AllenLowe

still working on that; the music will parallel the scenes of the play, which move from the Delta to the halls of Congress to Harlem. I intend to apply a lot of old blues/gospel techniques, lots of steel and slide guitar.

though they have become the antichrist, and are probably stealing money from me as well, I spend a lot of time with Spotify. And the sound is decent through decent speakers - certainly better than your average radio station.

I should have said performance royalties; supposed to be based on airplay of one kind or another, and SESAC pays for any performance, radio or otherwise.

I also have it on pretty good authority that Spotify is losing a ton of money,

I would say that Spotify is a bit of a scam, but no more so than song publishers like SESAC - the idea, really, with SESAC is to keep their big clients happy while screwing everybody else, and probably the same with Spotify. To give you an idea - 20 years ago when I put out a single CD, same label as now, same distribution, SESAC my publisher - I normally got, as mechanicals, in the first year, $500-$1000 (usually 100-250 dollars quarterly), and then it just stopped. OK, I figured, take what you can get. Fast forward, 20 years - I put out Blues and the Empirical Truth; same label, same distribution - THREE CDS of my compositions - plenty of exposure and reviews; total royalties (and I'm NOT joking) to date: $.05. Yes you are reading correctly; 5 cents. This is for a CD project with Marc Ribot, Matt Shipp, Ros Rudd. And those are described as my "electronic royalties." I have seen nothing else. and yes, I recently resigned from SESAC -

last Spring I completed a play based on the myth of Robert Johnson; well, it was more a play based on white critical myths about Johnson, an expression of frustration with the white liberal tendency to promulgate stereotypes in the name of liberalism. I recently decided I should do a soundtrack recording to go along with the play, which is currently un-produced. I am going to be trying to raise funds through Indiegogo for the sountrack recording; I would appreciate some small amount of support from the folks here, as on my prior attempt to get this forum to respond I got very little. That's fine, money is money, and people need to pick and choose. I just feel like we are doing important musical work here, based on responses to our last few projects. My urging at this point will be the Obama model - small contributions, $5 and $10. the musicians signed up so far are: Gary Bartz Roswell Rudd Matt Shipp JD Allen DJ Logic Eugene Chabourne Lewis Porter Kalaparusha Paul Austerlitz Nathan Salsburg Ursula Oppens Christopher Meeder Rob Wallace (who is he? One of the greatest drummers in the world; not kidding) Ray Suhy Kevin Ray Royal Hartigan Glenn Phillips (from the old Hampton Grease Band)

great player; I believe he's also in that film they made about the label.

Saturday night, the night they recorded him at the Fillmore East, 1970. It was intermission in the lobby; I was with Joel Perry (a very fine guitarist) and all of a sudden he said 'look' - Miles was standing right next to me. "Talk to him," but geez, I was 16. I do remember he was wearing an outfit that looked like a Persian rug.

without Lenny, there would likely be no NEA; at least in its current size and scope.

on the other hand I was recently listening to his Sonny Clark CD, and his alto playing was brilliant.

I respect Zorn, and he was one of the earliest to show that there were ways to gather together parts of the world which had not been previousky used well in improvised music. His own work is sincere but, from the days I listened regularly, not that interesting. I even think the Big Gundown, in retrospect, is not very good. but in a way he's like Brubeck, and has gotten rich and famous without compromising his own values. (and don't believe that article; he's got a lot of money. Not that there's anything wrong with that.......)

I thought Zorn lived in Japan.

suggestion if you cannot sell - get it assessed, which might be at least $1200-1500; then donate it to a non-profit. At that assessed value you'll make as much in tax reduction.

and apparently they've reissued Hot Dog in a special German edition with a new title: Wiener Schnitzel.

nice nice, taciturn man. Haven't seen him in many years.

RIchard Williams is also one of my favorite music writers - and Blue Moment is a book, which I have, and recommend (even if I am a little tired of Kind of Blue).

actually, my wife would probably put me on the barge with the stuff.

donate it prior to death to a non profit. Or set up the donation for your heirs to make.

Mary Lou Williams. Paul Bley. Hampton Hawes. and there's a tv spot of Bobby Jaspar in which he has a much stronger Trane influence than anything else I ever heard of him, even afterwards. It's weird. And Chet Baker - if you heard him HEALTHY, post late 1960s, he was a much more agressive and interesting player.

nice piano solo at about 33:00; if it was a blindfold test, I would have guessed Hamton Hawes.

there's some great music on that, but enough plate reverb to drive a truck through.

Gil Melle.

I was just about to suggest Ros. Genius of a player. NEVER phones it in.

yes, but is he gay?

I think she will succeed in her way - but I doubt if her success will fit in with the idea of jazz/improvised music of anyone who posts here. To succeed at BN she will have to, I think, make the kind of compromises that will collapse any real hip hop/jazz collarboration into just another Glasper/bland fusion.