AllenLowe

there's a lot of stuff about them in some of the blues bios that have come out in recent years - the Howlin' Wolf, Little Walter's bio, also the Muddy Waters book.

sorry, the pre-eminent jazz label is Spaceout Records -

hadn't realized that Louis Myers was on the Leo Smith - same guy, I think, who worked with Little Walter -

well, they've solved one problem - it's no longer the pre-eminent jazz label -

he was brilliant - he sorta served as the Paul Gonsalvez tenor when I saw the band - it was probably 1980 or so and I remember thinking, who is this guy and where has he been hiding? that version of the band also had Ronnie Boykins on bass, whom I knew a little through Bob Neloms.

kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kekevin kevin kevin kevin kevin kevin kevin kevin kevin kevin vin kevin kevin kevin kevin kevin kevin kevikevin kevin kevin kevin kevin kevin kevin kevin kevin kevin n kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kekevin kevin kevin kevin kevin kevin kevin kevin kevin kevin vin kevin kevin kevin kevin kevin kevin kevikevin kevin kevin kevin kevin kevin kevin kevin kevin kevin n kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kekevin kevin kevin kevin kevin kevin kevin kevin kevin kevin vin kevin kevin kevin kevin kevin kevin kevikevin kevin kevin kevin kevin kevin kevin kevin kevin kevin n kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kekevin kevin kevin kevin kevin kevin kevin kevin kevin kevin vin kevin kevin kevin kevin kevin kevin kevikevin kevin kevin kevin kevin kevin kevin kevin kevin kevin n kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kekevin kevin kevin kevin kevin kevin kevin kevin kevin kevin vin kevin kevin kevin kevin kevin kevin kevikevin kevin kevin kevin kevin kevin kevin kevin kevin kevin n kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin kevin WHITEHEAD

years ago I saw Mercer Ellington's/Duke Ellington orchestra. There was a terrific tenor player in the band named David Young. He was black - was this the same guy?

give me: Knepper, Wells, Rudd, Charlie Green, Jimmy Harrison - just offering some alternatives -

actually I got it wrong; should be: please fondle my buttocks

thanks, that's why I have to get out of Maine - it's SUB normal here -

good one cliff

do not know sources, but I am an admirer - he was a Southerner who showed that influence in his pop tunes, praised by Alec Wilder and Johnny Mercer; he's in my American Pop and will probably be in my blues collection - check out a Mercer bio and books by and on Wilder, they probably have references in them -

thanks, at least somebody here doesn't think I'm crazy - but I do have my cyanide pill ready -

I am the cheese

well, one thing that was afoot years ago was an effort to force record companies to disclose their holdings - which in the cases of companies like Sony and BMG (or whoever owns it now) is monumental (for example, if you're interested in Cajun music, the 1920s stuff released briefly by both Sony and BMG was great stuff, amounting to just two or three cds, however. I think the COuntry Music Foundation put out another, which I have somewhere). The industry, of course, declined the request. There is gold in those vaults - incredible American music on metal parts and other masters, test pressings, et al. To hear some of this is to be transported in a time machine, to feel that one is in the same room with the Carter Family, or Amede Ardoin, or Louis Armstrong, or Fiddlin John Carson. As I do my blues project I am discovering the amazing stuff that was issued on LPs - things that sound like early-generation King Oliver, Morton in terrific sound, the Original Memphis 5, 1920s Johnny Dodds in near-h fi, a test pressing of Buddy Moss that makes it sound like he's in the same room as I, a monumental Charlie Green trombone solo from 1926 - and some stuff that went up in smoke in the Universal fire, like Zach Wyte playing West End Blues in great clarity, and an original master of it It's Tight Like That (Tampa Red and Georgia Tom Dorsey in all their 1927 glory); an amazing Duke issue of The Mooch in which you can hear chairs squeaking - this, CLiff, is all part of my new mission. The old one was to get your mother off my back (or at least off of hers) -

well, I guess it's a suicide mission - see you all in HELL

how many Bulgarians does it take to screw in a lightbulb? depends on the matrix number -

thanks for turning me on to this chris - hope the following is more accurate than my recent quotes on acetates: "The Bulgarian women's embroidering art was noted by many a foreign traveller in the Bulgarian lands during the 16th-19th centuries. The tradition of embroidery was mostly spread among the peasant population and predominantly connected with the decoration of garments. Ornamental needlework involved counting the cloth fibres and, in the case of thin cotton and silk textiles, using an embroidery frame for stretching the material with the pattern being previously drawn on it using a pencil or a stick of charcoal. Traditional Bulgarian embroidery is characterized by great regional and local diversity. There is a wide variety of flat, raised and open-work stitches. Among those most often applied are several types of stitches: straight stitch (horizontal and slanted); cross stitch (or Koumanian); loop stitch, and two-faced stitch. The high artistic value of the designs is largely due to the skilful selection and treatment of materials. Commonly used are woollen and silk threads. Metallic (golden) threads would give a touch of brilliance and magnificence to the embroidery. The designs are primarily geometrical, combined with stylized floral motifs and animal and human figures. The hem embroidered with anthropomorphic figures is typical of the patterns from the town of Samokov. Embroidery from the Sofia region is a symmetrical, elaborate combination of geometrical motifs of ancient origin and meaning. The dense embroidery from South-west Bulgaria, with its typical interplay of red and wine-red hues, is entirely different from the sokai embroidery of the Gabrovo area - open-worked and decorated with gold threads."

"pre-WWII Bulgarian embroidery" don't knock it 'til you've tried it -

"Anyone who takes up a position in the so-called humanities ... is inspired by hopes for the intellect, for something different, something unspoiled, ultimately something absolute.... But his profession will drive out all hope. not simply because of the necessity of submitting to the hierarchy ... but also because of the nature of scholarship itself, which in the name of scholarship negates the very spirit which it promises.... Resentment as the basic attitude of the university teacher is therefore objectively determined and almost unavoidable. The solo compensation [in Germany, in the mid-1960s] is the social prestige of the university professor, which still survives, a factor that may have led to his choice of profession in the first place." this is old news and far from accurate in many places today - ask John Szwed, Bruce bastin, Pete Lowry, Lewis Porter, Dan Morgenstern. the relationship to academia is, at least in many places, much altered (and that sounds like a 50 year old quote if I read it correctly).

yes, I have no illusions - but I see things like the Rutgers Institute of Jazz Studies and the UNC Southern Folklore Center, who have done major and important work. And there are repositories of recordings held in private hands that will simply likely disappear after the holders - like joe Bussard, who has the largest collection of 78s in the universe - die. And people will continue to read only the official records and the official manuscripts unless some effort is made to steer them other-ways. and this is not futile - look at the changes in the last 25 years in the reissuing and understanding of prior music. We have had more distribution of blues, ragtime, jazz, medicine show song, songsters, than at any time in our post-War history. Which proves that it can be done without academic taint. And though it has been done mainly independently (though far from completely so) as we get further from the sources it will be harder to preserve (yes, and I know here I will get the old responses about moving forward, arguments about the uses of history, but please spare me guys, we've argued this before). And if we want to make sure this history is not left to the Marsalis and Crouch-types than we have to make some effort ourselves. Look at the work of people like Pete Lowery, Bruce Bastin, Lawrence Levine, Chris Albertson, yourself, Nessa, Larry Cohn, Marshall Wyatt, Dave Freeman, Chris Strachowitz, and numerous other collectors and intellectuals who refused to let this stuff gather dust, literally and figuratively I hate academia as much (no, probably MORE) than most. I believe this stuff needs to be done by citizens so I think, Larry, that your wholesale rejection is a bit self defeating (what would Frank Rich say?). Otherwise it will continue to receive the dead-museum treatment of the Lincoln Center crew. There is too much at stake for us to leave it to them. Anything else is completely self defeating.

this record is scratched bouncy bouncy

I will suggest an alternative for more money, and I've mentioned it before - the Masterlink can be used as a GREAT 2 track recorder with 24/96 - it will put you out maybe $800 for new, but I have seen them used for $500 - and once you go to 24/96 it's hard to go back - and if you can scratch up a used one for only $200 more than you will spend on the Zoom, it'll be worth it- and it has many more excellent archival uses -

I want to fondle your buttocks

let me explain a bit further why this is so important, though I understand Larry's point - recognition for those who have done the work leads to much more: it leads to EXAMINATION of the work and perpetuation of the work and the creation of a more institutionalized understanding of the work. And that, despite what it sounds like, is not a bad thing. It creates a sense that this music - and not just jazz, but all of American vernacular music - is important and worthy of respect - and it helps lead to not just recognition but dissemination of the music. There is, of course, an extremley important racial/historical component here - I mean, does anyone here know who Buddy Boy Hawkins was? Or Julius Daniels? Or Hambone Willie Newbern? Maybe a few do but probably 99 percent don't. And the result is a kind of cultural genocide, a destruction of a whole culture through neglect. And these things are part of the same problem and process. So that's why I have decided I'm going to try to do something. Because to those of us here the music is not just some kind of theoretical construct, it is a way of life.