AllenLowe

and of course Adolph Hitler will be 120 - I was just down in Brazil where I saw him tanning on the beach with Eva - he was painting a nice watercolor -

did anyone mention SONNY ROLLINS? I think he'll be 80 this year...

yeah, well, don't ask for any fish stories -

hope this ok to post - but Sunny was the first tune I ever played in public - and here's a pic of me playing it at the Senior Variety Show in High School, 1970 - the guy on guitar is Elliot Easton (then known as Steinberg), later of the Cars -

some of the forms I know repeat, some don't - some have no chord structure, some do - some sound like Richard Rodgers, some like CHarles Ives, some like Schubert - some have variable bar lengths (like a few field hollers I've listened to recently), some are call and response, and the response time can vary - some are AABA, some AB, some ABCD - some are made-up songs that don't rhyme, don't have a strict bar length and have variable chords - so one man's anarchy is another's method of structure and organization -

this is getting scary -

JazzMasters of the 50s is excellent (as is Dick Hadlock's Jazzmasters of the 20s) The Rosenthal book I remember having problems with - lotsa mistakes -

funny 'cause I once sat in with Joe at the West End - Percy France was playing and Joe sat in a side booth with his microphone - everything was in C - I played tenor. Bob Neloms was playing piano, as I recall - it was fun but I mainly did it so I could say I'd played with the greatest blues singer alive -

yes, but there are many different kinds of songs - hence many different kinds of song form -

I actually do play guitar, been obsessed with the instrument since about 2001 - I prefer a darker, more primitive approach, all tubes (only NOS), older tweed circuits, alnico magnet speakers based on the old Q's or Rola - little sustain, if possible, as less of it makes you work harder, but also the kind of "breathing" and compression that you can only get from tubes - I actually believe a shorter decay time is more interesting and more "natural" and voice-like; I just feel like guys like Rainey (and you) have done the other thing so well that it does not interest me. I'm also less interested in a horn approach than one closer to the human voice on, say, 1920s country/blues/hilllbilly/gospel recordings. I look more to the older country and blues players for inspiration (Memphis Minnie, Bill Broonzy, Pat Hare, Willie Johnson - the one who played with Howlin Wolf - and Pete Lewis) but I use that style in service of a kind of free improv, though usually based on standard forms of one kind or another - (I play an old repro 5D3 - the circuit Fender used just before the 5E3 Tweed Deluxe, and play various guitars with either P90s or PAF-style humbuckers; nothing with an output of more than 7.5 or 8 k, alnico magnets only. Also an old 6 string banjo guitar. I also have a Tweed Champ repro, a Silvertone 1482, and an early 1950s Gibsonette. And though no one asked, they were all worked on by the greatest amp guy I know, Dan Lurie in South Burlington, Vermont).

and Buddy Bolden will turn 132 - I hope Wynton goes to visit him in the nursing home; it never fails to lift Buddy's spirits -

they should call it: "Jews for Jazz-Us"

Listening to the Billy Eckstein version of Blowing the Blues Away (12/15/44 matrix 120-1), I believe that in the chase choruses between Jug and Dexter one can hear the whole pre-history of John Coltrane, insofar as: The sound of both tenors - out of Lester Young but with a harder edge - predict the later Trane sound - a hard, dark tenor sound with a paradoxically bright center - light surrounded by dark if one wants to get literary about it; more-so with Ammons than Dexter, if I am hearing them correctly - Also, the transformation of Prez's scalular ideas into a method of going inside/outside by simple but effective chromatic movement and emphasizing the slight dissonance through a kind of frozen repetition - I find Ammons to be the more dynamic of the two (people know my thoughts on Dexter) but both are fine musicians and humanitarians who loved their mothers (hey, I don't want to start another feud here) - Just a thought or two -

I think Barry Harris was born in 1929 - (I could be wrong) and Dick Katz is 85 - and I'm 104 - (or maybe I just FEEL 104) -

"cheap, shit guitar" ahhh, fasstrack, we could start a whole new topic here - but Jimmie Bryant played a Telecaster, as does that guy up in Canada, can't think of his name (Terry Clarke?). And that's kinda my point - those solid bodies have a sound of their own, more "electric" and "real" than the hollow body, which is just an acoustic in disguise, lacks the courage of its convictions - Al Hendrickson, I think, used to play a Goldtop with p90s - fuller sound, darker, harder - I like it, you may not, but I think you shouldn't characterize it as less than jazz-authentic -

I agree with the above - and I like Joe Bussard. And I'm a Jew and I want to play only country music of the pre-1935 kind. And I was raised in fields filled with white bread. Of course, prior to the 1900 Census Jews were considered to be non-white ethnics - I feel so damned authentic -

just looked at that video - I don't think that's Ross on piano - and I wouldn't call that Fender a "toy" - I believe it's a Jazzmaster, an excellent guitar -

an early jazz player of the Hammond Organ! how appropriate -

"very best house music (and it's waaaaaaay underground, btw) is so damn chock full of information as to be the only true (ok, "truest") "music of now" that I've heard. But it ain't about "songs" nearly as much as it is about sound, texture, and peacefully and prosperously populating multiple layers of a sonic landscape. Which more and more is how life is lived, not one thing in one place at a time" this, actually, is nearly identical to the concept of "new" literature and the "new" novel as identified by Samuel Beckett and Alain Robbe Grillet a long time ago - not to mention Peter Handke - it's a different idea of "the real" but, they theorized, more "real" than mimeographic or photographic realism - interesting how different forms come together - as for country and blues forms, well, I've always felt they need more than the regurgitation of riffs and themes that are just dressed up in new clothing. For that reason I find a lot of alt country disappointing. Hope to get to more of this myself in the next few years -

that's the record, Jim. And that explains why it looks like 2 women - because it is. On the standards, which are the first 10 cuts of the CD, it took me a little while to warm up to her - but she's got something, as I said, like Lee Wiley - very modest and personal and personable - and on the blues - wow -

according to the MSN White Pages: "37 Results matching "Clair Austin, United States"

that table has an extra leg -

and she is a TRULY GREAT BLUES SINGER - and she made this CD in 1954 - she was born in 1918 - time to do a canvass of nursing homes -

he did, later on, have that nice duo with the bassist Frank Loss -

you knew Arnold Ross? I am in awe...... actually there a picture on the net of him late in life with a revival band - looks like an accountant -