AllenLowe

"Joan and I went to a CPR recertification class" geez, my wife just brought me a defibrillator so I wouldn't have to do it to myself - belated happy birthday.

I will avoid the obvious "Tango Vera Auer" joke here -

just threw some your way, and want to encourage others here to do same (sure hope I don't change my mind when the fever goes down)-

at this point, probably not.

thanks Larry. I wish you would review more music for us here. Always illuminating.

"I don't get it" well, if the accordion is the only instrument taught in Rhode Island, than to say a young and upcoming musician from Rhode Island plays the accordion is redundant, as the state permits the learning of no other instrument there.

well, there's interpretation and interpretation - what would make a book worthwhile to me would be to have a sharply critical attitude behind it - meaning that the writer is not only capable of gathering facts but of determining how to evaluate the data - how it fits into questions both historical and artistic. Which is why I tend to shy away from books like these, which I would probably read once and put away for possible technical reference,

ummmmm......fondue............. thinking about this thread, isn't "accordionist from Rhode Island" redundant? according to my information, that's the only instrument taught in the public schools there.

anybody go to the museum concert last night? Did the band show up?

My question is - does it read like a book or just a collection of research? Is it interpretive or just a collection of facts? not trying to be difficult - it's just that very few books that I read of this types are actually books but are really more like collected footnotes. If it is more like that, it should be called a source book; I ask because I am still considering buying it, but am hesitant from past experience.

whoops - mean to say "phallic symbol." I think the problem that musicians have with slow is patience - they always want to double up - I was always telling drummers not to double the time on ballads - drove me nuts.

well, slept like a baby thanks to the codeine - whoever said "drugs are not the answer" was asking the wrong question.

the title of this thread somehow sounds like the title of a bad song that could have been written by Yoko Ono, circa 1972.

genuinely nice guy - any news on his condition?

Jimmy Scott - slow slow slow - in 40 years since I don't think I've ever heard a jazz group play a non-ballad this slow.

I couldn't have done my reissues without vinal - particularly 1960s and 1970s major label reissues of older jazz and blues - some pristine sound. Some good European stuff, too, like the Black and Whites. Some of this stuff can never be duplicated, as the big labels lack the will (I mean, who's going to go into the vaults to look for Thomas Morris?). Also, some rare MCA/Decca stuff that apparently went up in smoke.

no offense taken. I just think Dylan has had some.....................issues. I think he lost his way creatively some time ago and some of his attempts to be "relevant" have fallen quite flat. but I am in a little minority in thinking this.

I have a Mingus question, which relates to the Slugs thread elsewhere - when I heard him there he played a version of Bluebird that was the SLOWEST tempo I have ever heard anyone play any tune in a jazz performance. It was unreal. In the years since I have tried on more than a few occasions to get my own bands to play that slowly, always unsuccessfully. Did anyone ever hear anything similar with Mingus? (Danny Richmond played in 4 on the ride symbol; people were holding their breath) -

there was a guy in New Haven about 30 years ago named Tommy Brasile (not sure of the spelling) - truly one of the greatest saxophonists I ever heard, apparently blew his mind out with LSD - I saw him play only once and it was astounding. I have no idea whatever happened to him.

that Mobley shot isn't on-line anywhere, is it?

uhhhh, should mention - I think Bev is a guy - (you know those British - they're all named Adrienne) -

hell, Carmen Leggio played a stock tenor mouthpiece and he did ok - the nice thing about the older stock pieces is that they lack, as far as I can tell, the extra baffle and assorted other tricks to make them play louder and faster - on alto lately I prefer my Steve Broadus 4. This is the best way to get the old-time warmth, I think. It makes you work a little harder, but it's good for you.

this sounds like the apocalypse to me - I mean, all the signs are there - strikes, unemployment, wars - and now a pianist who once stood me up. Look out the window, Ron - is the sun starting to do weird things? Are livestock running through your back yard? Is Pete Johnson trying to break into your basement?

well, I'm outed - here's what I really look like:

great Hawes from 1971 - and Bud is God. I'll tell you what I like about most of these - the musicians just play and don't make any funny faces. I'm not kidding. I'm from the Appalachian school - just play, don't grimace and twist your lips so it'll seem like you've got more feeling. Concentrate on the music.