AllenLowe

I've been more intrigued by the possibilities of hip hop than the reality - and I have heard some local guys who have done what amounts to some fascinating orchestration of combined samples - and John Szwed has probably written the most interesting things I have seen on hip hop's connection to the oral tradition. But I think it has hit a creative wall of repetition and mass audience, there's so much money there now that that's all anybody can see. I will say, most cynically, that it's been great for academics, who think that socially it's a sign of great ferment and a perfect subject for the sociological bandwagon. But there's less than meets the eye and ear, IMHO.

I've hear clips of this on NPR and they are really sad, IMHO.

I remember him sounding quite good; even Sanborn played well. That was an amazing band,

Paul Butterfield at Central Park - 1969 - some variations of this band recorded, but not the exact band - with Dave Sanborn and Gene Dinwiddie on saxes, Phil Wilson on drums - but most unusually, Buzz Feiten on guitar - and Buzz played brilliantly, but never, AFAIK, recorded with this group. also - Fillmore, '69 or so - Super Session with Bloomfield and Kooper - plus B B King, King was great but Bloomfield murdered him in a very interesting way.

I can relate - after all, more than hooker has remarked on my "supersize."

Bob Neloms, Michael Carvin, James Newton, and Ronnie Boykin - Tin Palace, late 1970s. Percy France, Bob Neloms, Leroy Wlliams - West End Cafe, same era.

at Sweet Basil in the 1990a: Roswell Rudd/Doc Cheatham/Don Byron - yes, same group.

if you don't have it - I recommend Frederick Turner's book Remembering Song. Best thing on N.O. I've read.

whoops.

a little preview of the tunes we are planning to record - all have specific musical references but are not "tributes" - in that essay that I posted elsewhere here, I describe them as re-writes in the spirit of Brecht; the whole project is an attempt to reverse the common trend of whites tending to mediate African American life through white perspectives - in this case we see a white guy (me) through African American lives - the songs/references include: The Discreet Charm of the Underclass (1850s NY) Anita – re: Anita Gonzalez Bix Piano Variation – Black and White Rhapsody ((after Ellington) Blind Parade 1 and 2 – piano solo after Blind Boone Blues from One Room to the Next - after Braxton Blues in Every key – after Sun Ra Bud Variations/Infidels – after Powell Bud Variations/ballads- - after Powell Circus Bunk/or Prez on the Ropes - the circus carnival origins; includes Ma Rainey's tent walk Cakewalk in No Man's Land - after JR Europe Cosmics – after H Carmichael Crazy Dog - after Varese and WIlliam Russell the great American pop ballad - after Creamer/Heymann Experiment in (Post) Modern Music - after Whiteman For Some Reason (in C) – Bix and Traum Prelude - after Gershwin Grey Turning Blue over you - After Waller/Johnson Hiding from a Riff – bebop terror I am the Smoke King - W.E.B. DuBoise visits Chairman Mao and commiserates on the Life of Oppressed; Mao Sleeps with the Young Maidens. I Wish I Had the Blues – blue ballad Jim Crow Variations – piano solo Last Words of Arizona Dranes Mr. Charlie's Blues (?) after Mancini Melrose Stomped – the last days of Frank Melrose Minstrel Medley - small group? Monk and the Faith Healer Naked Dances - after JR Morton On the Beach (after Joe Jordan) Original Sin – AACM group Requiem - after Tristano and Haig Suburban recollections – a little bit after Marion Brown Visions of Uncle Tom - the Abolitionist Rag When the Alarm Clock Rings in the North - Answer song to When it's Sleepy Time Down South In Da Morning of Da Night - after Will Marion Cook - ? Yancey's Special Tune – My Little Voodoo Gal - after Zora Neale Hurston

if you want you can send me a direct paypal at alowe5@maine.rr.com thanks, either way - and thanks Jim, thought I had posted - have edited the first post -

thanks to all who already have - will post more details later - but for a measly $10 you can become a part of jazz history (or is it HERstory?). but all seriousness aside, the music is almost done and this is my most ambitious project yet and we've done ok, money wise, but can use a little more cash - - working title is: Visions of Uncle Tom: Incidents in the Life of a White Boy. film at 11. http://www.indiegogo.com/RECORDING-PROJECT-WITH-EVERY-MUSICIANS-IN-NYC?a=324935

when the big hand hits Mickey's weener, it's time to call Minnie.

yes - the Superchief LP - thanks

big hands or small hands?

I picked it up too - good sound - though I will say that the Smith/Jones sessions sound best on the old double LP I have (can't remember the exact title right now) -

I thought it might be interesting. Maybe mixed in with a few cuts of Andy Kirk Jr. and the remaining sessions of Emmett Hardy.

I subscribed, $15/month. There's just no other news source around that gets to the things they get. I just wish their arts and books coverage was better.

I can identify with that one.

how about some Dean Benedetti? I mean, recordings of HIS playing, not Bird's.

actually, that song has a bridge to nowhere -

Neil - I agree. For the 2nd printing -

I like Van Der Merwe. As to the negative comments on current folk and routes players; well, this essay is intended as the liner notes to my new project; aside from being the way I feel, I think it describes the difference in my own approach. I just find the whole roots thing to be too bland these days.

"I measure it by the way it REPRESENTS the culture that it derived from" well then don't forget Leni Riefenstahl or other fascist representations - and Kenny G does this well - but I don't think jazz represents anything, ultimately - great works do not reflect history, they provide an alternative to it. "He has nothing to say, only a way of saying it." - Alain Robbe Grillet Duke reflected the ruling class? Really an oversimplification, and not based on the actual music. Interesting points, MG, though probably for another thread. Importance to me, however, is based on the work, not where it comes from. Otherwise I would reject Wagner and Beethoven for the music's derivation in a culture that led us to WWII and The Holocaust.

I thought he was comparing record labels.