AllenLowe

I love Bill Coleman - but the Jonah Jones I've heard has come as a surprise - there's a Cab Calloway solo, very boppish, that I always thought was Dizzy - but turned out to be Jonah - and there's one I just heard on a Georgia White record - VERY adventurous - and I believe there are some very fine Commodores (and I may be confusing things, but I think he's got Lucky Thompson with him on these) - love, by the way, Coleman's work with Dickey wells, also Bill COleman's Blues w/Django -

"T-Bone Walker pretty much "invented" "perfected" "defined", for a lack of better words, the whole R&B/jump blues/soul vein you speak of. He is a giant IMHO, and doesn't really get his due, probably because he was fairly popular at one time." sorry Cliffie, close but no cigar - Saunders King beat him to it - not to mention Joe Turner/Pete Johnson - and T Bone has gotten his "due" for the last 30 years. Great musician, gets plenty of credit. Entire books written about him - and electric does not equal jump. T Bone was kinda in the middle, genre wise - and let us not forget Goree Carter - and let us ALSO not forget the man who really did it first, Elvis's daddy ARTHUR CRUDUP -

I remember being told by a former Rolling Stone staffer that, in the days when Wenner just fawned over her, the staff called her "yoyo." I also found her exploitation of John's death to be distasteful -

I remember when Frank Sutton dropped dead, and very suddenly (maybe he was in his 40s?) - wondering just what it was that you learned about him, Jim, that was so, uh......SECRET

in case anybody's wondering, she's a very good amateur jazz bass player -

Phyllis Diller -

personally I prefer the PHAT RHATTS

not talking about Black Snake Moan - I just feel that there is more tiredness and formula in the jump blues of the early 1950s, maybe late 1940s, than in most of the Delta, or the Piedmont, and than Chicago/Detroit/Cincinatti, the juke blues, or whatever you wanna call it - the hard four beat of the delta and the post-delta electric is, to me, much deeper in feeling. It is a more complex rhythm; the swing-era rhythm of the jump blues becomes too much of a closed-rhythmic box, no flexibility. Ironically the 'thump thump thump' of the Delta-derived blues is much freer than the swing/jump and, I think, more conducive to certain old-time retensions. The juke-styled things are just the wildest and freest things I've ever heard - the jump stuff, after awhile, is claustrophobic. and then there's the in-between stuff; try the JOB recordings, the Trumpet stuff with Joe Willie Wilkins, Lockwood's electric stuff from the late 1940s -

I like the downhone stuff- the jump stuff drives me a little bit up the wall after a while - same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat same beat

I think it's Phyllis Diller on bass -

Will's a good guy and I find his writing on singers to be convincing, and I think the Sinatra book is important -

and to the republic, for Richard Stands -

I find his trumpet playing less fussy.

yes, as I know a white head is pimple composed of pus - and I used to worry that I might contract a shit head-

don't know if everything will make the final cut, but most of these will probably be on the blues reissue project (which looks like it's going to be 18 CDs) - I'm still mastering and restoring daily; will probably do 600 cuts, which will have to be reduced to approx. 450 - "You also mentioned your Louis Armstrong CD" I still have lotsa these - glad you mentioned the web site, as I've been having some problems with the software - if you want anything, my paypal is now alowe5@maine.rr.com - hope to correct this soon - the Pete Brown is probably under Helen Humes' name -

yes, by the way, I am a lunatic - and damn proud of it - (don't knock rubber walls until you've tried 'em) -

to quote Sarah Palin, you betcha - it is a momentous solo - perfect phrasing, perfect tone, everything - gutbucket sound, turns a cliche into a masterpiece - "Where might one find a copy of Pete Brown's solo on Unlucky Blues? " right now, only on a turntable in my basement - I found it on a British LP reissue from some years ago, the MCA Blues Box, I think it's called, it's a collection of old Deccas (and probably went up in smoke in that Universal fire) - however it WILL be on my blues collection, should it ever see the light of day (which I am hoping will be in 2010) -

well, maybe - but she was no Pete Brown - I kid you guys not - his solo on Unlucky Blues (to get back to my original idea) is the greatest blues solo in the history of jazz-dom. and who woulda thought it would be on a LEONARD FEATHER blues? (how can I even use those words in the SAME sentence? Feather's the guy who put the WHITE in BLUES).

I think I need $4.50 -

than I don't want to know where falling fecal matter comes from -

you can say that again -

but I still love PETE BROWN

WE KILLED HER

but listening to her is for me like having someone scrape their fingernails on a blackboard -

I like Betty's early work, but found the later stuff to be just too much of everything - just one man's opinion - I realize I am in the vast minority here -