AllenLowe

that place had jazz when I lived there, maybe 1975.

Others here may no better, but I would not trust anything associated with Bob Shad, in terms of musicians' treatment, royalties, etc.

great singer, nice article. And I would add that Miles seem to have a penchant for preying on vulnerable, pretty, young singers. just my take.

just found an interesting short article by Davenport on Wittgenstein (whom I've read but not really understood). Always interested in Wittgenstein, however, since my mother studied piano with his one-armed brother (for whom Ravel wrote a piece). Digression, I know, but my mother used to show me her old piano music with his very sloppy scrawl.

I like the video to Tightrope, I think it is - I saw her in April at the EMP conference, nice girl, smart, and very involved with the community. Into some older stuff as well, James Brown, etc.

famous also for losing a world series grounder "in the sun," which it turned out was true, due to a weirdness in Ebbets Field in which the light came in between the stands from behind home plate.

and Jennifer Garner -

I especially like the record he made with Doris Day - here's a shot from the session: .

for a very bizarre example of Dave Marsh's work, read his tome on Louie Louie. I would say it needed editing, but if I was the editor, I'm not sure that I could find a coherent enough thread in it to edit.

Marsh is, unfortunately, illiterate - understanding Larry's point, I will just add what a major art form that I consider criticism to be, in and of itself. and I'll add George Steiner to the list (that's NOT Steinbrenner) - also: Roland Barthes and Donald Barthelme (primarily a fiction writer, but I have one book of his essays which is wonderful) -

no, I do think great criticism is equal to great art, per: George Bernard Shaw Stark Young W.T. Ilhamon Richard Gilman Samuel Beckett's book on Proust Allan Robbe Grillet: "Toward a New Novel" Walter Benjamin Larry Kart Jim Miller Richard Williams (the British guy) Max Harrison Stanley Kaufmann Larry Gushee Francis Davis Dan Morgenstern (his notes on Louis Armstrong have changed the course of jazz criticism and the study of jazz history, no kidding) Gary Giddins (hate to include the SOB but at his best he's quite good) Robert Christgau (one must pick and choose as he writes too much) Tom Smuckers (obscure but brilliant) Martin Williams Gunther Schuller Eric Bentley Theodore Solataroff (spelling?) Greil Marcus (Mystery Train is still a landmark) Scott Yanow (the Joyce Carol Oates of the jazz world; Leslie Gourse reincarnated; kind of like the woman in India who gives birth every 3 minutes)*** Chris Albertson (we take him for granted because he's one of us; his blog is one of the most important cultural events on the net) Goia's great on the West Coast thing, but there's really lots of better blues people, and his blues book is really 2nd hand in terms of the work other people (Pete Lowry, Paul Oliver, also the guy at Brown, can't think of his name) have done. these people have taught me as much as the great works they describe. ***old joke on the population explosion: "In India there's a woman giving birth every three minutes. We've got to find this woman and stop her."

does anyone know the (hilarious) story of Gottlieb's meeting with Les Paul?

I agree, and there is a period of Joplin where she's working too hard - but in Festival Express she sounds like she has taken it down a notch, and it just flows beautifully. it's funny, but I didn't like her for years, but suddenly, in the late 1990s, she just sounded right to me. Pense is good, but I just find a certain individuality is missing, to my ears.

ironically, maybe, she has lost a lot of money (I hope) by being stupid and not allowing reissues, which are now going to come out anyway without her consent and likely without her receiving $$$$ (unless there's publishing royalties involved; I'm thinking there's a good possibility she owns the publing for Garner's tunes, but that's just a guess; and who knows if these labels pay into them anyway).

well, I had a date once with Hans.................

I beg to differ - Lydia Pense sounds like she's trying to sound black - I have never heard a black singer who sounded anything like Joplin, who needs to be heard both very early and very late to be heard at her (quite amazing) best. Watch the movie Festival Express for the late stuff, watch the Big Brother documentary for the early. Think what you will of her (and I like her a lot) but her idea of singing was a very original interpretation of that particular tradition. Pense is ok but sounds, to me, like a few too many others.

back to Jay's post, I consider criticism to be a co-equal art form.

actually I shoplift 'em from the local blind newsdealer - I just tell him it's the wind.

thanks Larry - also, a little research shows that she has written a book on Mingus! run for your life....

and Bix, by the way, had a huge amount of blue feeling in his playing - listen to the solo on I'm Coming Virginia. the other thing that bothered me was her complaints about the sound in the first box, and her comment that she was able to do better with some program she has. Aside from the fact that I've received a fair amount of compliments on the restoration, I know what KIND of program she was using, as there's lots of bad de-hiss out there, in particular. I emailed the editor offering to do A-B comparisons, but have not heard back - it's important to realize on 100-year old recordings that you can reduce certain kinds of noise but also lose what little presence there is.

"That seems to be the case here - the mag was not, as far as I can tell, promising a favourable review in return for expenditure on ads. " well, what they promised was a nice interview, favorable in its perspective. Almost the same thing, I think. Look, I know that the music media is too cozy with the sources of the music and their money - but this really crossed the line, I thought. And I have to admit, it was exacerbated by the fact that the review was really pretty stupid. I've had bad reviews before, and their painful no matter what, but it's different when the critic has some sense of what you're trying to accomplish. so the way it looked was: they give an idiot my box to review - someone who clearly thinks they have the knoweldge but does not - and then I end up having to pay (literally) for their unfairness.

a few years ago the NY Times Arts and Leisure section did a big story about a Barbara Streisand concert - and there about a page later was a big ad for the concert - probably woulda been there anyway, but still, it looked very strange.

well, then, the fault lies most with a league that tolerates such things because it sells tickets. Not to mention the officials.

yes, she did tend to miss the point that I was questioning, in the project, the whole blues concept. I was just, in this thread, trying to keep that separate from the editor's actions, which bothered me almost as much as the bad review. Opinion is one thing, ethics another -

my impression from reading the news today was that he was unnecessarily vicious as a hitter - is this inaccurate?