AllenLowe

1) Moms - for some reason I can't see anything on my screen that you've posted - 2) we exhumed the sax player just for the session, then put a stake through his heart and buried him again 3) this is not the actual original Jim Crow, but based on my idea of that piece (see below) - my liner notes to this (there are two separate versions that will be on the CD): Jim Crow Variations – The ties of jazz, not to mention all of American vernacular music, to dance are, of course, well known and amply documented. Of particular interest in this respect is Jelly Roll Morton's Library of Congress lecture/demonstration on Tiger Rag. Morton demos Tiger Rag as something that came out of the old-time Quadrille, a dance which had, in its outline, a 19th century, parlor-formal gravity. Through his auspices and under questioning by Alan Lomax, we hear, on these Library of Congress recordings, Tiger Rag morph into something both very different and yet quite the same - dance music that starts to swing and gradually become jazz, yet which retains certain old-time gestures of rhythm and melody. This is the American vernacular in action, as something actively engaged in both transformation and reaffirmation, a conservative impulse overwhelmed by the idea of cultural progress. Significantly, it is also a precious piece of the 19th century prehistory of American pop. The same thing may be said of a song written by the great Black entertainer Ernest Hogan, about whom we shall hear elsewhere in this project: Pas Ma La, which he wrote, was a substantial hit in his time (he lived from 1865-1909)and embodies a similar old time fusion, of early swing as shackled to classic, parlor-like politeness, with (more than) a hint of populist-dance lilt. Jump Jim Crow, my model here, has a similar lineage: long before it became part of the phraseology of Southern institutionalized racism, it was a fiddle tune which had a clear relationship to much of the above: 19th century dance music as an emerging and indigenous domestic style of expression and swing. Hence my composition of Jim Crow Variations, in which I attempt to fuse a diatonic melodic classicism with an inference of chromatic dissonance. This is polite music as somewhat dismantled by Ray Suhy and Matthew Shipp and then reassembled into the final theme.

that's Ray Suhy - best guitar player around, IMHO.

from the new thing - Variations on Jim Crow (1) http://soundcloud.com/allenlowe-1/variations-on-jim-crow-1

I'm a big Gene Roland fan - Dan Morgenstern turned me on to him - and I know Jim disagrees, but I think Lonesome Traine (which he arranged for Kenton - in '54? Not sure) is the single best evocation I have ever heard of country blues in jazz (aside from the work of my own guitarist Ray Suhy) -

oi. Sickening on so many levels; including the thought of somebody you know being locked up that long - and deserving it.

hope it doesn't rain.

I have one LP signed by Helen Humes, and another signed by Wild Bill Davidson - and I think another signed by Harry James.

Chuck - sounds like something out of The Producers - sell about 8000 percent of the program, and then declarde bankruptcy - I think I'll try that on our next project.

have two of these; bought a second for a more complex project which never happened. I never opened it. I can honestly say that this little box, with a decent pre-amp (though the built-in ones are acceptable) is capable of CD-ready recording, way beyond that of those little bitty things they sell these days (I've tried 'em all). 24 bit is the way to go, and the converters on this are shockingly good. I recorded about half of my last CD project with one these. New they are $399; I'll ship this one in the USA for $330 (would prefer to only do domestic sale) - my paypal is alowe5@maine.rr.com email me at allenlowe5@gmail.com

I'm a subway guy myself. There's nothing like an F-Train chord.

don't forget Buttons and Bows - there's a few Bird quotes of that.

apropos of nothing, since Larry mentioned the Playboy Club, I want to mention that the one in Midtown Manhattan used to have very good jazz, in the 1960s; Dave Schildkraut had a gig there for a while.

hi Steve - I look forward to Joe's book; his approach is much different than mine, but we all benefit from understanding how and why people express things the way they do (as a matter of fact I am currently reading Conversations with Joyce). I've long felt that there is a strain of anti-intellectualism in jazz which is damaging to the music. This book sounds like it will be a nice companion to Derek Bailey's book in improvisation.

thank you, Valerie. Unable to disagree with me without turning it into a personal attack - but you did make me hungry: Type: JPG

that's it, thanks

she doesn not deserve a $25000 grant for making a living, Max is dead. The Vanguard is nice, but far from the leading source. Chuck, my point was that there are some terrific people on the jazz world who have worked tirelessly for the music (myself and yourself among them); whereas Lorraine, who is fun, has a much narrower concern and track record. I consider you to be one, of course, and I could name others, like Chris Albertson, etc. It's a big world, so being in the top 50 is pretty good, I think (as long as Sunnenblick isn't number 51) -

Freelancer - you have to find the Raney studio LP on Xanadu. Barry is quoted directly.

Lorraine, for Advocacy? Better Chuck Nessa. Or about 50 other people.

well, they have been, already, but by collectors. That's probably the best we can hope for.

Barry said, in my hearing, something to the effect that Rainey was one of the few musicians he ever heard who could come up with ideas that were in the same league as Bird's; I was asking him about it, as he is quoted in the liner notes to a Xanadu/Rainey LP as saying something very similar.

not going to happen - which is why I have bought as many master-quality LPs and CDs as financially possible. The majors will bury those tapes and discs at sea before they let them see the light of day. And it ain't just black music, but also the mountains of country and hillbilly music masters buried at Sony and BMG (or whoever owns RCA now) -

I woulda bought it for the Scott Yanow notes.

FS: still sealed, the 5 CD box. $30 plus shipping - prefer paypal: alowe5@maine.rr.com

I think you should get paid first for any volunteer activity.

somewhere I remember hearing Betty Davis actually sing the theme song to that earlier move - very bizarre. here it is - it has to be heard to be believed: http://blogs.villagevoice.com/dailymusto/2010/04/youtube_treasur_26.php