AllenLowe

thanks, Dan, got the email. Ruff Ruff - I'm Barking for Barksdale - Jansch/McGuinn/Renbourn noted.

thanks, yes,I know that box - I seem to have been asleep on Lafayette Thomas, however. Thanks, Dan, I think there's a Geddins box on JSP - I wonder if it's got some of that on it -

who did he record with?

because I'm out of my mind, as soon as I finally finish the blues project (probably 2 more weeks) I am going to write something like a "listener's guide to guitar." I'm thinking it will go up to 1970 - with of course the usual suspects (whoever they are) - and of course I know about a lot of players already- would like to include all genres - and just to make sure I have not forgotten anyone, if you're in the mood, name a guitar player or two whom you think should be included- allright, I'll start it out - Ikey Robinson and Ray Biondi -

so ok, guys, I can't afford the mono box - should I buy the individual stereo discs? (I would probably buy 5 or 6 of these) -

I like critics because I actually don't think I've ever gotten a bad review - of course in most of the jazz press NOBODY gets a bad review. Still, I feel special.

Community Service - it was either here or Willimantic Women's Prison - not sure I made the right choice -

"I've also been listening to the two Capitol boxes over the last few days and was JUST finishing when I went out to pick up my Beatles CDs yesterday. Which means that I listened to "Rubber Soul" THREE TIMES yesterday: Once in US stereo, once in US mono, and once in the new remastered stereo (which is really George Martin's 1987 remix. I need to get the mono box to hear the ORIGINAL UK stereo mix)." see, guys, I don't make this stuff up - and now my head is spinning once more -

personally I prefer the slide saxophone -

yes, I was just reflecting my own confusion at trying to keep track of which version is which and which reissue is which and whether or not THIS is the ultimate in Beatles reissues - I actually intend to buy the individual CDs, as I get the impression that they've finally done it right - (also maybe making a little bit of fun at the expense of the more fanatical audiophiles of the world)

wrong, I blame jazz for the downfall of the Beatles. actually, I blame jazz for everything - my bad skin, my impotence, my poverty, and the Republican party - and I particularly blame Chuck Nessa and Jim Alfredson. (what are you talking about? I love the Beatles)

thanks!

I'm gonna wait for the stereo mixes of the original mono re-mixes in which half the band is panned at 3 o'clock the other at 9 o'clock with the decompression applied to the left side of the compressed audio chain but double tracked for the limited edition re-release of the original mono-stereo tracks as ping-ponged by Geoffrey Emerick in the original secondary re-mix to tracks 3 and 4 and then before the echo was added by Dave Dexter before he talked to George Martin who then talked to EMI and the Queen and re-mastered the second mono mix to 12 track uncompressed stereo-mono originals with of course the second secret track added in which Paul admits he is not dead but getting old and tired. assuming Yoko gives her permission.

Robert Bolt One Man one Vote Ernie Volkmann

hot dog, that's a good idea -

bumping for the day shift -

you shouldn't assume your own bad experiences are necessarily true everywhere - there are many fine critics who live wholesome lives and who don't torture puppies or pull the wings off flies (though off hand I cannot think of a single one; give me some time) -

my source is Bill Triglia, who was quite vocal on the matter, basically saying that she walked away when he needed her help, and than would not help with expenses when he died - of course, there may have been much more going on, on a personal level, between them - Bill's position was that once she became famous she did not want to be associated with her old jazz friends -

this is an old argument in all forms - and really inspires a certain perverse kind of judgment - if you like a work, and later find out that the artist cannot do anything else (like play tonally) does your opinion then change? Conversely, if you dislike a work, and later find out that the artist is actually very good in traditional forms, is the work you didn't like then a good piece of work? did we demand that Duke Jordan know how to play like Jelly Roll Morton? can we like an improviser who cannot read music? do we demand that Pete Brown play Donna Lee? Joe Henderson once said, interestingly, that as long as bebop was the dominant form he felt inadequate, and did not believe he could really master jazz - but that Coltrane changed his entire sense of self-esteem, because HERE was a music he could grasp. Do we think less of him now? Mingus claimed Ornette could not play a bebop head straight - (though who knows, after all, Mingus was Mingus) and no matter what Mary Lou Williams said, Monk could NOT play like Teddy Wilson - this is not to say we can or should not judge "free" jazzers - only that they demand their own critical frame of reference - (on the other hand, ask me about a fairly well-known "free" drummer whom I cannot listen to because he cannot keep straight 4 beat time to save his life, even when he tries; but let's not start that argument again) - (and I might also argue about my weariness with a lot of open-form jazz, which has the same problems of cliche and repeated gestures that bebop developed over the years)

she has terrible intonation - heard her on Prairie Home Companion last year and it was like listening to Mrs. Miller. She could not sing in tune for more than 2 measures at a time - they must either use pitch correction on her in the studio or some guy squeezes her leg every time she goes out.

just a point of info, she was married, if I recall correctly, to Tony Fruscella - and did not treat him well - and I remember Sammy Price saying, back in the 1970s, that he was gonna try to get Sinatra to help Jo Jones - though Sammy was such a bag o' wind I have no idea if this was even a possibility -

I'm scheduled to record with Matt Shipp (and probably Randy Sandke) on October 13, but the studio I booked had to cancel - would like to find a decent room with a piano, to record at 24/96, a good sounding room, under $100/hr- preferably Brooklyn or Manhattan -

I guess no one will pick up the slack -

you guys are making me jealous - closest thing to a jazz festival where I live is the local bar where a jazz trio plays for nothing in the corner next to the men's room door, while various drunks enter, puke, and stumble outside. it's not bad, just not quite as good as Roscoe Mitchell and Von Freeman.

I'll see what I can do, as the label usually doesn't seem to give audio credit - but I can put it in and see if they keep it -