AllenLowe

I've known about this for some time - a great bass player in New Haven, Jeff Fuller, has worked with McKusick for years out on Long Island -

if the pants don't fit...

I'm a little late to the party here, but has anyone mentioned that unless you appreciate certain aspects of opera, you will not get a significant part of Louis Armstrong and Sidnney Bechet? Well, if not, than let me be the first -

" She doesn't sing as a rule, at least not on that album, so I don't see why her voice is a factor..." well, it is, because she sings - didn't mean to offend, it's just that I thought the voice was part of the package -

she plays piano ok - but the voice is somewhat non-existent -

I hope it was that old alcoholic St. Bernard from the Topper show -

Nils who?

good point -

so as I undersand it, Clifton Anderson did not have time to listen to one of the major musical findings of the last ten years? hmmm...might be why that CONTEMPORARY Sonny Rollins group continues to produce large amounts of snoozing - and the concert next will week will only have Sonny with a decent group on those same tunes? Can I purchase tix for just the trio portion? pro-rated, of course - I love Sonny, and this will probably just get everybody mad, but why does he continue to live in musical oblivion? Does anybody every tell him the truth? To my ears, even the much-touted thing recorded by Carl Smith sounds like a musical digression - on the way to somewhere that he just never gets to anymore - sorry to be so negative but this shi* drives me nuts - the guy hasn't made a decent reocrd in 35 years - it's like watching Ezra Pound write graphic novels -

of course it it is not Clapton, as the tags seem to indicate, it's still mediocre - and all the worse for being the work of a jazz guy -

well, it does speak to some of the weakness of the form - I mean, if Clapton can do it - and his fire went out about thirty years ago - sounds better, however, than Nels Cline from when I heard him a few years ago - problem with Clapton, like most of the guitar gods who want to shred, is that when it isn't noodling it's just scale patterns - even Zappa had a tendency to fall back on that - them guys need to learn about chromatics, from scale to harmony -

every time I think I'm out...........

my fav is Subterraneans - I used a quote from it, about dreams, for years -

jeez, how do I miss these threads? it's a good thing my left hand is hurting s much I can barely type - but I love this stuff - it's like watching UFC on the Spike channel from a hospital bed-

probably not - I think he's determined to take all the music with him -

thanks for that - my impression is that Braxton, for all the recognition he's received, is frustrated and somewhat alienated from much of the rest of the jazz world, even those with whom we would think he would make natural alliances. A lot of this has to do with his sheer independence, his refusal to hew to racialist orthodoxy and to do and say what people seem to expect him to do and say. When I saw him last month he wryly commented that "Cecil Taylor finally agreed to let me play with him," and he was clearly pleased to have participated in that series - though he did say he would only do one more with Cecil; so my suggestion is, if you can go see the two of them together, it may well be your last chance -

I have three copies of volume 1, 9 cd set, promos, mint but open. Will sell for $40 shipped in the US; prefer paypal; email me at alowe@maine.rr.com

nice book on the whole blues thing and on revisionist historians of the post 1960s era - hardcover, very good shape. $11 plus media shipping conus. prefer paypal. email me at alowe@maine.rr.com

I have a little CEDAR module which is quite remarkable in this way - I've also had luck by deleting things directly on the wave-form (somewhat like micro-surgery, but it can be done) - so - you can take the scratched cut, put it through CEDAR - and than transfer it to a CDR - and than send that CDR to have it re-pressed on vinyl - and VOILA you have removed the scratch from the record -

ROBERT HANCOCK WHERE ARE YOU HIDING?

apparently there is some dissent about the Europeans (and there's nothing to be ashamed about, Mike; it just shows that bigotry knows no boundaries) - I did, however, get the following email that makes a cogent argument for the other side: " 'not so advanced' what are you -insane. why were they all moving over here??? to get away from your horrible segregation - u numb nut -Robert Hancock " a formerly silent member of the forum?

gotta watch out for shorty george -

trying to move some boxes of Devilin Tune - will sell any or all volumes, 1-4 $40 each plus shipping conus ($6 priority, $3 media) email me at alowe@maine.rr.com paypal address is same

sorry I'm so slow on the response - I'm a little under the weather post-surgery - I'll shoot you an email with track list -

haig was a giant, which he remains in spite of some recent revelations - he is mentioned by virtually every one of the 2nd and 3rd generation of bebop pianists - eg Hank Jones, barry Harris, Tommy Flanagan - as the guy who offered an alterntive to Bud Powell for new pianists of that era. Also, and just as significantly (and this is something Bill Crow said to me years ago), he was considered to be the guy who codified the chord changes to the new tunes that were than coming into the jazz repertoire, all the standards that were expanding the music in the late 1940s and early 1950s.