AllenLowe

was that his mess? I went there when I was VERY young.

no, but he DID buy me a hot dog -

well, I contacted Fischer, and I now own 140 percent of this movie - that's me on the right, Fischer on the left -

I forgot about Wilt - though his numbers always seemed a wee bit impossible.

your laptop needs a battery-ectomy.

my favorite line from the book - he's riding in a car with Ellington, who says: "you know, I've probably screwed more women than anyone else in the world."

we're all gonna have to go to Larry Kart's house to get a copy -

is that film musician list in human years or dog years?

that's one of my favorite comedy scenes -

no, just some wrong label names -

well, than, maybe more like Virgil Starkwell when he mispelled the bank robbery note.**** ****from Take the Money and Run

well, these days I feel more like the Brooklyn Dodgers -

Paul McCartney. Harvey Brooks.

Ghost - just tried to send you a message, but the messenger wouldn't let me - contact me at alowe5@maine.rr.com.

yes, next stop Weenie Campbell - I'm a little overwhelmed right now, trying to make contact with critics, etc. as for the variety of tunes - almost everything on the set is from my own collection, LP, CD, 78, etc. I don't really know how I did it, but the current mess in my basement is a sign that I was there and gone. I basically went through everything I own, and spent maybe an additional $1500 on materials (I know this figure is close, since I am doing my taxes this week). I did a little shopping at Stereo Jacks (where I was fortunate to snap up a pile of LPs from a recently-deceased collector; also, my local used record store had some choice things - for example - a Savoy LP reissue of John Lee Hooker which was so much better sounding than the CD versions that it was both laughable and scandalous). I've been somewhat on top of the whole blues reissue thing the last 15 years, have snapped everything up that I could, as well as grabbing vanishing LPs with good sound (especially French black and whites, RCA/BMGs, Columbia/EMIs, et al). Sources are of prime importance, of course, as a good source makes any restoration engineer sound like a genius (I took the King Oliver from a very good-sounding 10 inch Columbia). Of course, there was also Document, of which I own a lot, and they are not as bad as they are purported to be, sound-wise (in many cases I could tell they had used LP transfers from decent vinyl). I tried to put some out-of-the-way things on it, too - there's a Charlies Ives solo piano piece coming up, an Aaron Copeland piece (called blues but very far from it) and even a Harry Partch spoken word, put there since Partch had a lot to say on the relationship between American speech and American vernacular music. And, most happily of all, the set ends with a Jaki Byard solo. as for the hardcore blues guys, it will be interesting - even true experts like Paul Oliver show a deep misunderstanding of, for one example, Ethel Waters, and I tried to deal with this. I also have a greater sympathy for the whole minstrel ethos than most critics, and I did my best to include and explain. Most frustrating is when I find things that I think I should have included - like more post-War acoustic things, or some more on the Popular Front (though I do have Woody Guthrie/Cisco Houston, Josh White, and Sonny Terry, Brownie McGhee, Leadbelly - I just should have engaged with the subject in greater detail).

Bill Johnson.

late to the party here, but one thing I always found most interesting was how Brian Wilson took certain sources - particularly the Four Freshman and Phil Spector - and improved on them, really made them into art (I know Spector has a good rep, but though he made some great records I ultimately find him a sagging disappointment) - sort of a classic bad-art-leads-to-great art thing (like Norman Mailer on the films of Andy Warhol, which had a striking influence on filmmakers much more talented than he). To me the Four Freshman harmonies are corny and sentimental - yet the nearly identical approach produces otherwordly sonorities in Wilson's hands.

yes, great Konitz, and that last pic is the LP double set that I have in excellent sound - don't know about the other LPS.

I tend to be wary of one academic reviewing another - my favorite book on Duke, if it can still be found, is Derek Jewell's portrait.

I hadn't noticed -

the CD version that I heard was the one above here, with the mosaic on the cover.

by the way, he also has an excellent piece on Frank Rosolino in one of his collections, post-murder.

interesting thing about that Mulligan Meets Konitz is how significantly better the LP (one of those '70 Bluenote gatefold twofers) sounds. Way better. Don't know if it was the source or bad digital conversion.

wait, wasn't there a restaurant chain in England with the word Pizza in it that used to feature jazz (and maybe still does)? honest, I'm not kidding. Al Haig used to play there. any Brits here to help us out? just looked it up - Pizza Express. Mystery solved?

there could be some speed variation - or difference in header or footer time - when I have a chance I'll check it out.