AllenLowe

Enja actually told me in an email some years ago that they were going to re-issue Woyzeck's Death, which I did for them with Ros Rudd, Randy Sandke, etc; since they never paid me the European mechanicals they owed me, I probably won't ever find out.

he'll probably use his feet.

thanks; they're doing my left hand, same one I did in 2007; always a slight risk, but I have a terrific surgeon.

this summer Matt and I are going to start work on a solo piano project in which he plays my compositions; as with Field Recordings we are going to depend upon pre-sale of the CD; this will be a simple (at least for me) one-CD release, probably under $10 shipped on advance sale. And we will probably throw in a few duets if I can get my chops together (as I will be out of commission due to surgery, for most of June and July).

I cannot get enough of Herbie.

1) I think NIght People is one of the essential jazz books; a must-read. 2) Larry is one of a handful of great jazz critics (as is Litweiler, Max Harrison, Francis Davis); his book is also essential.

http://www.wikihow.com/Come-Up-with-a-Good-Book-Title

now that's the real thing; no Trane-bleats, just the kind of line he was so wonderful at.

no one here said they would not read it because of the title; actually, I've read excerpts. and was a little bit put off by them, unless the book is a serious revision.

well, that is part of the content. And something of a literary signifier.

it's a little disingenuous to go public with such very personal things - like life with Art Pepper - and then complain when there is public discussion or issue. Nothing mean in any of this. As for living our own lives and not others - well, that's fine as long as those other lives are private. But otherwise it's a bit like a politican complaining about scrutiny. If you do work that is exhibited in public in one way or another - like recordings, books, films - it will be scrutinized. And if the work is about YOUR LIFE - as this is - it will also, justifiably, be scrutinized in those very terms.

I think she should have gone with Mein Kampf.

bored is my word.

I've said before that I truly believe that, except for significant times when he lost his pseudo-post-Trane self consciousness (and that includes an amazing night when I saw him in Boston), the post-comeback Pepper was musically problematic. He still had that brilliant horizontal integrity when he wanted to use it, but spent too much time trying to fit into some imagined idea of the contemporary. As for Laurie's book, the title, to me, is amateur night.

I thought he made 86.

it will toast the Constitution.

be aware that I am a Tiny Kahn and Gene Roland fanatic; so, as they say, YMMV.

I used to confuse him with Shadi Hafi.

better to ask, why is a guy who writes about the arts getting an award from an organization that probably supports the cutting of all public funding for the arts?

I have both; the Maggie is excellent; not his best recordings, but a strong taste of the very electric vibe in those early bop years - however, the Chubby Jackson is momentous - decent sound on most cuts (some are rougher), brilliant arrangements and ensembles, great DiNovi, and enough playing and arranging to immortalize Tiny Kahn. Plus some terrific Gene Roland, who was a fascinating and brilliant figure. this cd is absolutely essential.

Don Byron and those guys are great, but there are clarinetists who are much more powerfully infuenced by Dolphy; like JD Parran and Paul Austerlitz. Why the hell aren't they part of this? This project is a great idea, but musically it just doesn't add up, based on the descriptions.

come on out; we are determined to have more in the audience than in the band. Special guest Matt Shipp; with Hayes Greenfield, Bobby Zankel, Ray Suhy (the world's greatest guitarist, and I do not exaggerate), Lewis Porter, Lou Grassi, Paul Austerlitz, me, Brian Simontacchi, Kevin Ray, and Randy Sandke. mostly new music. my first and last gig of the year.

well, as Valerie indicated, I am not going unless they include Herbie Hancock.

by the way, in deference to the title of this thread, I would like to apologize to the human race for the constantly offensive things Crouch has said, and the constantly offensive music that Marsalis has composed.

well, who can keep track of things like that? I didn't learn the difference between 'than' and 'then' until I was almost 50. I knew there was one, but I could never get it straight until my wife gave me a little trick to remember (then, with an E, refers to time with an E).