AllenLowe

just a note for our California and European members, that you will probably not get to see me when I do a talk on Wednesday, October 14, at the Rutgers Institute of Jazz Studies, in Newark, NJ, on my blues project. starts at 7 PM - FREE not sure what I'm going to say. I might wait until the drugs take effect.

just brought my copy home - has a very nice type face -

just called the local Border's and they're holding a copy for me - will report back, too (though I refuse to read the book until he tells me what the D and the G stand for) -

sorry, thought Dankworth had died -

note the low ohmage - in this day of ceramic pickups that blast along at 10-15 k, the great thing about the old pickups (and as I mentioned I have a P90 which is about 6k) is that, at lower power, you can get more volume and character to the sound before it breaks up, especially on low power amps - it gives you that nice, edge-of-distortion sound (listen to Junior Barnard with Bob Wills to get a good idea of this; also, any number of early 1950s electric blues) -

I don't know - twice he complimented me on things that I posted - I guess I'm just the Mahatma Ghandi of Organissimo. of course, look what happened to him -

just ordered mine - thanks Ron - (few people know this but Ron gets an Amazon commission every time he tricks us into ordering something off of it) -

that's ok - personally I blame Joseph Losey.

like Trotsky -

well, let us just say that I know the guy who used to run the Legacy division - and his opinion of it was less than grand - not sure they know what they're doing.

still wondering - how was Philly? anybody see him there?

6 feet under?

the old guitars are nice, though in my experience the ones I've played tend to be harder to play, action-wise. They look great, though I do think the essence of their sound is in the pickups, which I tend to love. I do have a soft spot for 1960s-70s Japanese pickups, and I once had a conversation with Lindy Fralin in which he said the one thing that the Japanese manufacturers got right was the pickups -

and it just happens to be on Devilin Tune (I think) - it was also in the Henderson box - Study in Frustration.

thanks - it's nice to read about such things actually happening - of course, Wynton could just write a check and pay for the whole thing, save everyone a lot of time -

one of my favorite Nesbitt arrangements is Chinatown for Fletcher Henderson -

Mine too. Glad we can have this rare moment of fraternity, Cliff.

there's a whole chapter on them in one of Richie Unterberger's books: Urban Spacemen & Wayfaring Strangers: Overlooked Innovators & Eccentric Visionaries of '60s Rock

I just want to point out that this may be the only thread on Organissimo wherein I have not pissed off Chuck Nessa.

helen humes teddy edwards HAMPTON HAWES Joe Maini. Carl Perkins (blue suede bebop; very versatile musician)

no no no. I love the white album.... penny lane is too McCartney. Strawberry Fields is brillliant. and Helter Skelter is great - ask Charles Manson.

my favorite guitar these days is a weird Guyatone with a harmony neck and a Lollar P90 on the neck pickup - because the strength of the P90 is only about 6k it has a true '50s sound, kinda round and rich but none of that high-gain ceramic stuff (which is fine as I've cancelled most of my stadium concert dates). the guitar itself is something of a mixed thing, action is good but not great, but it's light as a feather and good for my ageing hands. Playing it through a Silvertone 1484 or a 5D3 replica (the 5D3 was Fender's pre-5E3 circuit). Taking this baby to NYC next week to record with Matt Shipp, so I gotta practice -

I love Clyde Hart. one of the greats -

"Whatever Jim wants is fine, he's paying for the board, so his rules rule" exactly - but I wish he would relax that "wear a thong while posting" rule. I've got the wedgie of my life -

I like the chorus - fits the song. And who can forget those magical lyrics: "Oh....oh......."