AllenLowe

I even remember talking with Curley Russell about those sessions - I think he would have noticed if the dates were so far off. We had long talks about how the labels stockpiled recordings before the ban. He never questioned '47.

I honestly disagree - those sessions sound like early Bud. No way they are later than '47 - might even be '46.

the Roost sides are from 1949? I really do not believe that, based on aural evidence, and on his ballad playing in particular. Something is amiss.......his ballad playing on the Roosts is much inferior, basically sounds like someone who is trying to get that aspect of his playing together -

I remember his transcriptions.

I like Knocky - I have his James Scott LP and maybe his Scott Joplin, not quite sure - I also have a jazz/solo record he made (I think on Jazzology), as well as another with Omer Simeon. Fine player and, apparently, also a PHD (I think) - I might even have the Jelly Roll; I just have too many damn LPs to remember.

he won't return my calls.

just listening to a few of the samples - the sonics are astoundingly good. Almost sounds like some of that was from masters or test pressings. Wow.

Chris' works great - I have a feeling, from the things I've seen on the net, the more recent the processor, the better the experience.

I have 10.6.8 - probably worth a try -

than he's an American God. btw, I will repeat my warning - take Blues People with a lot of salt - there's historical mistakes on about every third page. EVERYONE here is better off reading Lawrence Levine. Ask Larry Kart. Also, a lot of Robin Kelley's historical writing is excellent.

just got back from a nice visit with Chris Albertson; his works superbly. But I am troubled by reports that seem to make this a hit or miss thing - some people find it trouble free, others have problems, Looking to see how others have done with it.

I like a lot of Robin's work (just read a terrific essay of his on the organizational efforts of the old CP and African Americans), and, of course, Weston is a great pianist - but what I've read of Weston's past comments on Africa and jazz always strike me as unmitigated B.S., as basically a way to mystify jazz and "save" it from Western contamination. Just my take, of course. It wears me out reading this stuff, as though in my mind I have to constantly counter what strike me as contradictory impulses of African American writers - who, on the one hand, criticize white efforts to "fetishize blackness," yet who, on their own, attempt to place layers of mystification between white performance and what almost amounts to an innate African and African American cultural superiority (shades of the Baraka thread).

the thing about the Jews is that we get it from both sides - we're the Capitalist exploiters and the Communist plotters. As many Jews in the record business have had a benign and or philanthropically positive influence as have been thieves - even the Chess brothers situation is more complex than is generally understood, I think; Chuck Berry left that label in a huff, but came back. Muddy Waters did OK in his treatment by the brothers, and Chess saved Etta James in many ways. This doesn't mean they paid those people all fairly; just that they were heads up better than a lot of the rest of business, and were able to handle it, I think, because Jews did not have the kind of ethnic xenophobia that a lot of people had. Even Sid Nathan was considered liberal in his hiring practices; he had African Americans on his staff well in advance of other white record company owners. Yes, this was also a business decision, but it speaks to a difference in attitude, because others were NOT making these kinds of business decisions,.

check out Payback, but watch the director's cut. Mel is God.

funny thing, Larry, is that Dave Schildkraut did a very similar thing with me - he sung me a chorus he'd played in 1954 but had not listened to in more than 20 years. Not quite the same feat, but these are amazing guys,

1) I can forgive a lot. I like Ezra Pound and TS Eliot. And I think Mel Gibson is a great actor. But when they deliver items that are directly racist, anti-semitic, et al, I focus on that specifically; no poem that is so anti-semitic is a good poem. 2) as for writers here - well Litweiler and Kart are far superior to Baraka in every way. And my own historic work beats him hands down.

John, the part of the poem that talks about warning the Jews out of the WTC really, to my mind, supersedes any other sentiments. One cannot be, as the saying goes, a little bit pregnant. as for the Organissimo critics, right on.

major bummer. I was burning him some CDRs, planned to call him any day. Then I saw the Times obit. We even talked about doing a music book together.

the old Columbia LPs of Oliver's Okeh recordings are state of the art. IMHO.

Starbucks coffee is terrible -

the "ownership" thing is a smokescreen - there's plenty of non-Jewish thieves in the business, and the few black-owned labels - like Duke Peacock and Vee Jay - were as bad as everybody else. to answer Joel - I (we) come from an intellectual tradition which is open on all sides, to a lot of cultural possibilities, and that is one of the things that attracted me to an form of music like jazz. It's not only smart but it's deep like the greatest literature. And I tend to be analytical about it, in a non-academic way (which in its own way is a descendent Jewish tradition, as many of its intellectuals came out of the working class). one problem, btw, with that Chris Rock routine is that Oprah is, indeed, wealthy. As is Cosby.

there's been at least one book written on the affinity for Jews and jazz - all I would add is that this is not ethnically unique - think of all the Italian-Americans and Irish-Americans who have played. With Jews, I do believe a lot of the connection is intellectual.

thanks Marcello - is that Barry Kiener on piano?

freedom of speech does not give one the right to yell "food fight" in a crowded cafeteria. as for spangalang, she should be happy. This thread is interesting.

Kleinsinger used to work for the State of NY, tax unit, IIRC. I had dinner with him maybe 35 years ago.