fasstrack

Freelancer-I did what I asked you not to by expecting you to act as I would like. My bad-yet a 'teachable moment (as worldwide sounds of pens swishing on fresh firearm receipts are heard). See, my friendships are long and deep. Given that all us overgrown kids are pains in the ass one looks to evaluate 'despite' this and that. So I mentioned to a friend of 35 yrs. Who never listens but jumps in with pins to de-air your point before you've finished. To his credit when I finally tell him to shut the f up he does. A little. So I was summing up my live-and-let live view quoting Joe Pass-who I've found wise on many matters:some interviewer was pushing him through the trap door-or he himself was about to plunge, but stopped himself from musically parsing, or judging a cat or a style or generation. 'I don't want to put anyone down, I just want to do my own thing'. My friend, as expected, trashed that as facile, then went onto the good Pass of Sounds of Synanon vs the formulaic Pass of later years-not too far afield

Freelancer: Why should THEY do what you-or I-want them to? Although not a big shot I get props enough in a cold-ass burg like Heartbreak City, um, excuse me, NY. But I swear the next MF to give me advice I didn't ask for 'for my own good'-leave it like that. Let people live their lives and you live yours. When you become the shit the world will let you know. By copying you. And hoping no one gets hip so the money keeps rolling in.

Chris:Do you remember Herbie asking rhetorically or otherwise if his music was 'performing a service for people?' as he made a big point of in a WKCR interview during a retrospective of his post-70s music? I alluded to this back in the Bronze Age of this thread? The answer would intrigue me as playing and especially writing music-undiluted but strongly melodic music that perhaps has something to do w/everyone's life is sort of a major personal goal-one having nothing to do w/commercialism or 'dumbing down', but everything to do w/communicating and a certain artistic utilitarianism (as in not changing a note or playing down to anyone-but going beyond mere self-expression and playing TO people, bringing out the best in all yet unafraid to plunge into dark ravines emotionally that are part of life). Allen:Cedar Walton? He recorded his tunes. Finally-apropos of everything and nothing-allom to heartily recommend a book of interviews : The Black Composer 'Speakers': HH, Oliver Nelson, Coleridge Taylor-Perkinson.

For the record Al Haig held up way better. Maybe his touch changed. But he sounded focused, purposeful, and like he grew-a result maybe of listening to the younger pianists (as did Hampton Hawes on As Long as There's Music. He played some hair-raising arpeggios in a classic set up for Invitation on Strings Attached w/Jimmy Raney. He was an evolved and searching pianist who moved past the Bird days when he was the ultimate group pianist, and an agile but not really interesting soloist. He became a parer and distiller-a la Samuel Beckett. Strings Attached is more than a reunion, it's triumphant.

I was talking about the '80s, Allen. I heard that duet w/Warne. Quite a conversation. But it's a sad story, ne c'est pas? (correct my knucklehead French if needed).

I remember Joe Albany when he was 'resurrected'-early '80. Everyone so far here either missed, won't face, or is dancing around the real and obvious problem: time. He couldn't keep it anymore-and it wasn't b/c he wasn't a good musician. His mind was hanging by a thread b/c of the substance use-a kind of damage Allen alluded to in his superb piece here on Al Haig. It's not repairable and triste indeed. As to 'form' there was an interview on WKCR where he roved so much Phil Schaap lamented his not staying on the subject. I know. I know. Sch-yap. But that's simply too easy a road to be any fun at all.

It's just the Gypsum in their souls. I know, I know (;

I meant I knew C. Sharpe-and very well. I wish more people heard him. He was the McCoy, and a real, warm human being. And he and Chris loued each other. One time at the Jazz Cultural Theater C. was playing and Chris came to hang and get out of the house. He lived in the Chelsea area. Vernel Fournier was there, I think. So C. saw him and had him sit in. 'Don't play anything fast' Chris said. The warmth between these guys was equal to their talent-and I guess you know where that's at. Chris's influence on my playing is really setting in b/c as a solo guitarist I worked for a long time on presenting the songs, melody being almost a lost art. I still want to do that, but Chris fascinates me b/c he EXPLORES the tunes. He had that license b/c he KNEW them inside out, he even sang when in the mood! But he trusted his ears and where they took him harmonically. And he had the belief and guts to leave spaces that would drive people too nervous for silence crazy. A unique pianist, in full bloom playing solo.

Why don't you go see 'that gypsy with the gold-capped tooth' from Love Potion #9? (Insert rimshot here).

I wonder if a 1998 concert-an early event of JALC-is available on recording? I know NPR broadcasted some of it. There were 2 nights and I went to one-and it was magical. The magic didn't start until the house band sat down and Wayne did his thing w/his people. They (the JALC guys) are fine musicians but were doing a studenty job of trying to ape what Wayne did in '65. Probably nervous, definitely young. But Wayne cooperated, and played a lot of tenor. When his 'peeps' came onstage-including Jim Beard and David Gilmore-Wayne bore down and played music from High Life and new music, including a piece for orchestra-fresh as a daisy and difficult as hell. Which didn't stop him from sailing through it on tenor. Or the Great Prophet Peter Watrous from panning this great event b/c Christian McBride 'picked up a bass guitar'. Horrors!

Holdsworth is nothing less than amazing-though he's had 0 influence on me personally (wouldn't know where to begin w/that approach). Guitar players mostly know how brilliant the guy is, and how well thought-out his concepts. And to do most of it w/the LH-when most guitarists 'overpick'-impressive. Beck was always overrated to me. Beck's Boogie was a bad rock version of Les Paul, w/shallow pyrotechnics going up the high E string and dumb-ass nursery rhyme quotes. He was lyrical w/a great sound, but didn't play blues all that well, and had a questionble time feel. I liked his playing later and generally, but soon outgrew it and never looked back. Not enough of a foundation musically IMO to hang those 2 or 3 tricks on. Peter Green, Mick Taylor, and-stateside-Buzzy Feiten all hold up way better. They took it from B.B. And Albert anyway (Feiten was more jazz-influenced) but did more with it to me.

Phil hit a peak around '61-the first of many. Joe Morello, Buddy Rich, Q, and scads of other dates. Not sure when Further Definitions was made. 57 was a hell of a year. Birdland Allstars tour and Monk at Town Hall (later the 8tet), in the 60s the stuff w/Sergio Mendes. Then a Romanticism set in w/Michel Legrand that was emotional-some would say overbearing-I find it lush and from the guts and heart. But 57-61 was just about magical w/swinging, joyful, and insouciant (sp) solos that always found a bend in the road. Plus all the lead he played. What else you gonna do w/that sound? Phil hit a peak around '61-the first of many. Joe Morello, Buddy Rich, Q, and scads of other dates. Not sure when Further Definitions was made. 57 was a hell of a year. Birdland Allstars tour and Monk at Town Hall (later the 8tet), in the 60s the stuff w/Sergio Mendes. Then a Romanticism set in w/Michel Legrand that was emotional-some would say overbearing-I find it lush and from the guts and heart. But 57-61 was just about magical w/swinging, joyful, and insouciant (sp) solos that always found a bend in the road. Plus all the lead he played. What else you gonna do w/that sound? Stereo stereo. Again again

You know the story about someone heckling Quill at work from his table?: 'Hey Quill. All you do is try to play like Charlie Parker. Quill unstrapped his horn and handed it over: 'Here. Play like Charlie Parker'.

The first show on Charlie Parker won an Emmy, I think. Panelists included Jackie Mac, Hank Jones, Curly Russell (not 100% sure about Curly). The 2nd was about Clint Eastwood's film with Dizzy and Roy Haynes that I remember. Maybe Red Rodney. The other memorable jazz shows: an interview w/Jamil Nasser, where he put down avante-garde players as phony, a roundtable w/Benny Powell and Jimmy Owens about playing or not in then-Apartheid South Africa. I once met Mr. Noble in 1995 at an event for WBAI listeners of Utrice Leid-before the power play that made her a pariah of the Left. Earl Caldwell was there too-and you couldn't meet two greater gentlemen. Noble was much huger than TV showed-at least 6'5".Iwas able to ask Gil Noble when he might have Barry Harris as a guest. He said he'd been trying for a while, then smiled and said 'thanks for the entreaty'.

I guess this should be moved? Admiiiiiiinnnnniiiistrrrratttttoooorrr!! Sorry, my bad.

Maybe I went a little overboard. I like Allen. He's been nice to me personally. And you can't direct traffic on the Web. It just adds more negativity--what I was pointing out. (As in: who died and made THIS MF God?) It's also like butting into a fight between a guy and his wife. They'll both tell you to fuck off. Oh, you meant well? I got your well-meaning RIGHT HERE.... I do find the tone on a lot of these threads knocking the big shots sort of useless and the motivation suspect. But I'm repeating myself. I think I have a lot of things to pay attention to in my own life and this is an escape I can only spend so much time/energy on. If people care about me on here they'd do well to remind me of this. The people on here not only have pulses and brains, but CARE. A good thing. We're not our brothers' keepers, though. The 'brothers', especially the one herein discussed, are doing just fine in all cases. I think my philosophy---especially after someone I respected put medown the other day, in a hurtful way too---and the way to 'pay that forward' is to echo Joe Pass's sentiments. Someone was goasing him to say something about someone, or maybe he started himself and caught it. He said 'I don't want to put anyone down. I just want to do my own thing'.

Thanks. Never touch the stuff. I'll go with the book-one for me, one for a special friend. Same for the DVD. Thanks again.

The more I read this the the more I see how jazzniks aren't happy unless their musicians are unsuccessful, obscure musically (to all-naturally-except the oh-so-clever jazzer) and generally on crutches. It's kind of sickening and I had the right idea months ago to mostly retire from these boards unless I or someone else really has something to say. And gig announcements like everybody else-you know, the ones that start so, um, sincerely with 'dear friends'-not that anyone comes anyway. It's my fault for being so sensitive. But it's too easy for otherwise nice people to slam people who-let's be real-have contributed more than they ever have or will. Unless you consider Web palaver a contribution. On this board-by far the best-I've seen George Benson called a 'sellout' (not that he cares or reads such idiocy), the Marsalis clan have targets on their backs, oh and can't forget that classy and courageous foray into the sex lives of the dead. And NOBODY ELSE CARES. Time to move on. At least from threads like these.

Is it out here yet? Can't find it online. Guess I'll walk over to B&N.

Allen: what about the young musicians who picked up on this stuff (I mean '70s Miles and HH). It eased their transition to jazz just when ennui with rock and R&B may have set in. I can't think of a parallel to HH off the top, but a recording w/musicians we both love like Buzzy Feiten-Full Moon-what's the long vamp on the intro of Selfish People but a love letter Miles and In a Silent Way. I remember that period. I was in my late teens getting into jazz-HH and Miles's kind right next to Charlie Christian, Bire, and Pres. There was an exciting electric feeling in the air a6ng young players. Since we're about the same age and both touched by other music and events then I wonder how we came to have such different views of certain people and what they stood for?

Thanks. Hannah is great and I've been waiting for this after Kastan's disappointing stab at it. Sold! You'd think. Don't blame him either.

The film WAS better. The book was good for filling in historical gaps. But it never brought Nica to life. She deserves better. Just from one or two times around her and a visit to the house (w/o her there, about 70 cats stood in) she seemed very hard to miss. Royal and real-and nowhere to be found in those pages. Go to Kelley's Monk bio. Also I have no idea why Kastin fills page after page w/Joel Forrester-nothing against him, I loue his composing-and not a peep from as important a resource as Barry Harris (who will live out his days at Nica's as per her wishes). I guess it was too deep and personal for Barry to want to get into, and he's protective and loyal to the memories of Nica and Monk. Still a shame...

That's right, Valerie KICK HIS ASS! I pledge to hold your coat! I mean why ruin my reputation as a gentleman? And just to sweeten the pot did you know Allen 1. Doesn't return library books (from the LIBRARY OF CONGRESS!), 2. pulls the legs off salamanders-claiming it's OK, they're 'only newts'. (this horrible slander can be heard on the tape left over on the infamous 'Alec Baldwin Tirade', and 3. sickest of all THE SOB SAMPLES AT WHOLE FOODS!! Now GO GET HIM!! Um, wait a sec (ear to phone), no SHIT! Herbie did that stuff, not our Allen Lowe? Hey Valerie: Never mind (;

I only found out right now he died-knew he was sick of course. A great, great man. I never missed Like It Is. Seems like Gil would get the truth some kind of way, and loved people and expected their best. Aside from the important issues he covered when he interviewed Sonny Rollins and Jackie McClean he was talking with old friends. The world lost a good friend. RIP Gil.

Sez you. Gee, I didn't know you got to reside inside the guy's brain. Amazing! Did you buy a ticket from a hawker, take the tour then get spit out dazed on the Jersey Turnike with grass, shmootz, and the sports section of the Bergen Record all over you like in Being John Malkovich? Or are you gonna sit down at my gig, order a piece of fish (we'll make it gefilte, with a 'nice glass tea' , OK tatalah?) and charm me like Stanley Crouch when I challenged his views on Miles Davis. Stanley has a bitch uppercut in case charm failed me. But he backed up his statement at least. Any man that can finish that much fish in one sitting AND cite musicians he interviewed gets my full attention. Allen, you're way better than this. This entire thread you taunt, whine and accuse. Give me the fac's, ma'am! And the fish. Cite facts of Herbie working w/flow charts to made BS music accordingly. Or like Billy Crystal's hospital roomate in Throw Momma From the Train 'I'm not living w/you in hate. Get rid of it...or I'm leaving you'.