AllenLowe

7) SARGENT Carter yelled at Gomer too much -

6) JIMMY Carter was a rotten president -

5) BETTY Carter was the most annoying and mannered singer who ever lived

4) Benny Carter was a better trumpet player than he was an alto player

1) Pete Brown was the greatest blues player in the history of jazz - listen to his alto solo on Unlucky Blues, behind Helen Humes. One can hear, as he plays it, the band erupting into what appears to be spontaneous acknowledgment - and I won't hold it against him that the tune was written by Leonard Feather - 2) Jonah Jones was one of the greatest swing-era trumpet players; up there with Eldridge/Shavers/Red Allen/Berigan (no not the Republican Berigan); it is not Jonah's fault that he will be forever remembered for those annoying and muted Capitol albums. listen to his solo behind the great singer Georgia White on Papa Please from 1940 - he was also working on some of the same things, rhythmically, that Dizzy was working on, possibly from their association in the Cab Calloway band -

for more on the John/Yoko stupidity, read Geoff Emerick's book - particularly the part about when they brought the bed into the studio so she could lie down,as she was not feeling well. Her real crime, IMHO (and Lennon was complicit) was taking a guy with brilliant intellectual and musical instincts and turning him into a self-conscious 'avant gardist.' From that point on about 80 percent of the music he made was crap, going from ok to bad to worse. His CDs turned into narcissistic and embarassing self-exposure.

those covenants basically were built into house documentation to allow racial discrimination - even our late "great" prez, Ronnie the Ray-gun, had one in his deed -

other than that I think she's slime - tried to box Lennon's family out of his life AND death; after he died took away a house that he had wanted his aunt and uncle, who had little else, to own; and sang on the Mike Douglas show years ago in a way that was so annoying that it insured her a reserved place in music hell -

I had never been a big fan, but at a conference last year I heard an incredible recording she did some years back with Ornette Coleman; her voice was absolutely perfect in context and I was shocked that she was so musically right in this particular case - unfortunately I remember nothing about when it was recorded or even if it was ever officially released -

you're living a Bill Evans recording? Which one?

good sound and I believe one of our members (Bruce Talbot, formerly of the Smithsonian, though I haven't seen one of his postings in a while) wrote at least some of the notes and may have supervised some of these -

yes, Francis consistently meets an incredibly high standard - and as I said, given a little time I will pull some of his collections and list what I think are some very important essays he has written over the last 20 years or so - and Chris, yes, it is true that high-visibility projects have some advantage - but I've been re-reading your Bessie bio in the last month and you have nothing to apologize for; I'm sure the notes were of equal quality -

no way to prove that, I think, and the quality of the notes is clear - there's really no evidence except supposition - anyone here talk to anyone who voted?

sorry I'm late to get back - just read my original post, which was stupidly unclear - I was referring to Nat Cole's housing problems - how the California covenants were used to try to keep him out of a white neighborhood -

well, if we want to get specific, Francis has written lots of good stuff in the last twenty years - I am happy to cite chapter and verse - will pull down his books in the next few days and give you guys a nice reading list -

she's been mentioned in passing, but let us not forget that he was married to the late Pearl Bailey, a great entertainer and singer from what has become the in-between world of black entertainment, that was neither jazz nor blues nor straight pop, and which has gotten, because of this, way too little respect (assuming anyone even knows what it is anymore). She was a wonderful performer, and theirs was an early mixed marriage which could not have been easy (even as famous performers - just look what Nat Cole went through) -

swingin'est harmonica player ever - except for maybe Blues Birdhead, my other favorite (of course I also like Larry Adler) -

"Julius Fucík" now there's a name just begging for a typo - or a mis-pronunciation -

how does one get a re-fret on a fretless guitar? perspiring minds want to know -

I remember Max Roach complaining, as well, that the term 'ragtime' was demeaning - these, however, are all VERY complicated subjects which relate to my recent tempest with Marsalis. Jazz's past, and its deep mix with the African American vernacular makes for some strange bedfellows (both literally and figuratively, considering Jelly Roll Morton's roots). Reminds me also of reading about how Pigmeat Markham was pressured by the Los Angeles NAACP to change his act, which they considered (and this was the 1940s, I think) demeaning and tom-ish. This ruined him professionally, ironically or not. But, as I said, it gets more complicated the more you get into it, from Amos and Andy (the old tv series, NOT the radio show) to black vaudeville. I'm also bothered by the following: "What started as the creation of former slaves in New Orleans" - and I'm not getting into the hoary old argument about where jazz began. I am just thinking that those former salaves did many other musical things as well, things that jazz people seldom if ever acknowledge, from cajun music to string band music to rythm and blues (Professor Longhair, et al) - if we are going to discuss the social implications of the music, we have to acknoweldge ALL the music and not just jazz -

I think Kahn is a good writer - knowledgeable, and actually knows how to write - unusual in the jazz field -

I want to know: what the hell happened to the frets?

this is your last chance -

LET ME BE THE FIRST TO TELL YOU -

mark my words -