AllenLowe

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calling Larry Kart - Larry, don't know if you saw my email or my prior posts here - but the loss of the 1928-32 Brunswick masters is historically catastrophic - I tried to post about that on the OTHER group you referred to but my post was rejected - but I repeat, this is awful news, as the Brunswick label of those years encompassed blues, songsters, jazz (incl. Duke and Jabbo Smith) and country/hillbilly of the most beautiful kind -

next -

it's not "needs based," however, this is still the real world - and yes, Roswell would be a perfect choice - as would Randy Sandke, Matt Shipp, and more than a few others - Matt, in particular, would be a good and creative choice because he is so amazingly independent -

I'll pass -

never saw any - yeah, Nat doesn't return calls unless there's something in it for him - ego massage or money -

and he was a Commie - later moved to Boston to be a painter and died young -

Bill - thanks for the reminder of Jabbo Smith, whom I used to see in NYC in the 1970s - as a matter of fact, in the 1980s I used to play a version of Weird and Blue with Randy Sandke -

and BArry claims (and I believe him) that he wrote the Sidewinder theme -

seeing your avatar, I should mention that when they started the whole thing I tried, through someone I knew on the committee, to get Barry Harris's name submitted; I got nowhere.

weizen - did you ask him about Bird?

greatest saxophonist around: Marty Krystal, though he told me once he gets few session calls because he's not slick enough -

hard for me to judge these geniuses due to a personal conflict of interest - I see guys like that and I say to myself "hey, I write and play as well as he does." I do think the McCarthur people, when it comes to a lot of the jazz-related money they award, have not a clue - think Roswell Rudd, for one - still largely un-heralded - and could use the cash - as could Ursula Oppens or Louie Goldstein (non-jazz, but deserving) - hey, Larry Kart deserves it a LOT more than big Stanley -

well, I can't say too much, but I can tell you, from some inside info, that when it comes to jazz granting they have nary a clue and usually end up going for what amounts to a kind of academic trendi-ness -

Larry and Clem, however, will be sending flowers to Ross -

nice player - just played some clips on youtube - his tone is a little too Cannonball-ish for my tastes (I love Cannonball but I don't like that sound on anybody else; comes across as shallow ) -

yikes, I know all about Ross, but anybody know anything about Zenon, a saxophonist who they think is bringing new things to music?

correct, from a corporate viewpoint - it just would have been nice if they could have looked at this from a heritage/American history perspective; like an archaeological dig, a good art museum, the Smithsonian - it they had, we would still have this stuff -

most of it has been reissued, yes - but for me it is all about sound quality and masters - hearing this 1920s stuff from the masters is sometimes astounding - it's like you're in the same room; closest thing we'll get to a time machine; otherwise it's like the difference between viewing a foggy art print in a book and seeing the original up close - this is priceless stuff, and shame on them for not preserving it-

the Brunswicks, exactly, and the Deccas among others - did a little rummaging through my collection and posted to another group - here's what I founds/said: 1) Jay McShann/the Bird band: 10 inch and 12 inch (both mono, not re-done for fake stereo) - both of these have better sound than the subsequent CD reissue - 2) 12 inch LP: KC Jazz that has great sound - ML Williams, Buster Smith, Eddie Durham, et al - 3) 10 inch Brunswicks that include Venuti/Lang, Teschmacher/jJimmy Noone/Red Nichols/Bennie Goodman/ Adrian Rollini/various other of the Austin High guys - 4) A Bunny Berigan LP with stunningly good sound 5) An LP called Jazzy Jugs and Washboards (1920s blues etc) that has, once again, stunningly good sound - 6) Blues Box one and Two - 2 LP boxes that MCA put out of recordings from 1934-1942 - includes Georgia White, Helen Humes, Frankie Jaxon, Victoria Spivey, and MANY more two numerous to list - 7) LPs by Duke Ellington and Jabbo Smith of 1920s music; excellent sound - now I may be wrong, but the Brunswicks seemed to have appeared on and off under the Universal/Decca/MCA imprint - and if there were masters from Brunswick and other labels in that warehouse it seems that we may have lost some irretrievable music - and just as an addendum: I have also heard amazing transfers from master of 1920s blues/songster recordings of: Jim Jackson, Furry Lewis, Leroy Carr, Chippie Hill, Blind Boy Fuller and more - all of which were under the Decca/MCA holdings in the 1990s - to have heard these was like being in the same room as these justifably legenday performers - to think that more of same may have gone up in smoke is beyond tragic - -

she's only a dream...

no thanks -

well, it depends what you saw - I heard monk in Central Park, 1969 maybe, and he was basically catatonic - played virtually nothing, a few themes, basically sat on the piano bench -

I've got in on a Document CD; I'll see if I can find it - Dan Morgenstern used to tell me about Theard - who also wrote (you may have mentioned) I'll Be Glad When You're Dead You Rascal You." there's actually, as well, an entire Document LP with his stuff on it - I may have it somewhere, also -

Citizen Kane Candy Kane "Candy, I call my sugar candy.........................."