AllenLowe

he endorsed Allard Lowenstein in 1969, opposed the death penalty and also advocated legalization of marijuana - he also praised the butcher Pinochet and was friends with the fucker who organized the bay of pigs and was probably involved in the JFK assassination (E HOward Hunt) - he also played a mean harpsichord -

I heard about that - will wait anxiously - Dan - I like the Duke/Peaock's, there's just something special, almost innocent, about the Sun Recordings - and there's something about Hare - he's one of the most charismatic guitarist's I've ever heard, I find his playing just riveting -

don't forget Electric Flag

1) don't know if its been mentioned, but the Son House Paramounts are, to me, the Rosetta Stone of the modern blues - even more so than Robert Johnson - just my opinion - they are on Yazoo and Document, and other places - 2) look out for the Sun/Memphis Junior Parker sides with Pat Hare - and the James Cotton sides with Pat Hare - if I had to name the single greatest bues guitarists, ridiculously subjective as it might seem, I would pick Hare - a slashing, burning player with great rhythmic imagination - the greatest - one of the few musicians I can listen to every day (and how can you go wrong with a guy who died in prison while doing time for the murder of his girlfriens AND a cop? sort of a two-fer) also - note that the Junior Parker Sun recordings are among the most signifcant of 1950s "blues" - really more rockabilly/hillbilly than anything else; thinking of Mystery Train and Love My Baby. More reason to check out the whole Memphis scene - 3) and now my favorite - the Reverend Utah Smith - only made 5-6 sides, collected on a JSP and also a Document (great sound on the JSP) - a guitar-playing evangelist, sounds like Jimi Henddrix on one or two things, no kidding, important stuff - plays octaves, too, and a lot of black/white sounds, country-hillbilly and blues at the same time - 4) Goree Carter - though some will disagree, probably the true originator of Chuck Berry's signature riff (even more so than the guy who played with Louis Jordan - Carl Hogan?) 5) Any Wayne Bennett with Bobby Bland - a rhythm master - 6) Mike Bloomfield - the genius of rock/blues, could play anything from straight-on to ragtime/Travis picking - 7) Peter Green - get the Fleetwood Mac BBC recordings to hear how amazing he could be when not sucking on sugar cubes - 8) Frank Hutchison - great hillbilly blues man; JSP and Document -

well, let's not forget Chuck's beer farts, than (referred to in another thread, lest you think I am strange) -

two of those (the Haenschen and the Victor Military Band) are on Devilin Tune - which, by the way, is in the mail to you in 4 separate packages - let me know when it arrives -

juts as an important aside, the first commercial blues recordings were earlier than 1920 - Lasses White, in 1913; Gus Haenschen included a blues strain in a 1919 recordings, as did the Victor Military band in, I think, 1914 -

just to go back to Goldberg: "Smooth Soul, and Smooth Jazz, seem to me to have been a reaction against the mechanistic and formularistic tendencies of Disco " not to start trouble, but I also think the reaction against disco was homophobic - large gay audience and scene - and I can report this from personal experience of what people were saying at the time -

thanks, Larry, for posting that review - I have sent a letter to the NY Times book review, though I'm not optimistic about the chances of them printing it (on the other hand, though I may be wrong, I think Peter Keepnews, who is a good guy, is an editor in Books - or at least used to be) - I do wonder about the main thrust of some of the revisionist crticism - by Wald, et al - that the contemporary popularity of people like House/Patton/Johnson has been grossly exaggerated; I do know that in bios of Muddy Waters he has praised Johnson and House, but who knows if he is just revising his own thinking in light of contemporary (1960s) trends - I do think it would be worthwhile to approach their importance from a perspective of the idea of a sub-culture, an underground movement of songs and songsters - and I do know of people I would trust to give an accurate sense of what things were like in those days - I would talk to Dick Spottswood, Kip Lornell, Doug Seroff, all of whom have dealt with many primary sources of that era. On the OTHER hand - I always think of how literary history is approached, how it seems to pull writers mostly for their artistic/literary importance, and does not appear to worry about contemporary popularity and visibilty - but I may be wrong about that - what do you think, Larry?

Marsh's whole perspective is irrelevant to Hamilton's point, in my opinion - what she is doing is trying to examine how the whole idea of the delta blues emerged, as much as the actual music, and she deals with several key and important figures - she does not pretend to be doing a detailed historical survey, but more of a focus-in on how the blues revival began and developed. Now, I would disagree on certain larger points, and I have emailed her about these things - mostly having to do with the need to develop a real and alternate way of evaluating how significant the delta blues were in their time, as both a cultural force and as a subculture; the numbers we have, sales, etc, are not an accurate measure, as they were not well accounted for. There are other measures of influence, other than sales and popularity that is - and there are other ways of measuring cultural impact - what she is saying is that we need to look at how we've done so to date, and that we must come to terms with the deficiencies of the old kind of blues historicism. I agree with her there, and I think she has started a much-needed dialog. Marsh is largely arguing with himself, demonizing her out of territorialism and out of an idea of male historical privilege.

allright - so my favorite pitcher is a Jewish carpenter -

I have heard some nice things by Bela Fleck - but his touch is on the banjo bothers me - too smooth, calculated, pre-planned, not sure if I can out it in precise words - I like more of a flailing sound on that instrument -

I think it's the early association with Springsteen -he wrote some books on him and gave Brucie a lot of nice blurbs -

and here's Koufax after the goyim got through with him -

we should not confuse cause and effect - meaning, the consultants got involved because there was a big audience for this and money to be made, not the other way around; they would have done the same thing if bebop was a gold standard investment. Hey, if there was $$$$ in snuff movies they'd be out there hiring the homeless right now - and Berigan would be a big star - jazz people are a bit too paranoid about the big music execs conspiring to screw them - sure those execs are morons, but they are moron advocates for anything that will make them some cash - there have always been a few who care about quality; even Lundvall, who is basically full of shit, has some impulse in this direction. but we all know that bebop and free jazz and new music will NEVER sell like the Yellow Jackets. problem beyond this is that the idiots making this music start to believe their own notices - hence Kenny Gorelick and even that guy Bella (?) who plays banjo think they are the shit - give me a break - (going blank on that guy's name; he can play, but can't tell the difference betweer mu-ZIK and mu-ZAK -)

I tend to to think that someone is NOT a revivialist unless they are being one in a conscious way - it's one thing to say, "I'm going to bring back that old music" and than excavate it technically; quite another to just play in the way you feel naturally and have it coincide with older styles(s) - the difference in perspective also effects WHAT you play and how you play it -

actually, Larry, I've read a fair amount of Marsh and I believe he's actually even dumber than the review indicates - as a matter of fact, the review is more coherent than his usual stuff; must have had a conscientious editor -

anti-semites - here's Koufax in the 1963 world series -

Jane is great, a nice person, and married, by the way, to the actor Joe Grifasi - as for running times, I'm begnning to be of the opinion that we need legislation to restrict all cuts to 6 minuts, tops - I'm starting to have greater interest in the short form and, honestly, have not heard an improviser or jazz composer in recent memory who can sustain anything for over, at most, 10 minutes - and that's pushing it, IMHO - as a matter of fact, there's a bill in congress in this regard that's going through as we speak - better get those CDs out, boys, before it's too late -

evereyone knows that Republicans have poor impulse control - the rest of you have no excuse -

well, Kirk was no Wynton Marsalis -

Muddy Waters, Newport 1968; Mike Bloomfield, Fillmore East, 1969/70; Grateful Dead, Central Park 1967; Paul Butterfield, Central Park, 1970; Barry Harris, New Haven, ca. 1978; Dave Schildkraut, New Haven, ca. 1979 -

the book is worthwhile - Marsh is semi-literate, a complete moron who cannot write - and I've been reading that book (see a related post in another thread) and though I have some serious disagreements, she is a good writer, extremely smart, and has a persuasive perspective. Shame on the Times for printing an idiot review that may, unfortunately, scare people away. One problem that guys like Marsh have with her, I am certain, is that she is a woman and not part of the club -

I heard Ricky Ford first with Jaki Byard's big band, middle 1970s - than with Mingus, when he started to get a big head ("always missing planes - he thinks he's a star" was the way a friend of mine in that last Mingus band put it) I gotta say that I heard him on numerous occasions and his playing did absolutely nothing for me -

Seaver had a tendency to choke in the big game - there's only one choice - go with the Jew 'cause in baseball there's so few - KOUFAX