AllenLowe

just as a point of information - Strozier makes some very early appearances on alto on some Memphis black/blues recordings made for Sun Records (ca. 1952 or 1953) and there were, as far as I know, no mixed bands recording there in those days -

well, I tried lighting my horn on fire one night - it woulda worked, except the damn pads wouldn't stay lit -

there used to be this idiot saxophone player In New Haven who couldn't play his way out of a paper bag but who was able to do the circular breathing thing and hold a note for about 3 minutes, or something like that - the crowd loved it. I used to follow him at jam sessions by playing a lot of quick, short notes, holding nothing for more than a split second, but nobody got the joke except me and the bass player - the crowd probably thought I had emphysema -

check out Ebay - you can get good used 12ax7s for OTHER brands that sound terrific - National, Sylvania, Raytheon, some GE, even an occasional used RCA; don't worry about that one on that site - find a good ebay dealer with a good tube tester and good feedback; I've bought about 50 12ax7s this way, and I run three different amps with them; same with 6v6s - even 6L6s if you know what you are doing, also 5881s - and 5932s, which are military spec and replace 5881s - also you can get plenty of inexpensive 12au7s, which are good for audio - also 5751s, which are low-gain 12ax7s and great in audio; 12ay7s, however, have gotten a bit too expensive -

well, I don't want to cast any aspersions, but Patterson's Leslie was a male - not that there's anything wrong with that -

my problem with Gutbucket is that they never get below the surface - which may work in certain circumstances - it's just, to me, another trendy roots band, don't mean to insult anybody here, it's just that jazz guys dealing with these styles either tend to sound like they are slumming or they just don't get it (another good example is the guy who plays banjo for Cassandra Wilson - he has not a a clue) -

I've got a drawer full of 12ax7s, another full of 6v6s, another full of 5u4s, 5v4s and 5y3; a few 6L6s - all of the previous are 1950s and 1960s tubes, and it ain't a myth, they are better - sound better, and play longer (I'm using them in guitar amps) - getting expensive however, thpough there's still a few bargains on Ebay if you keep your eyes open -

I juts want to put in a word for Lee Harvey Oswald, as Clem mentioned that he has an October birthday - there is a record out there of his debate on a radio station in New Orleans, in 1963, so he should get some air play - particulary interesting is that on the record of the broadcast he says that he was in the Soviet Union "with the protection of the United States government."

Weeb Eubanks Earl Hines Cuts the Webbing On His Hands Hines, Hines, and Dad

Jim - I understand and basically agree with your arguments - I would add that you can reduce your costs by using all available tax deductions relative to your music and the CD self-productions costs - but you have to be scrupulous in your accounting, for both costs and profits, or the IRS will be all over your butt. Self-employment in this respect is a red-flag for audits. But if you're in a 28 percent bracket, for example, a $10,000 business expense can be reduced, in real cost, to about $7200 - take your gig mileage, etc etc etc and you can help yourself a lot. However, you may already be doing this - as for CDRs and downloads, this is one area in which I am determined to swim agains the market tide - we've talked before about what a disposable musical economy this is, too much being produced as downloads, which de-values the collective idea of a cd album project. To me, at this time, continuing to do it differently may help me to stand out from the crowd. I look at CDs like novels or collections of short stories or even short films. And in doing so I want to produce something permanent and lasting - and CDRs just do not do this for me - YMMV, as they say -

I didn't know Cecil had implants - that explains a lot -

best way is to use a record box - check Bags Etc or something like that on line - they are made of cardboard and do the job nicely -one LP can usually be mailed for approx. $6 I think, though I haven't done this in a while and postal rates have gone up -

yes, I agree - I would pay based on longevity and durabiility - a real CD is like (or at least we hope it's like) a good hard cover publication of a book - as opposed to, say, a photocopy, which is how I regard a CDR in terms of intrinsic retail value - -

you can tell by looking at the bottom - just compare it to one you know is a real one - as for CDRs, it is reprehensible to sell them without telling people what they are, and I personally would never pay more than maybe $5 or $6 for such - blanks cost 'em maybe 30 cents, and it's not like they have to do anything once it's in the duper - this is really a bad thing for a big lable like Nimbus to be doing - Swingtime was Bill Hebden's label, with the worst sound restoration work ever done - run from these CDs if you see them, CDR or not -

ahh, to live near a festival like this one, oh well, Portlan Maine is about 10 years behind the times, musically speaking - I did go on-line to listen to Gutbucket, however, and don't know if anyone saw them at the fest, but that is one tired-sounding group. Same old same old, so hip that they are so un-hip (in one posted video, the sax player jumps around like a rocker; I kept hoping he'd bust his mouthpiece). Did anyone get to hear them at the event?

there's Boots Mussuli - of course, all of these guys may just be passing -

" if real, the balls might be worth about $1,000 to $3,000 each" I wouldn't pay a nickel for OJ's nuts -

I sold my Shure 330 on ebay - got a lot more money for it than it was worth -

my favoroite is Night of the Iguana - also, great Richard Burton and Ava Gardner -

last chance - than we're going underground for a few weeks - "Look at us we're walking, look at us we're talking, those who never walked and talked before..."

I hope you do get to meet John Szwed - he's an old friend. Years ago I mentioned to someone who owned a record store and who knew Szwed, that John was a Yale professor - he looked at me in amazement and said "but he's such a nice guy!"

here's my plastic saxophone -

"This quote reflects something I said in another thread. Remember Jason?" I do; my advice: run the other way - I like Chuck, but he has some bad friends -

good man - I'll push this for one more day and than give it a rest until November 1 -

you're being too nice -