AllenLowe

Larry, the New York Times, while far from perfect, covers the news well and in depth; also, Krugman. If you want I will post daily links of the things they do well (though, yes, their arts coverage sucks). from today's paper: all informative and well written: http://www.nytimes.com/2015/05/02/us/marilyn-mosby-prosecutor-in-freddie-gray-case-seen-as-tough-on-police-misconduct.html?ref=todayspaper&_r=0 http://www.nytimes.com/2015/05/02/nyregion/us-indictment-details-plotting-in-new-jersey-bridge-scandal.html?ref=todayspaper http://www.nytimes.com/2015/05/02/us/us-liable-in-new-orleans-area-hurricane-katrina-flooding.html?ref=todayspaper http://www.nytimes.com/2015/05/02/us/women-in-military-cite-retaliation-after-assault-complaints.html?ref=todayspaper www.nytimes.com/2015/05/01/world/europe/jozef-paczynski-95-dies-spent-5-years-as-auschwitz-inmate.html?ref=todayspaper and that criticism of the Clinton/Russian Uranium deal leaves the essential story pretty much intact. Only real revelation is the mis-dated plane ride.

I have copies of the Lausanne 1962, which is some of the best later Bud. I'll send you one if you like. email me your mailing address: allenlowe5@gmail.com though in truth I rarely listen to late Bud; aside from Lausanne, the best, I think, are the Duke Ellington session and Bud Plays Monk.

1) on a news level, the NY Times still does an excellent job; ain't perfect, but I read it every day. 2) what Larry is talking about is an era before demographics and event promotion were everything. I used to work for a weekly up here, and when I suggested they actually review something that had already occurred, they thought I was completely crazy. Arts articles were ONLY to promo upcoming events. To me this is the ultimate perversion of arts criticism on the journalist level.

Coleman is a fine alto player; I do find his compositional style open to parody, however.

yeah, but Mingus always knew what the hell he was talking about; this guy was in the wrong place to be making the points he was making.

what a schmuck.

I actually think ML.'s solo on that video clip of Bluesette is much more interesting than the other guy's.

fascinating stuff; Roscoe is still a mystery to me, probably because his methods are so much different than my own. But there's a core to his saxophone playing that I find particularly compelling, a very unique attack that is incredibly deep. Beyond that, when it comes to his music, I still feel like I am on the outside looking in.

cannot get the link to work, but will take a look; was curious if you deal with the early New Orleans/Southern Holy Rollers? Thinking about the way Ory described Bolden's playing; also, the testimony of Pleasant Joseph about how influential that sect was in early New Orleans. Also, the overall effect of COGIC on Southern music -

has anyone ever seen the scores of these pieces?

in case that reference was too obscure:

"as long as you're here bring some pretzels and beer...."

there is no curator for the common cold. sorry Cliff; actually I have no problem with that word.

JR looks like Zal Yanovsky.

I'd prefer Fuchsia Swing Song.

well, I ordered that Fuller CD, so we shall see....

I love Chuck's piece, not least because I know this guy and have met his equivalent too many times: narcissistic hipster, flake, self-centered, deluded in the way only the rich can afford to be deluded. These types may be smart and personable as necessary, but, once burned by their kind (well, maybe thrice burned) you no longer give a damn how much money, brains, or ideas they have. Just not worth the association and the disappointment.

this is one rare instance in which I will disagree with larry, btw; I always found Fuller to be lacking in inspiration.

one important thing to note about Hank Jones - and also Tommy Flanagan - is that, sonically, both had sounds that regularly flattened themselves out after the '50s; meaning that Jones in particular had more of a Nat Cole-like bounce on a lot of his 50s and early '60s work, and I also hear that little sparkle/bounce in some of Tommy's '50s work.

the above by Adorno is extremely similar to something Han Bennink said in an interview not too long ago; I paraphrase but essentially he said 'our music has no future.' sometimes one has to take a stand against middle class aesthetic values.

actually, turns out the tenor player is Robbie Coltrane.

the only thing I can think of, and I hope others with more expertise join in here, is that I have heard there are problems with some of the later RVG remasters. Apparently he's done things over for some sessions. I do not know if this is one of them.

it sounds like he's doing a Jackie Vernon

I hear a lot of things that aren't there. And most of what I see isn't there. until I take my meds.

he works for an insurance company and hates his life. Oh no, that's Allen Lowe.