AllenLowe

you can still have a bad call, even when it stands up to the rules - witness that non-perfect game from last week. C'mon JAW, there's still a chance for redemption -

if you can wait 'til pay day, I'm in, too -

yes, it's Roswell at a session from last year -

well, he was killed in that suicide bombing, and they did the best they could - a hand here, a leg there.....

did anyone mention the duo record who need with Niel Orsted P. from years ago? Basically inside stuff, excellent, as I recall.

on trombone:

"Yes, Robert Johnson seems to have listened to lots of blues records carefully, and learned their lessons well. When I listen to Kokomo Arnold, Lonnie Johnson, and especially Leroy Carr, I hear lots of stuff Robert Johnson got from them. Yes, RJ learned a lot from records. But it's just as clear to me that a lot of his music reflected what was in the air in Mississippi at the time. The Library of Congress recordings made by Son House, Muddy Waters and others a few years after Johnson's death touch on some of the same musical territory. And in the end, Robert Johnson's achievements surpass his influences. I have no interest in arguing about whether Johnson was the "greatest" or "most important" bluesman of all time, or of his time, or whatever. To me he, was like Bach - he represents the highest peak of a musical style that was already becoming unfashionable; at the same time, his music pointed toward the future and the next steps in the music's evolution. Saying that Robert Johnson learned blues from records is like saying Bach learned music by copying Vivaldi - in both cases, it's kinda true, but ultimately not really important. His music, like J.S.B.'s, far transcended its influences." I'm reprinting Jeff's comment because it's the most accurate thing in this thread - thank you, Jeff, this sums it up.

Chewy on vocals-

the thing about Johnson, I think, is that he's a classic transitional figure - the guy who takes the form and shows that about everything that can be done with it has been done, and in doing so shows the way to the future (whether or not anyone notices at the time). In that sense, I think Johnson is incredibly important. So maybe I agree with Clapton.

has anyone listened to the new Giuseppe Logan stuff on Tompkins Square? It should never have been issued. He just cannot play anymore, I am sorry to say.

thanks, thinking about it, it's definitely accurate, as I had several long conversations with Johnny in the 1970s; I also recall him saying how much he disliked Miller personally. More interesting, however, is that I believe he wrote some arrangements for the band, though I would assume they are lost.

is the College tour thing out? I used to work with the bass player on that, Perry Lind, up in Connecticut. He said they had some wild times on the bus.

sometimes you have to marry the boss -

this is why I dress modestly at work.

a little late here - however - I seem to recall Johnny Carisi telling me that he was stationed with the Miller band at Yale at some point - can anybody confirm this or am I confusing musicians and bands?

I think it's the Martha Washington Monument.

can't go wrong with RJ - but I'm a Son House man myself -

thanks for all your assistance - just spoke to him -

only by appointment -

thanks, I'm at work and don't have access to my space -will send an email tonight -

email, phone, etc etc

al bernard

yes, whoops, Torrie Zito (referring to Larry's correction) -

wait - I'm having a flashback - is this the Art Linkletter thread?