AllenLowe

the Original New Orleans Jazz Band is early and significant - they have some mention in Devilin Tune, which has some cuts (rough sound; at the time I had trouble finding decent sources). There's also a John R T Davies CD out there with much better sonics (not sure if it's the CD Joe mentions).

I'm in favor of the whole forgiveness thing - I think ultimately it helps both internally and externally - it doesn't mean you don't seek justice or punishment or that you associate with the person who is the object of the forgiveness - I think it means you don't let it consume you to the point of warping your whole world view.

Fletcher is always good. Let us know how it turns out.

not necessarily - though I agree with you that it's usually flattened out into nothingness. But it can be done - check out a recording I did about 20 years ago called "New Tango." The idea is to make it into something dense and multi-layered, as actual world music really is (also helps to have Julius Hemphill). there's some samples at www.allenlowe.com Regina hasn't a clue.

just ordered them, I think, on a Classics CD.

Paul - I'm not aware of the Atlantics - are they available?

she may be capable of very good playing - it's that Newport broadcast of "world" music - just shallow stuff, with not a clue of how to make that kind of music interesting. I found it offensive.

to me she's not only a good singer but significant historically - I refer somewhere to the "blue-ing" of American popular song, the greater absorption of blues elements into the mainstream of pop, and Lil was one of the first in this respect; think also Peggy Lee, who had a hit with one of Green's songs.

it's bad, and even relatively "benign" molestation leaves a very difficult and sometimes freely-associated scar (I was molested by a neighbor when I was about 6; I buried it psychologically and only started thinking about it 10 years ago; it's a very disembodied feeling for me; the porn thing mutiplies the offense and thank god it never went past a certain barrier for me). But while I wouldn't grab a torch and go to his house in the middle of the night, I have no desire to try and understand or even put forgiveness as an option. My feelings are a much greater sense of detached disdain.

just to be aware that this ring involves missing and probably kidnapped/enslaved children - it's not just a bunch of weirdos sitting around talking or looking at pictures -

"it just seems longer"

now I'm depressed - Bill has been a good friend.

I read a bunch of it in galleys and can recommend it without reservation - well written and fascinating.

thanks - I've been looking for ways to work with certain expectations at the same time as I turn them sideways. Keep playing along; I like the Kareoke concept.

sorry, my sarcasm didn't come through. I couldn't find an appropriate face - maybe this one woulda worked -

the drums are in 8 bit digital, which makes it lo-fi. My feeling was that if we wanted more presence there I'd have used "real" drums - not everybody likes them but to me they work as a play against certain sonic expectations. the Threadgill comparison (which I've also heard elsewhere) surprises me - as I have to admit I've listened to very little of him since Air.

if she hadn't won a McArthur I would be less appalled - and her "world music" group is just this shy of New Age shallow. She sounds like a talented amateur. Yikes. This one really has shaken my confidence in the Foundation world -

ironically or not, Wein is about 5 times better as a soloist than she is - for that style, Andy Stein plays better standing on his head.

she plays like she belongs to the Luke Warm Club of France.

I have heard Regina Carter in 2 contexts - playing Lady Be Good with Ray Brown - and at Newport with her pseudo-World music band. Couldn't believe my ears, as she is a McCarthur recipient who - 1) plays "straight ahead" with a boring predictability and pseudo-blues inflections of the kind that Miles rightly used to put down 2) plays 'world music' with dull patterns on the fiddle and no expansion of form, with a slick predictability that is shocking in one so highly touted. even given my low expectations of the music world, I am truly shocked at how mediocre this stuff is.

I have not heard from him, and he's also been absent from facebook -

he's amazing, one of that school of in-between pianists- sorta jazz sorta ragtime sorta blues. It's a great combination.

if any more of my blues boxes ever get out (the second should be here, I hope, late this year) I have a ton of this stuff in it.

not to go too far afield, but if you like that stuff, my favorite is: http://www.arhoolie.com/blues/robert-shaw-the-ma-grinder.html

Uncle Dave Macon Frank Hutchison Kelly Harrell Cliff Carlisle Roscoe Holcomb (my favorite of all) EARLY Bill Monroe (pre-1945) Buddy Jones Jimmie Davis