AllenLowe

well, if we want to get more deeply into this, I will explain my position. The more time I spend researching and writing about music, the more I see what I we would call "received ideas," things which are said once, often in error or with lesser accuracy, but which then receive currency by the power of repetiton - one person says them, and then another, and then another, until they achieve the power of fact or cultural relevance. The problem is that, once one spends a lot of time with these forms and sounds, one realizes that so much of what has been said is merely hearsay, based on second-hand or legend or myth, or whatever else. Listening for one's self then becomes imperative: read some books of primary sources, listen to the recordings, and it will all tend to lead you to challenge the conventional wisdom. So I get a bit weary of the citing of sources that are 2nd and third hand - aside from the issue of intellectual property and crediting the work of others, it usually just means mention of the same cliches and worn out ideas. So I feel it is worth noting when these things occur. Lester is quite sincere, I am sure, but can do better on his own, apart from sources that show me not that he's listened to the music but that he's read the remarks of other people who have listened.

"I don't why a few posters feel the need to poke fun at him." well, the posts are a little mechanical - and I gotta admit that I'm bothered by the fact that they seem pre-digested, lifted from other sources and not original

one issue, and I could be wrong with LuLu, is that certain self-publishers retain the right to sell the book on their own, in ways which leaves it open to others using it in un-authorized ways.

as I debate about whether to self-publish my trilogy, I was wondering if anyone here has experience with same. I read a strong recommendation for Create Space, which is part of Amazon, bu t even after reading their material many things are not clear (range of unit prices; rights to sell outside of Amazon). the setup seems relatively straightforward - PDF with embedded fonts - but it might be easier to go to a place that just physically does it then sends it to you (and I will be selling these, if all goes according to plan, off of my revamped web-site, hopefully by next Fall) -

he'll be back on February 30 - at least that's what he told me.

according to the late Dick Katz "Jones had a great harmonic influence on a generation of pianists." Dick mentioned this to me years ago, and I talk about Jones briefly in my '50s book. And I take Dick's word on this.

Jamil was one of the those jazz guys who seemed to have been in a lot of the right places at the right times. Let us not forget his work with Phineas Newborn.

I've always TRIED to like her - but there is a self-focused quality that puts me off. Interesting woman, though.

this is very upsetting. I got to know him well when he played with Al Haig all those years. Full of interesting and funny stories, particularly about Blakey. He was a very good and loyal friend to both Al and Joanne.

that's good - still leaves 9 months -

what're we gonna do in March?

well, that's ok, I would welcome the discussion - though why do you assume I'm white? Let me quote Ralph Ellison here: “The real guilt of…Jewish intellectuals lies in their facile, perhaps unconscious, but certainly unrealistic identification with what is called ‘the power structure.’ Negroes call that ‘passing for white.’ Speaking personally, both as a writer and as Negro American, I would like to see the more positive distinctions between whites and Jewish Americans maintained.” – Ralph Ellison

be smore specific. Though I share your anxiety. also, I thought Strange Fruit was a song by Cream.

I like Hazel Scott.

"Max Roach and Abbey Lincoln are two masters of Jazz and self expression and show us. It’s powerful, heartbreaking and beautiful. It’s Art. " yes, I'm especially impressed with how artfully he beat her up.

"I hope I didn't offend any Rod Stewart fans." well, I don't think the later stuff is that bad, though I, like Bertrand, prefer the '40s, half-valve solos.

well, memories can drift....I just remember that people at that Central Park concert were somewhat aghast at how out-of-it Monk appeared to be, and he played just a trickle of solos. I wish I remembered the Miles portion half as well.

bumping for another pass -

yes, excellent point - at these bit rates, the lower levels are optimal - I was also amazed at how simple it is to mod these mics for so little in parts - I'm lucky to have a friend do it for free, but even he said how easy it was. Now if I could only find a cheap source for Peluso capsules - I have a CAD mic that, with re-capping and a capsule swap, is said to approach Neumann territory. The other mic I'm using is a $50 MCA SP-1 which is waiting for a component swap - and THIS one is said to sound like a Schoeps once modded - we'll find out. the converter thing is amazing, as you say - I'm using the Edirol converters, and this thing sounds good enough to issue.

yes, that's right - though they can be burned into a 16 bit CD or CDR from wave files - and in my experience, if the original has that warmth and clarity, and is burned at a reduced bit rate using decent conversion, it really holds much of the original quality. I should also add that I have done comparisons between this kind of home 24 bit recording and old analog 8 tracks like Fostex and Tascam, and the 24 bit is clearly superior - so even on a consumer level, there is now the possibility of good digital recording.

well, over the last 10 years or so, as I commented to a friend of mine recently, we have ironically worked hard in the digital domain to make it as good as analog was - as warm and with a similarly nice depth of field, sonically speaking. I used to do a lot of recording, and though I sold my old RCA 77s years ago, a new generation of cheap and easily upgrade-able Chines microphones has brough me back into the game. But what has made it particularly gratifying to record my own stuff again is the easy availablity of 24 bit recording. I recently bought an Edirol 4 track, did a little a/b 'ing of 24/44 versus 24/96, and could not hear any difference, so settled happily into 24/44. A friend of mine is re-capping a couple of Marshal MXL V67 mics (total cost for the re-cap: $32 in parts; he's not charging me the labor), and all I can say after hearing the first one is YES - I'm also, I should add, using a ART MPA II solid state pre-amp, very clean and un-colored as a boost. So now I can stand in my living room and make recordings that truly sound as good as any studio I've set foot in - actually, a bit better, sometimes, because the acoustics are good and I don't have to hope the recording engineer does what I ask him to do just to find out later that he "knew better" and messed things up (with apologies to you engineers out there who don't engage in this sort of thing; this has, unfortunately, happened to me more than once). And 4 tracks is enough to record my 4 piece group, one mic on each instrument in a circular setting, gives me a naturalk sonic spread but allows me mixing flexibility. Just like the old days, ahhhhhhh........

I'm whipping two manuscripts into shape, likely, but not definitely, for self-publication, and need cover photos - for the immediate time, was wondering if anyone has anything related that they would like to loan for cover use: Book Number 1: The Lost Generation: Jazz of the 1950s basically a study of the unsung modernist heroes of that decade, mixed in with a broader look at the whole picture of post-bebop developments. Book Number 2: God Didn't Like It: Singing Preachers, Electric Hillbillies, and the Origins of Rock and Roll, 1950-1970 the early development of rock, through the end of the 1960s I don't have much to offer in exchange, at this point, except copies of the books if and when I get them out - I also intend to re-publish That Devilin' Tune, solely as a book - and would probably need a new cover photo. If anybody has anything that they would be willing to let me use and that they have rights to, let me know -

when I lived in Cambridge in 1973, Carney was listed in the Boston phone book, so I called up to see if I could do an interview for a magazine I was writing for there. I called every month for about 6 months, and a nice lady always told me he wasn't home and she wasn't sure when he'd be home. Then I gave up.

I still can't figure out why you didn't want the 1951 Birdland, which is incredible.

what's an Iron Chef? Somehow, I'm not sure such a designation makes me want to eat there. Sorta like the Ptomaine Maine Prize.