AllenLowe

I like the album cover threads. And if a subject comes up again, why not? Years pass, opinions change.

Chris, whatever his disagreements with this board, is one of the finest people I've ever known - generous to a fault and a fount of fascinating info. As Larry Cohn (formerly of Sony Legacy, he's the guy who did the Robert Johnson box) told me a few years ago, Chris was one of the tryly honest and good guys in the music/record business and one of the few who did NOT steal from artists, and one of the few who put the interests of musicians before himself. Not to mention his many and major accomplishments as a producer, radio personality, organizer of various sessions through the years, writer, friend to some of the most important personalities in American popular music and jazz, and witness to some of the most important cultural events and movements of our time. As a group who pride ourselves on our historical acumen, it's important to remember and note all of this.

yes, was supposed to have a '50s jazz feel to it.

I bought these about 10-12 years ago when I was doing Devilin Tune; no longer using them; they have, in TOTAL, maybe 10-12 hours of use. I bought 5 of varying sizes, though I can no longer remember what they are; but they were extremely good at bringing out the most in the few 78s I transferred. And yes, this is the same company that Davies and all the big boys use. They are STANTON. Price for all 5 (and I will only sell as a set) is $200 plus shipping. Prefer paypal - send me an email at my private address: allenlowe5@gmail.com

try this one with me and JD Allen - title: Other Bodies Other Souls https://soundcloud.com/allenlowe-1/other-bodies-other-souls

current email: somebody@nobodygetspaid.com

ok, $5 with free shipping. But first I have to do an Indiegogo fundraiser.

will pay $51; plus exorbitant shipping.

since I'm too lazy to get up and check - 1) isn't he on a Clifford Brown thing, recorded just before Brownie's death? (an old LP as I recall) 2) I believe I recently saw his name on a live at Birdland thing from the '50s 3) there's also an old Cadence interview with him

I'll check it out, thanks. I do have Amadeus Pro (using a MAC for some things) and finally figured out how to do the markers; the 'help' menu does not mention them, but the manual, which is on line, does.

thanks.

thanks; can I transfer the file without running it in real time?

I have a few CDRs with long programs on them that need to be broken down into song ids; is there any program (I am running Windows 7) that will extract the music on the CDR and then put it into a wave file, that does not have to be done in real time? thanks -

I like that sound - but my main problem is that it has become so homogenized. There just seem to be 50 bands who play it and play it well. Am I imagining this?

I've been in the boonies too long to hear a lot of people, but at his best Randy Sandke is the best trumpeter I ever played with (hear him on the two tunes we did on Jews in Hell); Ira Sullivan, btw, is the greatest post bop trumpeter I ever saw, though I only saw him once and he was brilliant.

don't know those guys; but I'll send an email to Tony Russell.

they did the dosey-dough.

Jeff, you're becoming me - or vice versa. That's my stuff. Great choices. As a matter of fact, I'm just starting to work on a history of country music.

Larry - I've always respected McPherson but found his playing lacking edge - but going through Spotify recently I found some live shots in which he had an unusual intensity - though on other things it was back to his normal (if excellent) playing. Sometimes it seems he needs to get away from that circle of Detroit bebop schooling. And it's always to his benefit when he does.

as for Shipp - Steve and Dolan - I of course am not impartial; but he did some brilliant work in the several sessions I have done with him - Jaki's Boat, solo from Jews in Hell; multiple things on Blues and the Empirical; and several cuts on our upcoming CD Field Recordings: Jim Crow Variations and Visions of Ohel Tom.

actually, in the play, yes, there is a scene about Bolden. Somewhat satirical.

it would never have happened; Max, and I kid you not, wanted money for everything, interviews (not all, but that's why he's not in Burns' Jazz), and I'll bet any writer who approached him independently would have been shaken down (politely).

exactly; trying to take a fresh approach, if possible.

the white critical myths are more complex. They relate to the whole blues ethos, the transporting and transforming of the music from its role as part of a deeply social and aesthetic network to a (liberal cultural) function as mere dialect (and dialectical) myth (see the screen play Love in Vain); they involve the continuation of the myth of African American primitivism; the historical/fictional treatment of African American women as primarily sexual symbols (see Big Sweet in Mules and Men for an antidote); and the continuing belief that African American culture is largely a response to racism and so can be seen primarily as sociological artifact. All of this is still pervasive in the academic and even non-academic world, not to mention parts of the Afrocentric world. It also involves a false piousness, a continuing sense, on the part of many whites, that the rehabilitation of African American culture is just another piece of Affirmative Action. And what makes all of the above increasingly difficult to counter is that such attitudes are usually disguised as their opposite, as expressions of respect and love for the blues.

well, the Stravinsky Sex Tape is out: http:/www,symphonyinSEETHIS.com