AllenLowe

we don't cry. We just re-load.

you're missing the meaning of the phrase as used.

great minds think alike (see my identical quote, above) - about time I had some real company here. Starting to think I was becoming unhinged.......

I've had a couple of computers assembled for me by good techs; sometimes, it seems, you're at the mercy of the quality of the components; my most stable and reliable machine is a Windows 2000 built for me 10 years ago that has never had so much as a glitch; I back up all my music projects onto it.

I would like to mention that the trombonist from James' later band, Ziggy Elmer, is one of the greatest bebop trombonists I have ever heard (I think I used one of the Columbia cuts in Devilin Tune); far more interesting player than JJ Johnson, and in the same league as Jimmy Knepper. Incredible player.

that behavior is quite disgusting on Beefheart's part, and a classic kind of cult-manipulation of people with extremely low self esteem and other personal problems - I mean, there are many f'd up bandleaders who have behaved abusively (and I can think of two great older singers, one now dead, who fit well right into that category); but Beefheart's actions clearly fit into the category of intensive abuse that merits nothing but isolation and punishment. also, from my point of view, he's just not a good enough musician to put up with any of that crap, but obviously I'm in a minority here. And somehow it seems only a step from the kind of things he was doing to Harkerload et al to the more advanced actions of a Charles Manson.

well, about 2 years ago I was assaulted by my Mac - seems it's an Ahmad Jamal fan - and I called customer service and they agreed that 1) Jamal is not very good 2) that the Mac was in the wrong, both ethically and musically, and that 3) in the future I should only listen to George Shearing.

...joining a long line of homicidal jazz musicians.

I still don't like it

not Marmarosa?

I can't get to the link, but the Technics SP-12 was the standard for 78 transfers for a long time.

John Hammond did it.

thanks, gang. Just downloaded Open Office last night, to save money for now. We'll see how it works out.

I thought this was about Edward Albee -

I'm stumped and mystified. Dazed and confused. I hear what's supposed to be there and I hear what he's trying to do. But, to quote someone else, "there's no there there."

interesting - see my reference to Mailer, above. (and remember that Bill Evans was also a major admirer of Oscar Peterson) look, part of the problem may be the instrument - in the way that many guitar players admire other guitar players who can do things they know to be technically difficult, because they understand the difficulty (as with Yngwie). I see the same thing with saxophonists,too. Actually with a LOT of jazz musicians, who can be very mediocre critics. Sometimes we musicians miss the forest for the trees.

well, true, the set up is everything because I just hear nothing afterwards - when I listen to it I want to walk up to the piano, grab his hands and say, "we get the idea, Ahmad, now it's time to play." Same response I have to Brubeck. with someone like Monk, for example (and Basie, like I mentioned before) the little fragments have purpose, a design, no matter how abstract it might be. Jamal is really, to my way of thinking, a charlatan. the thing about other pianists is interesting - reminds me of something Mailer once wrote about bad art influencing good art - Mailer was talking about Warhol's films and their effect on the new cinema in the stretching of reality and the use of alternate approaches to time and boredom. Maybe there's an apt comparison here.

allright, Doc, I have this recurring dream...it's 1959 and I'm at a little jazz club and this gorgeous woman is staring at me with this "come hither" look and I'm a little confused (after all I'm only 5 years old) and Ahmad Jamal is in the middle of his set and he's been playing the intro to Poinicana for 4 hours and suddenly she says to me "you come here often?" and I say "not since the night they busted the whorehouse upstair" and she says "wow, I like a guy who knows how to sell a girl into white slavery" and Jamal starts playing the "Theme" and suddenly he drops his pants and Miles pops out and this girl says to me "let's get outta here" and we're headed for the door when Jamal goes into the chorus of "But Not For Me" and suddenly both his hands are chopped off by an intruder and the blood starts to cover the piano and I say to her "hold it honey this is the part I've been waiting for." And then I wake up. anybody know what this means?

I guess it's me and Martin Williams against the world......................

allright, still enjoying my Mac; so - what's the consensus for Word Processing? Word for Mac?

allright, so at 6 AM this morning I'm driving to work, and the local alt. radio station announces that it's time for: AHMAD JAMAL. Now normally I would switch the dial to either the smooth jazz or the hat act channel, but I figure, ok, let's give a listen, what's the worst that can happen? Maybe I've been missing something all these years. So play away, I'm Mud. so I let it go, twisting my Saab through the morning traffic in the demented little city I live in, listening through the little speakers. and I gotta say - I STILL THINK IT'S CRAP. There is NOTHING there, just useless space, mannerism, gimmick, crap crap crap. Even Brubeck, when he wants to, actually knows how to play, but Jamal is one of those rank amateurs who has decided he can substitute motion for action and get away with it. so, I guess I took one for the team, because I'm still traumatized by how lousy his playing was.

must be the size of War and Peace.

of course, there's nothing like a lunch time concert, directed by Chewy:

well, I was there last week and got this shot of Chewy working:

good idea - and then let's go and help Mickey Owens catch that damned pitch -