AllenLowe

netflix has plenty of good movies, they're just not well known. You gotta use your own judgement based on the desciptions. best thing, though, are the Netflix series - tons of good British, Danish, Swedish, French things. I never run out; it's a little bit of work but worth it. also, a good Nazi Hunter show, air disasters, special ops; when well made these are very entertaining.

skinniest guy I ever saw. Apparently had to do with his habits, but he sure could play.

1) not young players, BETTER players; anyway, I don't think Sonny at this point would be able to hire older players. 2) stop setting up straw men arguments, people. Nobody on the McLean discussion said anything about the artist owing anything to anyone; we sure as hell are entitled to judge his music, sonny's music, anybody's music. That's it. Though one might get into a more complex argument on the ethics of creativity.

truthfully, he wanted to make as much money as possible. Not that there's anything wrong with that.....

yeah it is. Weird.

thank you thank you thank you thank you thank you Larry for saying that. I thought I was going nuts. had the same reaction to him recently -

who is the guitarist in that Tennessee Waltz video? Some nice ideas but incredibly sloppy.

Sonny certainly can do what he wants; I just see a waste of resources and talents. I always think that if someone like myself, on a small scale, with no money, no institutional ties, virtually no outside support, can gather an amazing array of musicians to do something they all approach with enthusiasm and brilliance, than guys like Sonny, who write their own ticket, can and should do it. has nothing to do with depending on someone else to produce the art; I am my own damn artist, night and day. I just feel like there are certain principles involved. He can violate them all he wants, but he cannot remain above criticism. If James Joyce had started writing Romances and made a ton of money at it we would talk about it as regrettable. To me Sonny is on that level.

we might ask his daughter what she thinks of his creative world.....

1) I'm with Leeway on most of this 2) let me emphasize that I am not saying Sonny is/was under any obligation to do anything or play with any particular musicians; this however, does not mean he made good artistic choices. We don't have the right to demand anything of him, but once he puts it out there we have the right to judge it. 3) and they are sock puppets, largely. And like all socks they need changing.

let me explain what I meant - years ago I was talking with Francis Davis about Rollins, and he told me about how he'd interviewed Sonny, who was surprisingly unaware of contemporary, young players who were significant; Francis agreed with me that this was a drag, because Sonny's band sucks so much (well, that's my characterization, not Francis') - and hence he has missed what I think would have been incredible musical opportunites to play with people who really were (nearly) his peers; hence we have had to put up with so much bad rhythm section over the years; for me, this has made Sonny almost un-listenable. at some point Sonny became too valuable a commodity to really consolidate his incredible artistry (and don't get me wrong; sonny is not only a great great artist but one of the nicest people I ever met). that's just my opinion.

if it's not age, than it is extremely telling that he does not recognize these guys.

well, as I said, the kind of weird wooshing I have heard - just on the samples on their site - is not the kind of thing that is masked by other noise or revealed by restoration. Hopefully at some point I will be able to listen to what they've done.

see my previous. I think everyone has me blocked.

I'll leave this dead horse alone in a minute; but if I restored a painting and made the foreground colors brighter while the background was fuzzy and distorted, I would know there was a problem.

well, until I was five, I thought my name was "Stupid."

when I met Dupree Bolton, many years ago, he was living on the street, and he said the only person who was helping him was Herb Wong.

we may run into each other, weather permitting. I gotta talk to Bluiett (and JD). Actually Bluiett is at the clarinet thing.

see my previous comments - Stitt is a mess on some of this; can I be the only one who hears this? It's like at times he stops and thinks, "what is this thing called?" Seriously; his playing lacks continuity and conviction except in very brief spurts.

I have a CD of this.

Larry - do you mean the Uptown?

listening to Stitt on some of those is interesting but odd; to me he sounds like he is not really sure what he is doing there; moments of verty sharp concentration, then some meandering; boredom on some of the more modal pieces.

just to mention, the 1952 Toronto concert, contrary to that article, has very decent sound.

yeah, I'll be in town; don't know where the hell to start, but will probably go see JD and Darius. And Ribot. And Tyshawn.

look, I hope I am wrong - but unlike with the Clifford Brown, I don't hear the swooshing on other transfers. We shall see.