AllenLowe

that guy must have sharp teeth -

of course, I used to have a job circumsizing babies at the local hospital - didn't pay much, but I got to keep the tips -

well, we can all sing that big Latin hit, " A Day In the Life of a Moyl" -

yes, if I do self-publish, Lulu will be the likely source -

I probably already posted this, but I first heard Hayden with Ornette at Slugs in NCY, probably 1969, with D. Redman and Billy Higgins - incredible command, and he was nice enough to talk to us kiddies between sets about how he approached playing with Ornette, which was very illuminating - I do know, however, that he can be very nice AND very difficult -

actually, my Chicken agrees with me on most things - we did argue about Truman and Henry Wallace, however -

this place is better than viagra - just ask my chicken -

I'm out of my depth here, in terms of the classical side - though I do remember Johnny Carisi telling me he hated minimalism: "Sometimes," he said, "less is less." (of course, he also hated, in the musical sense, all post-1960s avant garde jazz, and Clark Terry) - personally I prefer to continue to beat a dead horse and, in the spirit of Josef Stalin, reiterate my complaints about formalism -

she's a great singer, but she lost me years ago - her writing, to me, hit the same wall that American folkies tend to always hit - too much photo realism, even in the guise of mediocre symbolist lyrics; too much ego. My favorite Joni Mitchell is Dave Van Ronk singing "River" -

"Zappa was born and died the same month" boy, and they say Mozart was a prodigy -

I remember Bill Triglia telling me about a wedding he worked with Wilbur Ware, someplace in New Jersey in the 1960s - he said how amazing it was for someone in the rhythm section to be working with Ware - complete support and always musically brilliant - nice wedding band (and Triglia, by the way, has an amazing story about Bird sitting in with his band at a Jewish wedding - better than the Bird movie fiction) - there's a very nice feature I heard Ware do recently, on a Matthew Gee CD, on Loverman (an OJC, I think) -

I saw Eddie Barefield a few times back in the 70's -

of course, my dog died and my wife left me - but that woulda happend anyway -

and I was able to give up my wheel chair -

my acne cleared up after I started reading this bulletin board -

just curious - what is entailed in the restoration of these things? is it software, real-time processing, etc? by the way, the UCLA archive attitude is not uncommon, in my experience - there's a weird thing that seems to happen to some of these institutions, they forget that the idea is access and education, not restriction and exclusivity -

and people wonder why jazz musicians haven't gotten any further than they have -

made famous, of course, by Picasso's Guernica -

pioneered, of course, on the old Ed Sullivan show by Corbett Monica -

originally developed, I should add, by the small Jewish settlement of Sri Lanka -

of course, let us not forget, as long as we are talking about Hanukkah, about the ancient if somewhat obscure tradition of the rabbi's performance of the mouth harp, usually played as backing to a blues-like Cantorial aria - otherwise known as the Hanukkah Harmonica -

gotta love Wikipedia - does it mention his appearances on the Donnie and Marie Show?

will try to find a copy of that - my main point is that, having grown from black music, rock and roll was turned by these white kids into a truly original form -

Gillette knows his stuff, but I find him a bit ideological - sort of in the "white people stole it all" camp - I take a much different view on the origins and development, and basically describe rock and roll as a white meditation on black forms - which is not to say that there were not great black rock and rollers like Bo Diddley and Hendrix - but that the ultimate development of the music was a basically "white" evolution of older black and white country forms - a position which has already led to three major university press rejections - one editor told me she loved the book but it wouldn't pass political muster; another almost hung up on me when I discussed a thing I'd written about Hendrix's liberation by white audiences and musicians (which I described as an ironic reversal of the usual paradigm of white musicians being liberated by black music) - so I will likely self-publish if nothing else comes up -

Prez's solo on that is one of the most perfect moments in recorded jazz - especially on the turn around into the end of the chorus - truly changed my life -