AllenLowe

actually, which line do you mean?

sorry, someone else will have to deal with that one - I have my hands full - "I...was listening on the scanner..."

"I...was fishing for some salmon...."

there's a Blue Note Collection with him, Ammons, and James P. - great stuff, don't know if it's still available - of course, the original Honky Tonk Train, on Paramount (1928?) is still incredible and on various collections; he also re-recorded it in 1935, I think There's also a Riverside.

"I...called the Dalai Lama...."

"one-stroke" isn't that what started this whole thing?

"I...was hangin' with Jeff Dahmer..."

do you have the Hoagy BMG collections (stuff from 20's and 30/s mostly, as I recall)? should be some things on there.

"He died in the 70's after chasing a thief (a heart attack) and got a PhD in psychotherapy." not necessarily in that order. Did you try googling his name? Great bass player.

I've always felt that there was a good deal of mystification involved in recording and mastering - for recording, if you have a good machine, good mics and a good-sounding room (and good ears), you've got the prime elements. I've always had the most problems when I've trusted the setup to another engineer. Mastering means good converters, good monitors, good eq. I've mastered all of my own cds with nary a problem and always good reviews. of course, bear in mind that all of the above applies primarily to jazz and improvised music, though I think it could easily apply to rock. Problem is that I'm semi-old school - I like to record live to multi-track with very directional (and usually but not always) condenser mics - this preserves the "playing together" feeling while allowing some flexibility in the mix - directional mics limit the leakage, but leakage itself is no crime. I'm not saying it's simple, but it is do-able(find a good 24 bit recorder, too) - I recorded Roswell Rudd on an 8 track Tascam machine about 15 years ago (used a ribbon mic because of his volume) and he told me it was the best his sound was ever captured on a recording - I think this was because I use no compression or limiting, and everything breathed naturally.

"I...won myself a Grammy" "I...had a date with Tammy" "I...was shot in Vietnam-y" "I...did the town with Sammy" I...did it with your mama..."

"she...set fire to my jammies..." "I...was feeling cold and clammy" (title change: Stars Fell on Alabamy")

"love was just a glance away...come here pull down your pants away" "I heard it said...that the thrill of romance...is when you jump into bed...and you pull down your pants..." "It's a shame the way she makes me eat those s'mores"

"fill 'er up.....but don't forget to check under the hood...."

I'm thinking in particular about old standard songs - for example, I always thought the line "my heart beat like a hammer" in Stars Fell on Alabama, was a god-awful thing. So when I sing it around the house I change it to: "I... was living in the slammer...." or "I... stutter and I stammer" "I...flunked the sex I.Q. test in Glamour" "I...had a date with Tamara" "I...never had good grammar." (yes, I know, all signs of someone who does not have enough to do) any more?

if they divorce he's gonna have to give the ex about half a billion - it'll take a lot of non-tip days to make up for that. and she shoulda got him - you know the old saying - he who lives by the golf club....

might be divine intervention - I read a few years ago that he doesn't like to tip in restaurants. I sure hope he wasn't diddling a waitress.

the photographer's name is Sinclair - his wife? Sister? Cousin?

well, Martin Luther was always my favorite critic -

let me add another thing, which I implied above - to me the thing that gives this so much soul is the slightly off centered articulation, the sense that the notes are fused together rather than separated by a clean delineation of tones. Think, in a different way, about Earl Hines - or of the difference between Bud Powell and Oscar Peterson. To state the obvious, this is a much more African American way of playing than some other approaches, really an extension, if I must say so, of the classic African tonality, in which there is less clear distinction between half, whole, and quarter tones. And yet one clearly hears the pitch. But what bothers critics like Gitler is probably related to this, not just the supposed off-key playing. Even Coltrane in his wildest moments has a clarity of note separation that is largely missing from Freeman's playing. Ornette is closer in feeling, but still comparatively conservative (and remember the old racist characterizations of certain people as "mush mouth"?). This is what "new thing" players like Ayler were getting at as well, I think. And it's also why Freeman truly understands those blues guys better than most jazz players. also gives me a lot to chew over as I practice up for a recording session.

or maybe I'll wait for the sequel on Slam Stewart, issued by the same publisher and called "Hummin' Taschen." ******* *******this joke for Jews only

don't tell Ted, but I'm gonna buy it at Border's, xerox the whole thing (in color of course) and then return it. and then bootleg it at every schoolyard in town.

I realize I'm being harsh, but I have such an aversion to Rouse's playing that it drives me to mild spasms. the guy is just the world's most annoying player. it's like he's saying "blah blah blah I'm standing up here next to Monk but I might as well be at open mic night at Happy's Pub and Beer Emporium."

well, I can't hear anything under 1000 khz or above 1750 - so I use MP3s -

just want to reiterate the Gunther Schuller - his Variants on a Theme by Monk is, IMHO, a masterpiece, the pinnacle of the genre.