AllenLowe

I'm not Nessa (though I am currently playing him in a series on Fox) but yes, I do believe Mingus played the whole concert and overdubbed afterwards because he thought his bass was badly recorded - and one can still find versions of Massey Hall with the original bass line which, ironically or not, sounds MUCH better than the overdubbed version -

well, I like her prose - but as a singer songwriter I just find here to have a sort of reverse-feminist macho with literary and intellectual pretensions - I just don't find her songwriting compelling; the Christ line is, to me, representative. Don't know if you've read the book New York Rocker by Gary Valentine, but it neatly sums up the whole pretentiousness of that scene with Burroughs et al (and Burroughs Senior, except for Junky, is a lesser writer, IMHO, than Burroughs Junior, but that's another thread) ; Smith, like Richard Hell, to my way of thinking, was smart and sharp but was like a lot of smart, sharp people I've met who just didn't know enough to carry off the kind of poetry or to which they aspired - I feel the same about Tom Verlaine in many respects. And I like a lot of Hell's work - but ultimately they are classic examples of their reach exceeding their grasp - too many intellectual shortcuts (if I can I will cut/paste a section from the liner notes of my cd which is relevant to this in some respects) - they knew enough to know what they should have known, from a literary standpoint, but that's really it. and I am in an admitted minority in thinking this, I should add -

"you are moose hunting with Sarah Palin and you fall out of a plane."

I've tried to like her; I met Lenny Kaye a few years ago, good guy - but I just find her to be a poseur - "Christ died for somebody's sins but they weren't mine -" cripes, the religious/hyprocrisy thing was tired when I was a teenager -

potentially great pianist, brilliant harmonic sense; lacks taste -

the Genius of Louis Armstrong, Vol 1 1923-1933, Columbia LP CG30416 - amazing sound - in the next few weeks I'm going to be doing some LP transfers to show some of the stuff that may have been lost in the Universal fire, as well as some of the best of LP sound on records that appear to have been made from original masters - keep posted, and I'll send anyone who's interested a CDR copy -

interesting; guess I'll stick with the lps; I love the early Memphis blues stuff and I idolize Pat Hare -

to me, hi fi is 15khz and above - stereo OR mono -

thanks, it's ok, I have the LPs so that will suffice - just wanted to have a more compact set of it - forget about Roots and Rhythm, unfortunately - I was wholesaling them CDs about 7 or 8 years ago, and they burned me to the tune of $1500 -

actually to me the real warmup to the KOB sessions was the Something Else date with Cannonball -

yeah, saw that - Ouch -

looking for the CD sets - so far the prices I've seen are insane -

Paris Blues -

The Prize -

The Silver Chalice -

anybody have one they wanna sell? email me at alowe5@maine.rr.com

the blues thing is interesting and I have my own complicated feelings about it - one thing I will say is that frequently the things that are ascribed to the blues influence represent much more complicated African American sources and cross influences- strangely enough (or maybe not so strangely) I've more and more become personally bored with music that doesn't in some way reflect those sources - but that's only me; I do have a sense (and this is something I am trying to develop in my own music) that as jazz people we have not even begun to tap into those sources; it's a question, first, of finding them, and than of not sounding like we are slumming when we approach them technically; not to say, of course that people like Hemphill and the AACM (among others) have not minded this; I just feel there is often something lacking in frame of reference. One reason for this (and this is a whole other topic) is a general disbelief by white liberals that rural white Americans who are products of the Jim Crow system (aka hillbillies) can produce real art - which leads to another kind of cultural deprivation, because I think you can't borrow from one source without reaching into the other -

good idea - I will press him politely but firmly -

when I say limited I mean that he has likely chosen to withdraw because he sees the music as ephemeral, something he outgrew; I also, however, mean exposure to everything back to about 1901 - and yes, if there were still dollar bins, I would have my own and expanding section - it's so bad that I-Tunes has me under "Un-Load" -

Proper offends me (as does JSP on occasion) by introducing digital distortion to so much of their remastering - audible, probably from CEDAR - plus bad de-hissing that leaves the telltale gargling underwater sound - a pity - John R.T. was using CEDAR in his last years, but without digital artifacts -

"Is the thrust of the interview going to be to make a point to him or to get his ideas about that point?" in a word, yes - "I could see this going really well or really badly, depending on which it is..." I've not had a bad interview yet - Marsalis is personally secure enough, I think, not to mind anything I say in this regard - and I fear nothing - "Not sure I agree with the notion of "coveting" African American musical traditions, though... The whole "White Negro" thing is at worst a case of arrested development and at best a part of a growth process that is eventually left behind (the part, that is, not the growth process)...And I'm not so sure that the notion of defending against "white folks wanting to be black" is not part of the m.o. that Wynton has used to make his power plays..." beside the point - I see those African American musical traditions as being part of my own legacy - emphasizing the American here - has nothing do do with white Negritude, has everything to do with listening and understanding -

Uncle Skid - you hit it on the head and it's funny, because I decided this afternoon that our conversation will indeed center on the tradition- one of the things I think I will imply is that the reason he does not like rock and pop music is because he has limited his exposure to vernacular music that comes from that tradition - that the African American musical traditions that many of us covet go wider (if not deeper) than the blues - was thinking I might play him some music if I can drag along some kind of boom box - hope to talk about hillbilly and other country traditions that crossover from the songster tradition to not only the blues but gospel music and string bands of all colors; hope also to make the point that the blues is only one of the streams that these black and white musics come from - we'll see how it goes..........................

close enough - as I told my wife the other night, objects in mirror are larger than they appear to be -

"Okay, why do most Organissimo members dislike you?" because I'm smart, good looking, and have a 12 inch Johnson - you were talking about me, right?

somebody wanted $40 for my first album - on vinyl - not worth it, but I was honored -