AllenLowe

though personally my favorite is Beethoven's 10th Symphony -

it's a little bit depressing, but they've been giving me such great deals that I can't complain - I know their shipping costs have gone WAY up (they're in Callifornia) and printing/pressing costs too - welcome to the good old US of A -

nice guy and a great guitarist - but I tend to think his "roots" stuff suffers from a jazz-guy's-idea-of-what-roots-music-might- sound-like-if-he-ever-actually-listened to it - no offense to the jazz people reading this who like Bill's country stuff, but from the other side it's like you people hearing someone in pop who says they have a big jazz influence and then realizing that they've been listening to only Grover Washington and Kenny G - the influence is all (at the very best) second hand; I prefer the rough stuff, and Frisell's recordings are like Nashville on a bad day or a middle-class bluegrass band playing backgournd music for an outdoor wedding - I feel very strongly that you just can't get to this music in such a genteel way - gotta stick your head in the mud for about 10 years first and than come up for air - don't have to be a hillbilly or q backwoods preacher, but if you ain't one of those than you gotta find a way around environmental issues - just my opinion -

cheap copies of my Devilin Tune jazz history set may indeed go the way of $1 gas and the 15 cent hamburger - just got a significant price increase on the sets which means that in the future it will be difficult to sell them at less than $50/box - right now I have two remaining cheapo sets, promos but mint, that I can move for $135 each plus shipping - paypal preferred, my paypal address is alowe5@maine.rr.com (I can be emailed at same) -

NOT THE DECCAS! Curse these companies for leaving so much un-reissued -

32nd piano concerto - sounds like boogie woogie, no kidding -

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I love it when you guys talk dirty -

I could edit my original post to show Kavina but I'm too classy a guy -

actually, since she's Russian, and they use a different alphabet, there's no correct way -

now we're talkin' - drummers - they're so damned EVIL -

I saw KOVEEEENNNNNNNAAAAAA play with a string quartet in the 1990s - she was incredible - check out her CD, it'll open your eyes -

greatest contemporary therminist is Lydia Kovina, a nice Russian lady - she has a web site and a great CD she made about 10 years ago -

well, if the monkey fits...

the later stuff, I agree, is unsteady - I figured as long as we mentioned the book I could do a little bit of revisionist advocacy -

I had this toy once - monkey playing the drums - now HE was good - perfect time, not too loud -

I do like tamborine players (am I spelling that right?) - castinets are ok; bongos make me think of Maynard G. Krebs, so that's good - various African percussion is OK as long as it is played in a disorderly fashion - which is why some Latin percussion annoys me - too tonally "tight" and unyielding, lacks the requisite overtones to throw the harmony off -

ah, I love equipment talk - been selling off some stuff, but my final set includes: 1) custom made head, re-pro of a Tweed Champ with a bright cap added - 2) a Bogen PA rebuilt for guitar, has 4 7868 tubes, though I play it with 2 7868s (still gives it about 50 watts) - and soon to come: 3) a Knight PA rebuilt for guitar, 15 watts, with 2 6v6s (both of these PAs, by the way, were re-built by an amazing guy in Minesota named Jay Graf - they are works of art - what I like about them is that they have no mulitple gain stages, transparent tone controls, are all tube, and are so responsive that they return me to the sense of connection between musician and instrument - also, all his amps have great power tube distortion) - speakers - basically P12Rs, P12Qs, C12N - all repros made by Weber speaker - guitars - 1) a weird old cheapo Japanese type semi-hollowbody 335-type refretted with two of the classic '60s Teisco pickups - p90ish in sound wih a bit less depth - 2) a guyatone '60s with a harmony neck and a Lollar P90 in the neck - 3)another weird old cheapo japanese re-fitted with old '60s Japanese pickups (love almost all of these pickups, including the goldfoils; they have a nice mid-range bump without the current-day metal squash that makes everything sound the same) - though I have virtually no gigs, been practicing daily for about 6 years (1 cd on guitar) - my current wish is for a drummer who would play a SMALL set (just one ride cymbal, bass drum, high hat, maybe snare or tom) - than no matter how hard they play it will be QUIET - all in the service of hillbilly/delta blues gone the way of free jazz -

disagree - check out the Classics issue of Mezzrow with Revolutionary Blues (can't remember the date) - this whole period is some of my favorite small-group jazz playing; spare, convincing, sincere, deeply felt - kind of a return to basics, and though it may be somewhat reactionary in intent, it is wonderful as music - in some ways it predicts some of the avant garde efforts to go back to an earlier way of not just playing but of "feeling" the music, and it succeeds -

how about if somebody hates all drummers - and I mean all drummers - I HATE ALL DRUMMERS there...I feel better now

interesting book, though I skimmed a bit - great stuff on Tommy Ladnier, as I recall - and don't let anyone put down Mezz as a musician - listen to stuff llike Revolutionary Blues-

enough of Jewish jazz musicians - let's get into oxymorons - like The Jewish Handy Man -

I played Over the Rainbow on one once, but it wasn't your standard Theremin - it was some weird cylindrical thing I saw at a local Theremin festival, kind of a simplified version -

"And that's what I did; stayed alive." actually, the whole point of this thread is that he DIDN'T stay alive - we all go sometime, and the stuff we leave behind sticks with the memory - think of Wes Montgomery's last work -

well, check my sale - not only free shipping but free CDs and free movie tickets, also a free flat screen free television with every sale - www.whataloadofcrapsomebodybettercallthecopscausethisguylivesinNigeria.com