AllenLowe

"Yeah, but you don't get it the way she gets it, and if you think that's insignificant at some level, especially at the level of how/why that music gets made, then my money would be on you being wrong. " well, I'm not sure- I think anyone is capable of getting it, though many THINK they get it but actually don't (listen, eg, to some of Frisell's "roots" playing - great guitar player but, no matter what his publicists say, it ain't happening) - of course, some would say that I think I get it, but that I don't really - and I would have to break into tongues and throw myself on the floor and fake a religious seizure - but seriously, getting it takes many different forms - and I do think I get it from a musical standpoint (funny how this comes up as I am preparing some performance pieces based on 1920s congregational black gospel) - but I think the feelings involved are universally attainable - whic is NOT to say, like some Miss America contestant, that we must truly realize tha everybody is one, be they black or white or purple or green - or even Republican - still, while not denigrating certain types of cultural osmosis - I do believe it can be done - and I do BELIEVE I do BELIEVE - I DO BELIEVE (hey, what the hell happened to my crutches and wheel chair?)

yes, but it's also mediated by certain aspects of human consciousness that are quite universal - I am you and you are he and we are they and all that other shit - I am, indeed, the walrus -

hey, look, for another 50 bucks you can just get grandma -

Alexander - I think you are missing the ppoint about gospel - and Jim, too, maybe - the reason it works so well even for those of us who are atheists is that it speaks to a level of spiritual consciousness that is quite universal - a sense of the unknown, of certain eternal mysteries, if I may, of both rational and irrational fear of death - of various forms of hell and evil and anger that ANYONE can perceive and understand - so I really do think that I get it as well as that little black lady on the bus. Just as I get Joyce and Sheakesepare and Bird and Prez and Moses Hess and Marx and Karl Rove and Murray Chotiner and Chewy and Bud Powell and Lennie Tristano and Irwin Fluoxotine -

I'll skip the Ruggles and take the Muggles -

truly a great player - I've always felt his playing on the 1950 Savoys (with Kenny Dorham?) was very individual and very personal - an approach that had some of the lightness of Chaloff with a little more aggression - wonderful musician, one of the Brooklyn guys, along with Max and Duke Jordan, so this makes a sad trio of loss this year -

"The set will sell for $10 per volume." put me in for 30 copies -

great saxophonist and a very nice man - only met him once or twice, but he was a very soft spoken, modest guy and very easy to talk to -

hope that's ok, Chris - just borrowing - gotta go now and work on my new Bessie Smith bio -

In the late 1950s, Rudi Blesh sued NBC TV and the producers of a ragtime special for plagiarism. There were two factors that won him the case: they had built a set to represent the "typical" ragtime parlor (if there was such a thing) and listed the ten most important ragtime composers, in order of importance. Well, the set was clearly based on a description that appeared in the Blesh/Janis book, They All Played Ragtime--the problem (for NBC) was that the description was as Rudi imagined such a place would look. The list, too, was Rudi's creation, he had agonized for days before coming up with who he considered to be the top composers. I realize that a discographical listing is not a matter of anyone's opinion (although there can be some guesswork involved), but the format in which it is presented does, I believe, count. Then there's something called original research, which--even when it deals with historical fact--is different from cut-and-paste plagiarism. Editors who compile dictionaries invariably include a deliberate mistake or made-up word in order to be able to prove the kind of lifting Lord is guilty of. So, there obviously are some rights involved. Perhaps one of our more learned Organissians can tell us more.

it's kinda like stealing mob money - which reminds me of a story Al Haig told me about Harry the Hipster -

look, as President Merkin Muffley said in Dr. Strangelove, "I can be just as sorry as anyone else."

"Ja, så må du undskylde" well, let's leave my mother out of this - it's not her fault that cop was wired - as I told her, "mom, if you can't sell it, sit on it" - and what she DOESN'T know about discography would fill 5 cd roms - but all seriousness aside, I'm glad that Larry quoted Ed Berger, who I would consider the best objective contemporary source/reporter on discography and its issues - the guy has no agenda, he's nice, honest, and knows the field inside and out -

it's very hard to explain the bond we feel with pets, though almost everybody understands - I am crazily overprotective of my dog because he's so damned nice and so damned dumb - and I've put one or two pets down and still lose sleep over it -

well, it gets strange sometimes, and sometimes certain offending remarks irk me, sometimes not - Clementine and I used to be at odds but I now think I was over-sensitive and missed the spirit of his posts, which can definitely be insulting but have a certain underground lterary spirit/humor/distance to them - on the other hand I recently was unhappy to be called a "boob" by Jazzmouse, so certain sensitivities linger - it is unfortunate how quickly disagreements can degenerate into name calling - but, as Nixon said, "I AM NOT A BOOB."

isn't that assuming that they pay the mechanicals and publishing? WHich I have great doubts about - on the other hand, if I was in the desert with CHEWY and had a CD player and no cds and came upon a CD store that only had these bootlegs, than I would kill Chewy and eat him for food -

I like the recordings - this was just really strange, she sounded like a drunk at a party with a better-than-average voice, but not someone you would pay to hear -

I do wonder if they use pitch correction on her in the studio - she was off not just once in a while but continually - rather bizarre -

feeling disgusted - I didn't like Peyroux at first but have heard a few things on CDs that I found nicely done - so there she is this afternoon, on Prairie Home Companion, trying her little Billie Holiday re-phrasings - and this lady cannot stay in pitch - even my wife, not a musician, noticed it immediately - I got a great feeling of revulsion at her fake-jazziness and CONSTANT missing of pitch - another propped up mediocrity who has made a name through eccentricity and, I assume, studio pitch correction - this was absolutely horrendous - makes me feel dirty and used and degraded - normally a good feeling, but not this time -

love the Kinks - "girl friend's run off with my car/gone back to her ma and pa..."

better than an enema - offer is good through January 1, 2008 -

I agree that they themselves cannot be associated, in terms of origin, with the middle class; what I mean is that the kind of music they influenced came from that kind of pseudo-rebellious background. well, as Cobain said in his diary, "hope I die before I become Pete Townshend" - (quoted from memory)

than there's the one where the priest and the rabbi were sharing a sermon in an earthquake zone; there was a giant quake. a mud slide, and than a flood; the rabbi went sliding out on a piece of matzoh; the priest grabbed a communion wafter and held out for dear life; the rabbi survived due to the fact that he was using egg matzoh, which, ironically or not, floats and resists molecular dissolution; the priest drowned when the communion wafer, bought at bulk discount from Christian Brothers House of Church Food, dissolved - and later it was learned that the shipment from which this wafer taken had been recalled due to poor engineering and the failure of many of the wafers to withstand the stress of constant foot traffic -

I was reading this and trying to figure out how to describe my aversion to the Who - when Jack nailed it - "they had become just another boring arena act." I see them as somewhat parallel to Led Zeppelin - whereas Zeppelin, to me, is responsible for the "bad white-guy singer tries to wail a tune" syndrome that led us to Aerosmith, The Who gave us hair bands and pre-amp distortion, the kind of loudness I refer to occasionally as "middle class noise" - in other words, the kind of volume that's really just more suburban background music. Never really threatening, just more of the kind of rebellion for kids that precedes business school and Republican registration - I'll take MC5 any day -

"I've had enough of this and I'm out of here. " now, recently, Couw said this on a thread where he was mad at me - my question is, is there some room where all of these ex-Organissimo-ites are locked up in? where do they go when they're "outta here" ? I imagine it as a small auditorium where the PA keeps playing Najee -