AllenLowe

well, sometimes I'm wrong - in that case they could easily have put it through something Like CEDAR and cleaned it up -

years ago I knew a bass player who worked with him and called him "I'm-mad Jamal."

I can't give citations right now, have to do some research; I do remember that Curley Russell basically told me that with Lubinsky, when you shook hands with him, it was a good idea to count your fingers afterwards... I actually may be thinking of Reig's book, which I have somewhere and will try to dig out - I do recall him being appalled by Lubinsky's treatment of musicians (and Reig was a mobster, so his standards were not that high) - will have to look around for it -

well, this is starting to sound like the old Sammy Maudlin show, but I'm in, too - I love ya, Moose!* *sorry, platonic only

I like S to N, only read Downbeat and Jazz Times on occassion to get some sense of what some people might be doing (they had a decent cover story with Shipp a few months ago; I told Shipp that I only buy it when he's on the cover; hence it's a rarity) - the jazz mags have always been problematic, to say the least - by the way, in your praise of critics here, don't forget Chris Albertson of the old Saturday Review - and let's also not forget what the Voice formerly was, with Giddins and than Francis Davis, also, on the other side, Christgau - I used to read Milo Miles in the NY Times, but he has not done anything there in a LONG time; there is good writing on line with Myers/Iverson et al. Personally I'm worn out from writing about the music, and generally shy away from reviewing contemporaries for the reason of conflict of interest. Once I've met and liked or disliked a musician personally, I cannot be honest and/or objective. Also, jazz book writing, particularly on the academic side, is just as bad as the mags, if for different reasons - Dick Katz once wrote a fairly critical piece on Benny Carter for the old Jazz Review. He told me that a lot of years later he worked with Carter and kept thinking "jeez, I hope he didn't read that damned article I wrote."

Larry, let me just add that I have heard Barry Harris compare Raney's ability to alter melodic expectations to Bird's - and Barry does not give such praise easily -

well, this IS a swing site -

don't like Mackovic? I'm with you on that one, Chris - never could stand his playing - Dance did many great things - I do think that in the last decade or so of his life he was losing perspective - so many of his reviews seemed to hold up whatever he was reviewing to a personal standard that few could meet - as in "I could have done it better." on the other hand he gave my first book a good review, so please disregard the previous paragraph -

the other three were by Scot Yanow -

yes and 799,997 were by Jsangry -

see above - I'm willing to bet that Grundman did fine but there was a clocking problem in the manufacturing -

"Recording Computers: Clicks, Pops, and LatencyWithout a doubt, the biggest reason for clicks, pops, or just overall lack of performance in your home recording computer is often how you set your latency. This article will explain the easiest way to solve digital recording computer problems. Latency Can Cause Clicks and Pops It's not uncommon for home recording guys to ask me about problems with clicks, pops, and other random glitches in their recordings. There is nothing more distracting than hearing clicks in a track. It's tough to get clicks out in many cases and there is something about the clicks that just sort of kills the mood. In 99% of all cases, your latency settings are causing the problems with your home recording. I guess before we get too deep into this, I should explain what latency is. For a clue, look at the first 4 letters. L A T E ! Basically, latency? refers to the amount of time it takes for an audio signal to flow into your computer and then back out for you to hear it. "

probably not - if a TAPE has pops and clicks, it is more likely a digital clocking issue than the tape itself - this is a transfer stage issue -

hey Berigan, if they are cassettes and you want to send me some I can do a few - as long as you promise to vote for Obama - ..............just kidding, happy to do it and I have a nice system that will retain clarity - email me at alowe5@maine.rr.com if you want me to try some -

well, there are crooks and there are CROOKS - especially in the music biz, Big Beat - and Lubinsky was definitely one of the worst -

also if you come across any money I dropped when I was over there, let me know -

I don't have them but those kind of sounds can also result from digital clock issues -

if you can find an old symetrix A to D converter (can't remember the model), this will get you in the digital domain cheaply and with great sound - though it is old technology (20 bit) I have used it to master many projects over the last 15 years, for everyone from Rhino to Sony - sounds great and is very smooth (like Obama) -

Lubinsky = Goniff ****** ******that's a Yiddish word, for all you goyim out there - look it up on google -

hey did you come across Phil Schaap? tell him I said hello -

this has pissed off people before, but my biggest problem with jazz guitarists is that they have no real SOUND - too soft and "mellow," from the land of solid state - for an idea of what jazz guitar could sound like listen to BB King's earliest recordings - 1950-1951 - deep and rich, still would have been appropriate for a jazz player -

1) musically, hope to have another gig before I die (10 years and counting now without one) 2) hope to be outta here in 2-3 years (see #1, above) 3) hope to record 3 more projects of my own music 4) hope to have the chance to illustrate my current musical performance ideas/theories in front of actual audiences before I die (see #1 and #2, above) 5) hope to get my guitar playing to where, technically, I can express current ideas of retro/hillbilly free-improvisation (see numbers 1,2,3, and 4, above) 6) hope to finish my rock and roll book/cd project (if things go as they should, the book and cds will be out in 2010) 7) hope to finish my last and final CD historical project, a LONG and complicated history of the blues and of blues performance styles across all genres (probably looking at 2011, 2012). Just starting the torturous process of selection and re-mastering. Probably 20 cds of material - 8) would like to record music for a movie soundtrack (I love movies) 9) hope to make sure before I die that my son is self-sufficient and will never be homeless -

Jimmy Bryant -

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Django Charlie Christian Eddie Lang Cal Smith Tal Farlow Howard Roberts Lonnie Johnson (on the borderline)