AllenLowe

I don't think we are advocating any Romantic notion of the improviser, nor are we in need of a new paradigm; Leeway I think you are a wee bit behind in this, as the old notions of what constitute 'art' were scattered to the winds about 50 years ago and more (see Beckett on Proust; Robbe Grillet, Toward a New Novel). And that puts me, too, significantly behind, though I do think Beckett and Robbe Grillet (and Richard Gilman) hold up pretty well as guideposts toward the rejection of the same-old-same-old. What I miss is the passion in the midst of passivity - which I hear in Prez, Konitz, Malaby, Giuffre, Tristano, Bley, Berne, and others of course - the fire at the center of a cold wind, maybe, though these metaphors are somewhat lacking. The mechanistic urge that puts a new improviser over the top is built from the paradox of 'it means nothing - so I do it.' Or, as Beckett put it, 'he has nothing to say - only a way of saying it.'

I may be misreading his inconsistency; it is interesting that certain improvisers cannot phone it in and have to be "on" in order to have it together; while others can always create a certain level of execution and ideas. Rollins and Konitz are two players who come to mind here as well.

Karl - the motivation question was directed elsewhere, not at you, as there were some suggestions that those of us who were rejecting Washington were doing so because he was 'popular.' I am indeed suspicious of jazz that sells well, but time has told us that it's not always bad music that sells. As for the crisis of spirit, well, I see a lot of uninspired music being played by extremely talented players, and I agree with you on the use of distortion by a lot of jazzers. I have stopped going very public on this as it just tends to piss people off, but I do find a dearth of music that seems to exist out of necessity, that has the edge I like. And to me the 'free' side of the music is in crisis; once again there does not seem to be a lot of agreement on this. Malaby, a brilliant improviser, is a perfect example; I have seen him play incredibly well and also seem completely bored. I think, as well, that this is happening because there is too much music being made for too-little money. Musicians are starting to just show up. '

I sometimes love Konitz, sometimes lose patience with him, though that's probably more me than him; however, I will say that I saw him night after night at a place called Gregory's in the middle '70s; it was a tiny bar and seems to me now the best way to hear Lee: up close, 3 feet from the bell of his horn, because his playing is like an intimate conversation. At a distance it's sometimes hard for me to focus my attention, but at close quarters I was astounded by his cleverness and subtlety. another thing I think he learned from Prez was that uncanny way in which he paraphrases a melody. I used to just be amazed at how obliquely he could suggest the tune while still playing the oddest of harmonic shapes.

to me the weight of my music's genesis is eminently beareable. Tradition is a burden only to people of Wynton's ilk or to those with an ideological axe to grind. I don't think it's fair to call us out for not liking this music because our motives are suspect. My motives are musical. I listen to everything. as for those strings, only goes to show that recording techniques have so flattened out the sound of music that we can no longer tell the difference. And truthfully, this is such slick and empty music that it doesn't really matter. as for Halvorson, spectacular is not the word I would use to describe her. She seems to be part of a scene full of talented musicians suffering a crisis of the spirit, but later for that one, since no one else but me seems to think so.

love that clip; and compare Golson, so harmonically hip, to Dexter's bland lines if you want to know why I have so little use for Gordon.

honestly, I think it's a big nothing. The guy can play, but a lot of it is just overdubbed synth music, pseudo-cinematic synth strings, Jazz Crusaders leftovers and tired funk. I find the hype on these kind of things a bit offensive.

the Fields/Schlitten breakup was not amicable.

Batiste's band is really annoying.

I like that track too. A little musical friction never hurt anybody. And Shepp plays great.

"Hire junkies. Buy dope. Go on road with junkies. Wait until junkies are completely strung out. Sell the dope to the now-desperate junkies at prices so inflated that they have to pay you all their road earnings." (thanks to Jamil Nasser for revealing the above secret to Blakey's band-building success)

I do believe the Wisconsin Chase also led a band which was named after him. No?

or on the air.

"I tell him this happened in 1948; he tells me it happened in 1949. I tell him I did this in 1951; he tells me I did it in 1952. I figure, why does he even need me there?" -Al Haig on why he refused to be interviewed on Phil Schaap's radio show

Gail, from what I know, is near impossible to deal with on a business level.

the only recurring jazz dream I have is of me sitting down at the piano, I play a few chords, Bob Neloms comes over, moves my hands around, and suddenly I sound like Bud Powell. I hate waking up from that one.

I disagree about Stollman's description of his work for Ornette; he talks about meetings, visits, calls, arrangements made. unless you've done some work in this field, you may not understand that that indicates a lot of work that he's done. And that it takes a lot of attempts and calls and leg work to do these things and that musicians are self-destructive anyway and will regularly take advantage of someone else's effort and refuse to pay what amount to very small commissions. I speak from experience.

very surprised to see these; from having talked to Schlitten a few years ago; he sold a limited license some time ago to EPM, and they violated the contract and then he swore he would never license it again. the one I would like to see is the Moody. And the live Barry Harris and Jimmy Raney.

Just re-all the above and Phil; I like him, and he is totally sincere; but he makes up stuff. Years ago Larry Gushee, the most rigorous historian I have ever known, told me of attending an Ellington conference and listening to Phil speak. The talk, Larry informed me, was, from an historical perspective, TOTALLY invented. False information, made up from some strange fantasy held only by Phil. To me this puts all else that he says in question. Is he the Lillian Hellman of jazz? Inventor of a false life for himself and associates? I have a feeling it's almost all deception and fakery. And I take no joy in saying this.

Patti Smith always sounded to me like someone attending Rock and Roll Camp. Silly poses, amateur singer.

can't go wrong (doing a trio date with Matt on June 21) -

oi, weird memories; brilliant but hopelessly self destructive saxophonist; great guy, but hooked up with a truly evil woman who burned a lot of bridges (both are now dead). I also have a very interesting tape of him playing duos with Joe Albany; but that LP got him an offer from George Wein, yes, George Wein, and Dickey was too afraid to respond,

well, both of those guys actually made some money at it; and Ives got rich. He actually invented the modern concept of life insurance.

I doubt it's Dusty Groove's fault; was it sent media?

1) it will be ready near end of June - 2) I have heard rumors that Anthony was moving down that way, but have gotten no confirmation; Taylor Ho Bynum now lives in my old neighborhood.