AllenLowe

I recommend it (as do 4 out of 5 dentists for their patients who like the blues). Jim is amazing, and Janiva a great singer - and as my brother in law said, she's the sexiest 50-year-old on the planet (excluding myself since, at 56, I don't qualify).

somebody buy the Lp. Big Al's grandma needs an operation.

truth is, even the "honest" labels probably cannot be trusted - my one CD with a well known and respected Euro jazz company resulted in non-payment of the Euro publishing, which they collected without giving me a penny, though they had agreed to pay me. so my motto is: Every Nun for Himself.

I'm what they call self - insured: .

lets not forget Richie Kamuca on alto. Also Alan Eager, who is brilliant on alto on that Uptown release.

1) there's nothing to "get." Listen to the Yellow Shark to see how Zappa's path, as a non-academic modern composer, was almost the ONLY path with which to avoid the kind of studied modern-ness that has so severely harmed Amercan music (and which I hear in David Baker's work, to cite one old academic; also which I hear creeping into a fair amount of good non-academic musicians' work like that of Rosenwinkle and some others) - 2) in person the band was a fantastic amalgam of chaos and control - a perfect Zappa creation. Hard to replicate on recordings (best concert: 6/14/68, McMillan Hall, Columbia U). 3) repeating number one - Zappa's music has an edge and life that separates it from the "serious" world. And much as he complained, it owed a lot to the vernacular, rock and roll world for this, 4) Buy the Mystery Disc. A Perfect intro to FZ 5) as as a guitarist, I think FZ was over-rated; listen closely and you'll hear that he's a pattern player, like a lot of guitarists 6) to me (and I know this is a minority opinion here) Beefheart is a big nothing, a one-trick pony who made his point and than made it over and over again. Still, he gave up some good ideas. Just did not turn them into silk.

c'mon, takes sides, you know you wanna......

well, I shoulda said, if it sounds like Herbie Hancock, it's probably Tristano - on the other hand, now I'm interested.

agreed - but, in a way, if they use the same cover art, it's kind of a way of admitting that it's NOT theirs - Everest Archive of Jazz was, of course, completely bogus and illegal. Haig always complained about Jazz Will of the Wisp ("I sent them a letter, they know where I am, so where's my money?") And anyway, the regular companies found a "legal" way to avoid payments to musicians with the whole cutout scam - deleting records so they would be off the books basically. This was Mo Levy's original idea,and when I worked for Minuteman Records in the early 1970s in Cambridge (which later became Strawberries) he was the silent partner, and they had a warehouse full of Roulette cutouts. Mo never said much, just grunted at we kids.

see above - apparently it AINT Tristano. Also, if it don't sound like Lennie, you can be sure it isn't Lennie.

don't forget to go for a swim in the Yangtze - ht.

also realize that when I was a wee boy, there was almost nothing available of the old stuff EXCEPT through bootlegs. Without all those bootleggers I would: 1) never have heard J.R. Morton, Bird "live", Al Haig, every jazz broadcast ever made, lots and lots of blues, the A and P Gypsies; 2) not have ended up in rehab

at 45 Bleecker - Roswell Rudd, trombone Ray Anderson, trombone Randy Sandke, trumpet Darius Jones, alto Allen Lowe, alto, leader Lewis Porter, piano Matt Mottel, synth (from Talibam) Jessie Hautala, bass Jake Millet, drums special Organissimo discount - if you can count to 18 and stand on your own feet, you get a box of free raisinettes and a seat in the third stall in the mens room.

I'd buy 'em in a minute. As long as they abide by the international publishing rules (which I'll bet they do or they would have Euro distribution problems) they're no worse than any other label.

great guitarist, but like all jazz guys, doesn't get a real sound.

jeez, how did I forget Hemphill? It was like standing next to a volcano - and Boyce Brown, thanks, Jeff, for reminding me -

always liked Russel Procope

Earl Warren (the Basie one - little known as a soloist, but could play the pants off Benny Carter) - Pete Brown Dave Schildkraut Charlie Parker Gene Quill Ornette Coleman Dudu Pukwana Capn John Handy (the N.O. guy) Eric Dolphy

I actually prefer the records - in person there was just a deadness about the band.

didn't watch the video, just remember seeing it when it was first on - I saw the Doors a few times and they were the dullest rock band ever, in person. Also, the first time I saw them (August '67 I think) opening for Simon and Garfunkel at Forest Hills - the guitarist wasn't playing the lead parts, which was painfully obvious for anyone watching closely enough - I mentioned this on a bulletin board some years later and caught lots of flak questioning the accuracy of my recollection and THEN - I was reading an article in Guitar Player some years later about Hollywood studio guitarists when, sure enough, one guy was noted as having travelled with the Doors and having played with them - Lousy group, though Morrison wrote fairly well.

I thought he played a solo on Touch Me Babe - on the Ed Sullivan Show. or maybe he didn't. But I remember seeing it. Anybody know?

yes, that's true, but who REALLY does the talking?

but who was REALLY pulling the strings?

well, he told me, "it hurts when I do this..."

ahh, he was just a puppet of the ruling class.