AllenLowe

I agree, and also it keeps the cops and the dispatchers honest (some of the time at least) knowing that what they're doing is public record. As one who is VERY cynical and critical about the police and the mess they make of their jobs, I am completely in favor of this.

you are a wise man.

way to go cliff -

I don't know about Chewy as a Times music critic; US Senator, maybe, but music critic...................

me and Mundell Lowe - nah, not really. It's probably been said here already, but years ago Harold Danko told me that EVERYBODY confuses him with Hal Galper. And I told him, before I met him, I was the same way. also, there's Chuck Nessa, mild-mannered record company owner, and Chuck Nessa, crusading Organissimo poster.

CHris - we need to find a place to try and transfer those - you never know what might still be left -

Brownie - you coulda met Prez! oh well - it's not exactly the same but it's like the time I had a chance to go see Ray Nance, and couldn't because I was sick - and he died the next week or so. but Prez! imagine being in the same room - I'd give up 10 years of my life for something like that (assuming that I'll live to 110) -

Postif?

I thought it was French, for "the boobs."

looks like it's time for another appearance by fat Barbie:

forgot about that - I think I have the Lil Armstrong - the Henry Miller I have is very scratched - and I never saw that Eric Bentley before. Reissue time. Anybody for a bootleg series? How about we call it: "Keep Away from Keepnews." (or Grousing with Grauer?) Chuck, you feel like moving to Andorra?

no matter what I say, I'm gonna get a slap in the face -

actually, I may be confusing it with another Riverside narrative double album - I have one of Henry Miller somewhere on my shelves. as an aside, there is precious little interview material with Hawk - though there's a nice Q and A in one of those old collections like JazzMen (it's probably not that one, but similar); also the Chilton bio is excellent.

yowsa; I love Moholo. Gotta look out for that one.

awright - so as part of my job I had to call someone to confirm their address - and they live in a town in Pennsylvania that is spelled: Lititz how would you say this?

well, I have this fantasy of making a series of albums with him - I have the music and the supporting cast. Just need about 3 grand - what he has is really an old-style charisma which almost does not exist in jazz anymore, because players are different than they used to me (I don't mean this as a value judgment). One note and you know you are in the presence of something quite amazing - which I always imagine is the feeling people got when hearing Armstrong, or Higginbotham, or Bird and Prez.

interesting to see that cover, as somehow I recall a gatefold - am I confused or was there more than one issue of this?

Ros is a fine composer, yes - as for "impressive and enjoyable enough in the context (and often very loud)," too faint praise for the man who is one of the most brilliant musicians I have ever heard. Years ago we did a Louis Armstrong program at Sweet Basil, with Roswell on trombone, and the place fairly levitated. It was the most incredible music I have ever participated in. I remember Loren Schoenberg, who was on stage with us, looked at me at one point, gestured toward Ros, and said, "now that's the real thing." I will tell you, there are few of his kind left anymore.

thanks; I've been meaning to PM you, Armando, and will do so this this week - the CD is about 2/3 finished, the sessions with Ros and Shipp are mixed; looks like we're going to expand into a second CD, however; I'm very happy with everything and it looks like, with everyone's permission, I'm going to try to start booking this as a traveling blues project with special guests - the release time for the CD is April or May - the blues reissue, btw, should start coming out in March -

agree with the above - a fasinating glimpse at early Phineas - very out of tune instrument, though it is quite audible, as I recall.

the blindfold test that I remember was prior to 1993, and it was very close to that date, and may even have been for Jazz Times - the reason I remember it so well is that around that time I booked Moody to play in the New Haven Jazz Festival, which I was running; and I remember standing there, with John Szwed, after the concert, and both of us had the same response - that we were amazed that this player whom we had just seen performing with such harmonic abandon had so recently been quoted in a a blindfold test as putting almost everybody down who was young and playing in a certain, open, way. so, I am certain of the test and what his attitudes were; might have been a different publication.Though, after spending some time on line and going through various data bases, I wouldn't be sure that you are even locating it, as those search engines are some of the worst I've ever dealt with - they just pull 10 times too much info, and the actual reference easily gets lost in the jumble. So it's out there somewhere - ask John Szwed -

I love the Octets and the Riverside album - I even included one Wilder on the blues anthology, a near-blues. Brilliant curmudgeon, and his book on American song is indispensable.

so sorry Joe - my grandmother was born in Russia and emigrated to the US around 1900 - we also don't know the exact date. Though they weren't precisely of the same generation (my grandmother was born in 1900), these were Jews who truly experienced a way of life and a way living that we can barely comprehend - especially that cross-ocean passage, which my grandmother, like yours, did as a child, on her own. best to you and your family.

she's a great lady; she even had Matt Shipp on her show a few years back.