AllenLowe

"track 17 of disc 2, volume 2 has a brief weird, loud burst of static in the 1st few seconds" I think that's Dan Gould -

one thing at a time - next will try to enlarge - stay tuned -

hey it works - I'm a genius -

l well I did what you guys said and I cannot get the photo to actually appear here - what am I doing wrong? it only allows me to post a link -

well I never go anywhere anyway - so leaving the house may be over rated -

I do like thrash, which to me at least tries to push the envelope - and does use the forbidden (pre-amp) distortion) - so I guess there are exceptions - though there's still nothing like the real thing, which would probably work great with thrashers of the world -

and just to add, Danimal, I agree, though when I say distortion I am referring, as well, to that produced by driving the amp's power tubes - though of course there is the kind produced by pedals through a bumping up of certain (mid) frequencies -

don't get mad anybody, but I pre-amp distortion annoys me no end, and at the risk of offending the few people here who still like me, I'll tell you why - to me pre-amp distortion is the sound of a certain kind of non-funky suburban rock, a middle-class version of real tube distortion, because it allows you to get noise at polite sound levels, since it's so much easier to overload the pre-amp tubes; and this kind of distortion is mono-chromatic, it doesn't breathe like true over-drive, which is a wonderfully compressed, bottom-up sound. Pre amp distortion is is from the top down sonically; it's cold and, to my ears, lacks the courage of its own muscial convictions - going after power tube distortion, on the other hand, feels, from my musical point of view, like Ornette summoning up the Southwewestern blues cries of the past in his alto tone - to me power tube distortion done right conjures up Pat Hare and Hubert Sumlin and Willie Johnson - I do, however, like old-fashioned fuzz - and watch what you say about my speedo -

well, no offense intended, guys - and I do like distortion, but the kind you get by playing too loud - and not pre-amp distortion, which is, to me, just annoying buzzing - gotta hear it from the power tubes -

well, you guys are forcing me to get serious here - and I have only a minor financial relationship with Larry (he only sends me money on the first of the month) - but Kart is a must-read; in the entire literature of jazz I can only say that about, maybe, 3 or 4 writers. A great critic is like a great artist in any form, he makes you look at everything as though you are seeing it for the first time, and by that standard Larry has made a major contribution to jazz -

I will tell you that I never liked Buddy Rich's big band drumming - brittle, busy, show-offy, didn't swing - but I saw him on a clip one day in the 1970s, maybe, with one of those Playboy All Star bands, 7-8 pieces including Dizzy and wow! I finally got his talent - when he was playing for the band and not himself he was brilliant, very Dave Tough-ish and musical - just my opinion, however (and that of other informed and concerned Americans)

actually, that's Nessa kissing Larry's ring -

the new eidtion has an expanded picture section - check out the one of Larry with the Pope - there's also a shot of Nessa kissing his ring -

too much ceramic in them there pickups - it's why guitarists tend to all sound the same today - beat 'em with mids and distortion pedals -

if you think Burroughs can't write, read Junky. Great book -

has anybody mentioned that the original performance cited here on Youtube is basically a lift of All Blues?

I don't have that one, but I do have a braille copy of Hot Dog arranged for brass band with girl singer - used by Helen Keller on her famous 1927 version for Okeh -

ahhh, Burroughs posed with everybody - Patti Smith, Laurie Anderson, Rod McKuen -

"This should be in the Artist folder." I was thinking Fast Foods -

yeah but not the one I was listening to -

get it - has some great pictures in it, too -

I feel like musically I'm on top of my game - and there is definitely a tendency in musicians post-50 to play it safe- still, most of the young freak-folk and indie rockers I encounter are so a-historic in their outlook as to contribute to the general sterility of their work -

well, I think the Mac's think is b.s. to the point of absurdity - and my speedos are much better since I bought the special swimmer's nut-re-tensioner in order to increase my lap time (see other thread) -

I basically set up the recording session that Bob Neloms did for Cummings, so I got to know him a little, he was a good guy - he was married and I suppose his wife is still around so she may own the masters - as I recall she owned some kind of small cafe in NYC - but this goes back about 20 years or so - also, has anyone mentioned the "live" Lee Konitz/Chet Baker record that India put out? Nice LP, as I recall, recorded at one of the NYC lofts -