AllenLowe

http://thebloggess.com/ article in the times today tells us she got a zillion bucks for her new memoir. Her blog is cute but nothing special. Reminds me of a lot of the social commentary on This American Life.

it's likely that he just thinks journalists are dumb. So he puts them on.

it's funny because I find Ornette (in interviews) to be elliptical but brilliant - Cecil is elliptical but elliptical. Goes in circles that have no center? I hate metaphors, but that's the best I can do.

I don't know - I always want to throw a shoe at him when I read interviews with Cecil. He's too self-consciously circular. I do know that his current "manager" is a lady named Ruby something.

we're using a space called Complete Music in Prospect Park - I think it's on St. Marks.

only if he goes to the bathroom.

exactly. Braxton and Cecil are proven entities, in my book. But we can't expect everything they produce to be great.

given the way Taylor responds to interviews, it might have been the only way to do it.

ok. the big recording session is set for June 19 and June 20 in Brooklyn. Final appeal. feel free to support us through Indie Gogo: http://www.indiegogo...USICIANS-IN-NYC the music is ready; "My Little Voudon Babe" (a look at Zora Neale Hurston). "The Last Words of Arizona Dranes." The old minstrel thing call "Jump Jim Crow" ? (written for Matt Shipp as piano variations). We also have a thing called "Original Sin," a meditation on American racism. A sideways look at Gershwin's Preludes. And: "Experiments in Post Modern Music;" "Wake Up Time Up North" (a feature for Jon-Erik Kelso; our answer song to When It's Sleepy Time Down South); a musical version of Rudolph Fischer's "The Caucasians Storm Harlem." A tune which shall remain nameless but which is our variation on a hit by Ernest Hogan. A look at Joe Jordan. Endless variations on "a thought about Bud Powell." "Monk and the Faith Healer;" which recalls Monk's early life playing for a revivalist church; a backwards musical description of Tony Jackson; several Naked Dances, a la Jelly Roll. "I Had Rhythm," thinking of Jaki Byard, and our bebop tune: "Hiding from a Riff." And I'm afraid to mention this one, but a thing about Lennie Tristano with the working title, "Descent Into the Mail Room." Also, a series of Blind Boones, and a thing called Crazy Dog, from a poem written by a friend of Edgard Varese. I could go on, but you get the idea. Once again, thanks to everyone who has give us help. We've gotten a nice response, enough already to carry this through. there's been some personnel variation but we think the following people will show up: Lou Grassi, Steve Bernstein, Rob Wallace, Dean Bowman, Randy Sandke, Jon-Erik Kelso, Ray Suhy, Chris Meeder, Ras Moshe, Kalaparusha Maurice McIntyre (btw, I'm looking for a volunteer to get him to the session); Lewis Porter, Ursula Oppens, Dean Bowman, Curtis Hasselbring, Noah Preminger, and the Mormon Tabernacle Choir. also: Dean Bowman, Dean Bowman, Dean Bowman, Dean Bowman, Dean Bowman, Dean Bowman, and Dean Bowman.

shouldn't the title of this be: "Don was trying to Revive Blue Note Records." and who the hell is Don, anyway?

on Ernest Hogan, there is very little. Most interesting is his dance music, which compares to the way Jelly Roll Morton describes and plays Tiger Rag as an early quadrille and as a piece of jazz pre-history; also, his major hit (All Coons Look Alike to Me) has the classic chord progression which is related to Sister Kate/Muskrat Ramble, and which is really rhe quintessesntial early ragtime, pre-blues scheme. There is one other book with excellent discussion of him - Tom Fletcher - 100 years of the Negro in Show Business. Very difficult to find.

Herbie Hancock

a little tied up now - promise I will post them on the weekend -

actually, it was Choo Choo.

I will have to check as to the model; I can probably do some pics this weekend -

I actually would argue that Whiteman played lots of jazz.

getting old and time to reduce the weight on my back. I've had this nice piano since the late 1980s, and wrote everything I ever recorded on it, basically, from the Knitting Factory stuff wih Julius Hemphill, David Murray, Doc Cheatham, and Loren Schoenberg to the stuff with Roswell Rudd and finally the blues stuff (currently composing like a maniac for the new thing in June). this thing is old and can either be played nicely as is, or restored to its original splendor for a ridiculous amount of money. Just had it tuned; would consider donating it to a non-profit; big issue is moving this monster. I would sell for $500 plus you move it; the thing is in Maine, so unless you own a moving company good luck. I just bought a Casio 330; not the same thing, but records nicely and has great sound and an internal disc for playback. So this will have to go if I can find anyone crazy enough to try and move it. But it IS a Steinway and does have that inimitable sound.

thanks, I needed some cheering up.

Ernest Hogan. Important composer and showman.

can't go wrong with Ma Rainey.

I like it rough.

well, I like the real old deep stuff, from the hills and the stills.

I actually find the outlaw thing somewhat boring, both socially and musically. If they wanna get me listening, they'll need some hardcore hillbilly incest.

you know, this may all be Herbie's cosmic commentary on post-modern commercial mediocrity - or not.

the Fresh sounds are bootlegs when they are sold in the USA. But don't worry about it, this is another one of those threads that will go on until 2099 if we let it. I bow to the will of the Wizard. .