AllenLowe

Donegan -

actually, just listened to some of the samples - sounds sorta like Dorothy what's-her-name (cripes, can't think of it) of whom Barry Harris once said to me -"weird broad - has chops like Tatum - but no taste."

"and the rest of us don't have to buy it if we don't want it." OH YES YOU DO! or I will kill a puppy -

what Decca box?

we're four of the three musketeers -

you stole my wife, you horse thief -

exactemeaunt - "more obscure artists from the '40s and the early '50s." " probably also from the '20s and '30s - weh - these fuckin' multinational music arse holes -

gotcha - but I am confused - is it the consensus that nothing in the Decca metals was lost in this fire?

isn't "new remaster" redundant?

I think it's Steve Hoffman -

I know a good doctor; if you can't afford the operation he'll touch up the x-rays -

sorry, but this is the best song ever written: happy mothers day happy mothers day I am your son I am a runaway livin' on the East Side always gettin' stoned - living on the East Side glad I'm not home - happy mothers day happy mothers day I am your son I am a runaway call me a bastard call me a bitch you are made of plastic you are filthy rich

sounds like a stanza from a Japanese NO Play

what I like the most, so far, is that Lewis is very open and non-ideological.

also, there are nice mentions of not only Chuck but also Larry Kart and Terry Martin - I think the Chicago critics call this "product placement" -

by the way, before Chuck sends me a letter-bomb, let me say that I am liking the book a great deal -

marvelositous idea -

exactliessentiallicenctiously -

I also like the one on Candid with Jaki Byard - and there's the other one, with Paul Bley -

because he makes up silly words that don't contribute to any points he's making, simply sound like parodies of academia - it's a perennial problem, IMHO - academics are sometimes afraid to sound too accessible, and yet, Lewis's overall tone is very accessible. These kind of multi-syllabic nonsense words end up sounding like Dr. Seuss - don't have the book with me now, but will pick through tonight to find examples -

liking the book - I just wish he wouldn't, in that academic way, make up words -

1) it's titty boom - 2) defintely NOT Prez at .50 - just not him, not his sense of time -

1) yes that's one of thge greatest comedies ever made - if you have not seen it, get it pronto - 2) No one has talked about how digital editing has changed the recordist's landscape - I can tell you from experience that it is nothing short of miraculous - and though I'm basically a "record it live" type of guy, digital editing allowed me to save having to go back in the studio on two cuts on my last CD - they weren't radical edits, but allowed me to snip out two brief flubs; kinda like editing a manuscript - it can be quite seemless, especially compared to that old tape edits - as a matter of fact, I was istening to Tijuana Moods just recently and heard one of the worst edits ever -

to me the most interesting thiing about all this - and it's something Hemphill and I discussed one day, not long before he died (I went to see him while he was in bad shape, waiting for a transplant that never came) is the relation of performance/composition to experience and community. This relationship is an important and generally inseparable part of African American performance, and something that Lewis seems to be getting at as he distinguishes black and white avant gardists - it is the ability of African American avant gardists to connect with their root communities and experiences even as they express things which many members of the those communities might find difficult to absorb or understand. As my old mentor Richard Gilman said, the best artists are not just repeating the gestures that we've already made but are telling us what we are going to be doing/thinking/saying NEXT, they are just a little bit ahead of our own understanding of our changing consciousness. So that which they give us is not always easy to understand, and defies a conventional idea of art and experience, even as it directly reflects the deepest and truest aspects of that experience - and Julius clearly had a real understanding of this relationship between his own music and his life. It was the most important thing I learned from him and I find it clearly in all that Lewis writes here -

I recently did a big reunion/tribute to Maine Jazz - and I had a great time - just me and an 89 year old accordion player who played Lady of Spain -