AllenLowe

well, as Walter Benjamin maintained, there is no such thing as an audience - given that the meaning of the term is so complicated as to really be meaningless - who is the audience? It's different for everyone, for every genre and every niche - there is no single and identifiable entity. still, some (if not most) of us crave SOME audience, if only to be liberated from that which we hate (various day-job anchors) into a situation of freedom to do what we love to do. But personally, though I believe the music I perform is quite accessible, it would not exist without those who took many more chances than I take, who pushed things along in ways which were, given the times and the "audiences," much riskier - and that fringe which gets so critcized - from Albert Ayler to Cecil Taylor - freed all of us, from beboppers to new music-ites, to do what we want to do without being slave to certain formal and generic assumptions. So we owe them an enormous debt.

well, I just put all that through Google translation - what time will they sacrifice the Virgin?

I'd love to hear some of this stuff - I have huge admiration for Shepp's playing but dislike most of his records - and yet now and then I'll hear something of his, in passing, on the radio, etc, that just knocks me out and makes me realize what a major figure he is - like the brief thing I heard in Hartford about 25 years ago, in which a big band (which included Threadgill and Ray Anderson and Shepp) played a piece Shepp wrote and arranged that was the most uncanny re-interpretation of Ellington I have ever heard - and then it was gone, no announcement of the name of the tune, no recordings.

that Larry Kart has such a quick temper - the other day I spelled Charlie Parker's first name as Charley and he locked the thread -

here's some stuff with Hemphill at the Knitting Factory - http://www.allenlowe.com/albums/new-tango/

well, I almost started another thread on whether more than one thread on a single topic was allowed.... the answer is really in how the moderator phrases his closure of a new thread that seems to match a prior thread - he needs to indicate: 1) the points of intersection 2) the parallel areas of development 3) the areas in which they diverge 4) the basic philosophy which governs this specific closure 5) the basic philosophy which governed the last 13 closures 6) any related American on Dutch judicial decisions which govern his decision 7) any of the ten commandments which are violated by such repetition Hans, you out there? After all, you are the King of Closures.

we can only hope.

only until one of your threads is deleted. THAN you'll wonder where your indifference went, thank you. but of more interest is that no one has yet been able to cite chapter and verse.

I agree in principle about keeping things in one place - but sometimes the whole thrust of the topic changes, making it easier to to start anew instead of having to wade through 3-year-old posts. And yes, I agree, I too am regularly amazed by what comes back. it's just that I've been advised that it's a specific rule - but I cannot find the rule - Hans?

recently a moderator (actually 2 moderators) told me that there was only one thread per topic permitted - I have just perused the Forum rules and cannot find any reference to this rule. maybe I missed it; maybe I read too fast. But I was wondering if anyone could locate this rule for me and cite its location. If not, than it is time to either: 1) add the rule, possibly through the normal ratification method, by two thirds of the states; or 2) stop acting like there is such a rule. Personally I am fine with either route. I just seek clarification for future generations of Organissimo-ites and to alleviate the suffering of current Organissmo moderators.

though I agree that the Wrecking Crew was impressive, I always shudder slightly at articles that seem to say "see I told you those rock and rollers couldn't play." This is forgetting about Bloomfield, Zappa, Green, the Beatles, the Stones, and 4000 other groups that played for themselves on record and in concert - check out the whole Nuggets series to hear how impressive '60s rock and roll rhythm sections were - amazing stuff, idiomatic and new and original - though I HAVE told the story before of seeing the Doors in August of '67, and there guitar player, at least at that point, was NOT playing the lead parts - (as anyone in the audience could see) -

not so sure about her abilities as an actress- I always think of the line by Peter O'Toole in My Favorite Year - "I AM NOT AN ACTOR - I AM A MOVIE STAR!"

smoke - then fire.

do they sell CDRs or real CDs?

most interesting thing for me in the Columbia recordings was realizing that she had listened to Al Jolson - not just in choice of material, but even in her phrasing on some of the standards.

let me fish around - I'll let you know -

I can't even remember who the hell Bill and Gwenn are - Nick Forte is a New Haven drummer; great player, haven't talked to him in years. There's nice Neloms on my album; a bunch of trio things (I was thinking of the old Nat Cole/Buddy Rich/Prez trio - I beat Byron by a number of years). Not a bad LP, though I should have waited another year. The Dickey Myers is well worth anyone's time; he was another New Haven guy, about 50 years old at the time - this record came out, Bob Blumenthal called him "the discovery of the season," and then we got a letter from George Wein expressing interest - but then DIckey chickened out. I coulda killed him.

don't like the hat

well....I don't know why she didn't give it to Rutgers, which makes all these things accessible. I hope the L of C does the same.

wait, I didn't realize you could actually see people on the radio - must be a Magnavox.

we're also going to try and land Eva Braun for a quick song and soft shoe. I hear she's being booked by Margaret -

Larry, I wouldn't touch this one with a 10-foor Hungarian.

turns out it may be the REVOLVING music series; stay tuned for a new location; also, currently negotiating with George Lincoln Rockwell to make a guest appearance.