AllenLowe

I'll just have to wait for Sprinkles: The Movie

I actually found the "nothing happens" ending something of a relief - so tired of network tv cliff hangers - what the hell. Chase is probably completely burned out. Don't take it personally - I only wish Phil had been made to suffer a bit more - he's gotta be one of the slimiest and nastiest characters ever seen on TV- as for AJ, I wish they'd wacked him - or had him burn up in the car. Whiney moron, not in the least bit interesting as a character - glad Tony lived - hope Van Zandt wakes up and wacks Springsteen - and I think Junior's faking it - and I'm sorry about Bobby, though death may be a resonable alternative to living with Tony's sister - and I'll miss Sprinkles -

you gotta admit, I was pretty close about Sprinkles the cat, given the feline emphasis in the last episode; the only thing I got wrong was the hair ball -

sorry to ruin it for everybody, but just saw a preview and here's how it goes: Tony gets hit; AJ whines so much that Phil Leotardo has him wacked as well; the Soprano family cat, Sprinkles, is tortured with a blowtorch so she'll tell where the rest of the family is, but unfortunately she coughs up a hair ball as her last breath instead of giving an address; Junior is caught fellating a chicken and is confined to his room; Melfi the shrink hears about Tony's death, puts on her old wedding dress, and goes into mourning for three years before deciding to marry the corpse; they live happily ever after in Scarsdale; her shrink Peter Bogdonavitch takes Ryan O'Neal as a partner and at their third session O'Neal strangles him; Farrah Fawcett becomes a series regular and partners with Carmela (who has moved West into the witness protection program) for a new series on a new mob now being run by women; its a screwball NBC comedy modeled after the old I Love Lucy Show, and the title is: "Mama Mafia: those Wacky Wacking Women of Wyoming." almost forgot; Paulie Walnuts gets a job as an escort for a gay male escort service.

the rock and roll history covers 1950-1970 essentially, but in it I touch on the pre-history extensively. The CD set would encompass the pre-history (basically 1920-1950) -

hi guys; sorry I negelected to post earlier on some of these; I completely missed this last week - I do intend to publish the 1950s jazz book, and I am hoping to put a (small) cd set out with it to match it - after rejection by every pubisher in existence (or so it seems) I may self publish. My first hope is to get the rock and roll book together by next spring; the 1950s book will follow, I hope. And yes, I did intentionally repeat certain songs, just to shsow the devlopment of repertoire and songwriting in relation to the evolution of the music -

amazing performer, truly the best pop-jazz fusion I've ever heard. Time, feeling, chops, soul -

well, he Aeber-sold me some things I didn't really need -

I once got a rash from Jamey Aebersold - but a little penicillin cleared it up -

Lou Donaldson - Hot Dog -

equipment is important- but I also found that I was always able to get halfway to the sound I wanted on the saxophone by 'thinking' it - hard to explain, but it's not tangible from a technical standpoint. So many players sound alike because they can't think it but only finger it and blow it - not a scientific explanation but a true one - you gotta hear it in your head first -

about Dave Tough - Deems described him as a real intellectual, involved in radical politics - also said that Tough's wife was black, and when Tough died his family refused to let her come to the funeral - Tough was an amazing guy; not only one of the drum greats, but admired by a lot of people - I also once had a nice conversation about him with Max Roach, who recalled Tough sitting right in front of the drums as Roach played, trying to soak up the whole bebop thing. Max clearly loved the guy - I wish someone had done a more detailed interview with Roach about him -

glad you mentioned Dick Spottswood, as I just talked to him on Monday - funny, because they had a disagreement about the title, which Dick doesn't like, but I've forgotten what his original was - Spottswood is one of those guys who knows more than anyone about the whole picture of American vernacular music and he's beyond generous with his time and expertise - he should get one of those NEA masters awards -

"Wynton Marsalis is one person. And if he tried to hail a cab on his way to Lincoln Center, no one would stop for him either." re-read my post - I'm not ignoring the big picture of American racism, only saying that it does not help to use template arguments when dealing with specific issues -

I have made a silent vow to never again discuss race in jazz or to post in a thread that touches the topic - too complex an issue, tired of pissing people off - I will only say here what I told a writer friend of mine who published a book with the conventional wisdom about current racial conditions and the powerlessnes of African American jazz artists - as I told him, the most powerful jazz musician in the world (and probably in the history of the music) is African American - speaking of course of Wynton Marsalis. And if you than want to protest about the problems in the programs he leads and about his pronouncements I will say that's irrelevant to the point - because you are than confirming that the problem is not necessarily race. so this is not to say that the racial issues have been solved, but that in jazz African Americans have achieved a great deal of equity - maybe not the African Americans we would like to see, but that begs a separate question about art and the need audiences and institutions have to hear the same old shit; and that is a problem that transcends race -

a little bit about Barrett Deems - I met him in Boston circa 1975 when he played with Joe Venuti - nice guy who had a lot of interesting stories about Dave Tough -

just got two more - vol 3 and 4 - offer is as before - $35 each plus shipping -

now bumping the cheap stuff -

bumping for the night shift - let's see the money where the mouth is - or as old hooker said, if I can't sell it I'm gonna sit on it -

paypal is fine - can do $10 shipped - paypal address is alowe@maine.rr.com thanks -

well, my wife was complaining to me the other day - she says: "hey, you got all these electric gadgets, electric this and electric that. How come you never buy ME anything like that?" so I bought her an electric chair -

Barry Harris, Live At Maybeck Recital Hall. Concord. $18 shipped domestic Tubby Hayes. Night and Day. Live at Ronnie Scott's. Ronnie Scott's Jazz House. $9 shipped domestic. Tubby Hayes Quartet In Scandinavia. Storyville. $9 shipped domestic. Earl Hines, West Side Story. Solo, live at Montreaux. $10 shipped domestic. Ella Fitzgerald: The Original Decca Recordings, the Early Years, Volume 2. 2 cds. $10 shipped. all shipped first class in plastic sleeves. Pypal preferred - email me at alowe@maine.rr.com (also my paypal address)

risky perhaps... my letter is nice and short, so hopefully, if they use it, they won't edit it. On the other hand, I have a feeling they may get lots of letters about the article, so someone else's may get published. I figure, if they use it, at least I get my name in the paper... fortunately, I signed it "Love, Scott Yanow"

well, boys and girls, some of you have mentioned these as objects of desire - Coleman Hawkins: Alive at the Village Gate, with Tommy Flanagan, Major Holley, Ed Locke. Japanese issue. $25 shipped first class domestic Bud Powell: Return to Birdland '64 (The Paudras Series) Mythic Sound. $25 shipped first class domestic both will be shipped in plastic sleeves to save money, as the USPS has just raised its rates a somewhat ridiculous amount. paypal preferred. email me at alowe@maine.rr.com (also my paypal address) by the way, these prices are significantly lower than those currently posted on half.com, my frame of reference. these will probably go to ebay next.

yeah, what can I do - two places you won't see me are the NY TImes and Litchfield (sorry Jim) - it's funny, but about 40 years ago my old friend, the late Richard GIlman, wrote something to the effect that, if something is covered in the NY Times arts section it had already come and gone as a trend or as an interesting object of study -