AllenLowe

on the other hand, Larry plays a mean Lady of Spain on accordion -

and while we're on the subject, I never liked Larry Kart's piano playing, either - sorry, Larry, but when it comes to piano you're no Bill Evans (actually referring to Yusef Lateef, or is it that guy who used to play tenor with Miles? Or maybe I mean Gil Evans, not the arranger, but the guy who used to play at the Holiday Inn in Cleveland) -

"As I stated in the RIP thread, I am firmly in the Peterson camp" there's always one nasty guy who has to mess up the thread -

but all seriousness aside, I think we have been respectful but dissident - nothing wrong with that, I think - there's an old phrase that has been used when examining the life of someone, "without tears," meaning giving that life a serious evaluation without obscuring sentiment - I would certainly hope that if I go under, everyone here will join in and recount what a saint I was - even those who have no idea who the hell I am -

I got one, said, "if you don't call me within the half hour I'll jump off a bridge." dated November 15 -

I was in Times Square and a hooker came up to me and said, "for 200 bucks I'll do anything you want." I said, "paint my house."

the other morning my kids started screaming, "the house is on fire." My wife said, "quiet, you'll wake up daddy."

going back to Shecky Greene - Buddy Hackett said Greene once got drunk and drove his car into the fountain at one of the Vegas Hotels - when they came to fish him out, he looked at his rescuers and said "no hot wax."

don't shake Jake -

Sheik of Araby (I got a lot of people pissed off on the Jazz Research list a few years ago by pointing out that this is a song about rape, so I won't even mention that here) -

just to add, yes, to each his/her own - we who dislike O.P.'s playing are not advocating repression of his recordings (though I have thought about it) - we are just voicing our opinions - and do not wish to interfere with your listening pleasure - however, there will be a CD burning of all of Kenny G's recordings tonight at midnight - please be on time -

1) thank you for placing me among the jazz elite. No one has ever done this before. I certainly hope there's an honorarium or annuity attached to such an honor - 2) as for Turrentine, as a jazz player he was much superior to O.P. - though he recorded a lot of commercial stuff, when he blew he was a fine jazz man; see his stuff with Max Roach, among other things - 3) I once took an informal poll of jazz pianists that I knew about their feelings about O.P. (poll was conducted circa 1980) - it's a small sampling, but interesting: a) Bob Neloms - "I like him." b) Barry Harris: "He's not my favorite." c) Bill Triglia: "I admire his technique but he's not a jazz pianist." d) Bill Evans: "He's one of my favorites." e) Duke Jordan: "Great pianist." f) Jaki Byard: "Cliches." g) Joe Albany: "I used to hear him in California." interesting assortment of pianists and opinions, I thought -

what do I have against acoustic guitars? well, it's kind of a horrible story but my aunt was in Wal Mart years ago and one of those Esteban guitars fell off the wall and hit her on the head and she was paralyzed for life - now she can only communicate by blinking her left eye, and since she has cataracts we don''t know what the hell she's saying - the other day she blinked at me and I had to give her a swirly -

"her liver would fail" which inspired that famous song, "Fry Me Some Liver" -

it's a little like the old Mad Magazine feature about letters found in the "dead letter file" at the post office - they were always desperate things like - "if you don't call me immediately I will jump off a bridge" - and dated about 10 years before -

yes - that's what caught my attention - "He donated it to the University of Idaho's International Jazz Collection following his death at age 80 in 1994." that's a good trick -

I'm wondering, because there are TONS of recordings from that period of gospel that are preserverd, lots of commerical issues - of course, gospel music means many things - primarily, in the commercial sense, it indicates secular versions of religious music, and there's quartet gospel, congregational, streetcorner, guitar evangelist gospel - not trying to be a wise-asss but I wonder how he covers it all and how he defines the segments,as I personally have MANY cds from that era - also there's lots of southern white gospel (much more poorly documented in the classic sense than African American gospel) - will have to check this guy out -

sorry - been out of town - everyone is all set - thanks -

yes - thanks - just two sets left -

now, Barney was a nice guy -

and she was gonna bring her sister -

actually, though I hate acoustic guitars, I think good tone is good tone - Danos used to be made out of masonite, and they sounded great; Reverend makes 'em out of something odd, too, I think, and they sound great - as long as wood is reasonably resonant it's probably ok; still, I don't like 'em unless they have pickups on them -

and you guys are gonna be sorry that I had to cancel the stripper - she drools a little, but she's pretty hot -

not necessarily - it's the old bugaboo of administrative costs, which weigh down many organizations - it's all in the realm of budget and execution which, if done right, can leave plenty of room for money back into the Board - but there's more to it, in my opinion - I see the Conference, in my(and I think Jim's, but he may disagree) original conception as a sort of consciousness raising about Organissimo, both the band and the web site and the larger state of jazz - SO - even if the conference is not a money maker, it's a way of looking ahead, of recruiting new members, new donations, etc - it's a little along the line of, even if it ain't broke, you have to look ahead to a time when things slow down, when new energy and commitment is needed. For a musician, it's always time to think a year or two ahead - just my (admittedly minority) opinion -

just want to add, to show I am not totally delusional, that the original idea of this WAS quite different than the currently developing concept - in the first post that Jim made, suggesting it, he compared his idea to the Tape Op conference -which is much more in line with the things I was originally proposing here - a real conference with themes, talks, organizational purpose, etc etc - I still think this would be a much more interesting idea, especially given the almost complete corporatization of the jazz world - won't happen, however, from what I can determine here -