AllenLowe

I love Jackie.

I always heard it as "hates California, it gives her the cramps." Too many requests at too many weddings.

just as an aside, because it may be that it completely skews any attempt to do the above; but Curley Russell told me that he recorded a lot during the ban, and that the companies backdated the recordings.

personally I would like to just read the raw interviews; are they in any kind of coherent form in the book, or are they mixed with Crouch's interjections (I was going to say "Crouch's ejaculations", but I did not want to be misunderstood - or, really, maybe, understood)?

truthfully, the last Bud I heard which sounds like the real Bud is some broadcast stuff from '55, also on the Paudras CDs.

I didn't mean that being a "natural" would preclude him from being able to play complicated parts; it would, however, affect the way other musicians viewed him, likely. I have seem this a lot in my own travels, with players who are incredible individuals yet sometimes are viewed with a kind of jealousy by third parties who think they are not "schooled enough." And a lot of the beboppers had fairly orthodox ideas about "playing right," about tone and harmony. And I have a sense that Herb was very analytical in his approach. Plus it's a little bit like the way Jack Sheldon used to say in mock frustration how Chet Baker never practiced but then just showed up and played incredibly well. on a smaller scale, I have seen this in action when less interesting players get called for gigs because they play 'all the right notes' in the right way, while more individual players don't get called because they are more unpredictable. And as I said, a lot of the beboppers were very orthodox in their opinions. and don't discount what may have been un-said personal issues; junkies could be pretty callous in their treatment of people. Though Art was a very sweet and almost innocent-sounding guy on a personal level (the one day I spent with him was quite interesting; and I was lucky enough to drive him around Boston while he looked for a connection), first things first.

I wonder if he considered Pepper to be a "natural" and was bothered by the fact that he seemed to be able to abuse himself so regularly and then just get up and blow the walls off. Without the kind of "study" that guys like Herb put into the horn.

well, he loved Chet Baker. We had a long talk about him once.

talked to him about a year ago; sounded alert and aware.

he may not have as much rhythmic strength as Pepper, I agree; but I feel there's more harmonic interest.

I am going to go out on a limb here and say that I thought Herb was a more interesting saxophonist than Art Pepper.

so sorry to hear this; I don't exaggerate when I say that Herb was one of the nicest people I ever met in the world.

my theory is that the powers-that-be are trying to deflect attention from Teachout; read Gopnik, and Teachout's book then appears to be a masterpiece, relatively speaking. part 2 of this evil plan: Bill O'Reilly's book on Charlie Parker will be out in January.

tech support? You mean we got our own staff now?

well, he was too drunk to complain.

january 1 february 2 april 4 May 5 June 6 July 7 August 8 September 9 October 10 November 11 December 12 January 13

the real problem is on March 3.

he probably brought the ammo at Walmart, with his Walmart Employee discount.

as I mentioned, it's very decent Bud, the ideas are there, but I do think his execution has that less-than-defined quality that hit him regularly post-1953. recording-wise, the reason this was probably never issued is that the balance is a mess - the horns are way back, for one thing, and the rhythm section is way too up.

thank you, it is much appreciated. Happily, we've just passed the break even point on the CD costs (well, not counting what it cost to record; don't even want to think about that).

thanks, will do - AND - first review is in (I sent out some advance CDRs) from a blog called Stash Dauber: "Mulatto Radio...is nothing less than one man's attempt to reimagine the whole history of jazz (and every other music he's ever heard). It's an exhaustive and exhausting collection of pieces intended to evoke different facets of the jazz past, embellished by the musicians based on what they bring to the party. Over the course its four discs (and he says he has another three in the can), Lowe creates a Burroughsian cutup of the jazz tradition, juxtaposing century-old two-beat rhythms with whirlwind, post-bop solos, or playing modern, Monkian melodies with Creole band instrumentation, including the best use of the banjo on a modern jazz record since Vernon Reid picked one up in Ronald Shannon Jackson's Decoding Society (and Ray Suhy's playing bebop on the axe). There's lots of great playing here from a large cast; particular standouts include Suhy (a guitarist to be reckoned with, who demonstrates that monster chops and gut-level expression are not mutually exclusive), protean pianist Lewis Porter (who performs solo as well as in ensembles), titanic AACM tenorman Kalaparusha Maurice McIntyre (who appears on a half dozen tracks -- his last recorded performances), clarinetist Ken Peplowski, tubist Christopher Meeder, and the leader himself, whose encyclopedic knowledge of jazz style comes to the fore and whose vocalized, bop-inflected tone hardly sounds like the work of an academic. It's really a composer's record (imagine if Duke Ellington was Jewish, trapped in a New England backwater, and unable to play except in the recording studio), and while Lowe provides copious notes explicating each piece, the music stands on its own merit, rewarding in-depth exploration."

damn. absolute perfection. Someone tell Nicholas Payton.

1) not sure I would spend $30 + for an Eric Dolphy recording that is all over the place for about $1.99; Alan Douglas' work was basically all bootleg anyway (lots of unauthorized release) and just for one new new tune I don't think it's worth it; and there's also plenty of vinyl around of this session. 2) the Bud, as I mention above, is disappointing; don't know whether to sell mine or hold on to it as an investment.

been listening; interesting document; best on it is Phil Woods; Bud is good, his ideas are strong - though it has that stringy lack of definition that characterized a lot of his post 1953 work; the ideas are there and the execution is about 85 percent, I would say; and I always find Bud's musical mind to be the most compelling of any musician in recorded history, at least to my ears. But I gotta say I am a little disappointed.

got tons of their CDs and LPs. Great man.