUAALUDES TO A WOMEN IN ORDER TO HAVE SEX AND EXPECT THEY WILL BE AWAKE AND CONSENTING! and if this is not enough for you, Scott, every one of these women has testified to waking up with no memory or a foggy memory - of being undressed and raped, and of having woken up feeling sore and in pain. if that's your idea of consent, you need some serious education. it's over.

it's none of my business, Jon, but are your costs primarily licensing or production? Because it seems you should be able to make money on sales of 1,000 cds. I would. it also seems that you are missing out on the way jazz cds have a long shelf life; they might not sell a lot in the immediate sense but they will continue selling in the long run. Once again, this has worked for me. By putting out small numbers you create an immediate surge and then inflated (sometimes crazy) prices after the stock is gone. This in itself indicates that there is long-range demand. My unit cost for CD replication (just the cds) is about .40. Once again I assume you are printing greater amounts than you are making physical cds.

1) 25 women claimed to be drugged and raped by Cosby. 2) Cosby admits to giving them a drug that would incapacitate them. too bad I didn't go to law school. I forgot that the truth is only that which is stated in a court of law.

I was hoping for Willie Mays.

willie who?

yes, thank you, exactly.

this isn't guilt through popular vote; these are depositions and VICTIMS testifying for over 20 years, Scott, and a deposition that Cosby himself made in a legal forum admitting purchasing drugs for 'seduction,' AND - a judge who was so disgusted with Cosby's facade of fake innocence that he released everything.

he did it and he's a serial rapist; much worse than even Miles and I don't really care about good person/bad art or bad person/good art; he's a rapist, and this info, btw, has been around for almost 20 years. 15+ women did not conspire together and plan this, and not all truth has to be determined in a court of law (they never actually tried 90 percent of German war criminals). and not watching him is not, for me, any great loss; he was entertaining, but not on the level of, say, Lenny Bruce, Richard Pryor, or about 15 other comics. also, Larry, to add: there was a story recently about a woman raped while under the influence of qualaudes, and a witness testified that she seemed out of it but placidly aware. So, it is possible that Cosby deluded himself into thinking it was consensual.

I will say that Martino plays fine now post-stroke - or he did when I saw him years ago - but there is something missing; he lacks the greatness he had before (to be inexact).

all very interesting and a perfect time for me to plug myself, as I did write a book and put out a 36 cd set of the history of the blues, 1900-1960. I think I deal, in that book, with all the nuances of that history, and I do it more thoroughly than anyone else has done.

speaking of turnarounds....

oi, Elijah came up. Does he read this forum?

just a hint, as I worry sometimes about lawsuits; Schlitten was/is scrupulously honest and devised a royalty plan for Xanadu that was revolutionary for the industry (musicians started receiving royalties up front without having to first recoup all costs); Joe Fields was the kind of guy who, if you shook hands with him, you counted your fingers afterwards. A little like Bernie from Stash. though I think that one reason Xanadu failed was because he didn't have heavy industry/promo money behind him, and was very hesitant to deal with some of the more traditional means of promo and distribution. He also refused to jump on any bandwagons. I liked Don a lot (worked for him briefly) but he was a bit too stubborn, I think, and sometimes stubbornness replaced principle.

long and complicated; Al Haig was never the same after the 1950s; he still had a beautiful touch and harmonic sense but lost a lot of his sense of line; I've always thought this was a post-alcoholic syndrome. Also, Joe Albany, even at his best, would have weird blackouts on stage, lose his place, forget to end. And then head right into some brilliant passage. Late JR Montrose was never the same; Art Pepper, I would say, too, but that's a whole other argument in itself. I also saw Jo Jones in his later years and he was ok but had lost his real special sense of swing (another drunk, sad to say). On the other hand if you keep your mind active things can keep going; I didn't really feel like I was playing optimally until I was about 50.

that's weird because he told me just the opposite about Haig; said that Haig was the one who first presented an alternative to Bud.

I love Ornette's commentary on everything and anything. He has this oblique and brilliant logic to almost anything he says; it's like out in left field yet exactly correct. I particularly like his comments about Mingus, especially in light of the nasty stuff Mingus said about him; he is pointing out, contrary to Mingus' belief, that 'free' jazz is not just a matter of abandoning form or ignoring immediate precedent but of redirecting form.