AllenLowe

when I was working on my 1950s book Melle told me he was the first to use electronics/synthesizers in jazz. He told me about some experimental 1950s concerts he had participated in, and Teo Macero confirmed a lot of what he told me - Macero also mentioned the participation of Varese in some of these, but unfortunately I never had time to follow all this up (and Macero was not real friendly) - it would be interesting to speak with Paul Bley about all this and have a real chronology of the use of electronics in jazz -I also have a Hodeir LP which has an early use of such effects -

"Let us know which two of the following get removed " I would remove Jackie Robnson, as he was a Republican. And than, maybe, Jackie Mason - I think he's white -

"one might think that he only knows about "black people" from watching Entertainment Tonight or some such." hey, is there any other way? I'm not home when The View is on -

what Gilman is arguing is not that art doesn't apply to life or relate to life or come from life - he's just talking about it coming from a much deeper part of the artist's consciousness, I think - a place that doesn't tell you what you already know or answer the same old questions, but asks new questions, and puts you in a space you never before inhabited - that ain't fiction either, but a deeper kind of reality - it's like the difference between a crappy popular novelist and Proust - or between Neil Simon and Samuel Beckett. The pop novelist and Simon both think they are portraying life as it is; in actuality they are giving us life through a fog of cliches and received ideas, all of which touch on little that makes us as we are; whereas Proust and Beckett tap into parts of our consciousness that we may not, until we read them, even really know exist. Think of Bird - he produces this music which is so new and so shocking at first - and yet so real and logical; it is as though it was there all along, but we did not know or see it until he showed it to us - same thing with Ornette and Albert Ayler - and Eisenstein - and Beethoven - we could keep going here -

is Juana Molina related to Judith Beck and Julian Molina from the old living theater?

I've read only about 80 percent of this thread so forgive me if this post seems to miss some points - maybe it will and maybe it won't. But when it comes to the future of jazz and pop music I am convinced that even we, as non-academics (largely) spend too much time on social questions and context and how they effect what will or won't happen to the music. I will paraphrase the late Richard Gilman, whom I cite frequently, that art is an alternative to history, an alternative reality, a counter-history that will not be contained or limited by social or historical markers. It tells us not necessarily what we have been doing and thinking but what we will be doing and thinking NEXT, before we even know that this will occur - feel free to ignore me here - as my wife and kids do when I make such statements -

and still not as bad as the night Bob Koester came into the club and caught Rocky Boyd nuzzling Koester's pet chicken Rudy at a table in the back - feathers flew -

I'll get back to you on that - have to call the witch doctor -

I just wish she'd kept her blouse on - but that cover photo is now a collector's item -

actually, Jim, to say that swing is 3 over 4 does not mean that anything that has 3 over 4 swings - but it IS to say that anything that swings has 3 over 4 -

but not as bad as the nude wrestling match between Kart and Neil Tesser. Eventually John Litweiler and Art Lange joined in for the tag-team event, and it was not pretty. For years this was cited as a key moment in the seismic shift of Chicago jazz criticism, from its prior Dixieland worship to the new cult of Dick the Bruiser - (email me for pics)-

problem is, as far as I am concerned, too much is recorded by good musicians who cannot sustain the volume of music they are trying to sustain with original composition - few jazz musicians today can compose enough pieces of interest to fill a CD, and it shows in release after release, to my way of thinking (or, really, hearing) - of course, I say this as someone who is about to release a 2-cd set with about 30 of my compositions - of course, I haven't recorded anything in over 10 years, so it is cumulative - as someone said recently, recording an album used to be like writing a book - now it's a like producing a business card. And because musicians have discovered that they can bring in some cash by publishing their own songs, they tend to use only original work. And by doing this they don't have to pay mechanicals - so it is a problem, I think, with several causes -

swing is the sound of two metronomes making love -

she does ok until she tries to scat -

let's not forget about Devilin Tune - all four volumes out now -

the story I read was that there was a gun battle between Chuck Nessa and Larry Kart - seems they were fighting over the free peanuts at the bar - Larry likes 'em salted, Chuck prefers the candy-coated - so Larry questioned his manhood and that was that. In collector's circles it's know as the "Saturday night peanut fight."

somewhere there's a Philly Joe Jones-led Session (issued on Black Lion) of early 1960s British hard bop; Peter King is on it, I think, and it shows the Brits to be every bit as jazz-aware as any American group of the time. Great stuff. Also has a few cuts of the Queen-mother on vocals - seems she was quite a jazz groupie.

yes, sorta like the Buddy Bolden cylinder - which will be on Volume 5 - along with the famous film of King Oliver's 1923 orchestra -

sorry, you're all wrong - swing is 3 over 4 -

for us non-Frenchies, is the Nica book worthwhile for the pics alone?

for overseas airmail shipping of the two vols shipping is probably $15 - so figure $100 shipped for both - I stand corrected and embarrassed on that Minnesota Charlie Christian cut - of course, time and music-wise, the Midwest is usually about 2 years behind, anyway -

wel, I happen to know EXACTLY where it's going, or at least where it SHOULD be going - as a matter of fact I've coined a new name for the music of the future: The Fourth Stream

sorry, just ran out at the old prices - just kidding, really, should mention, also, that once you have the four volumes you also have the full text for the book. also want to mention that I checked the Charlie Christian - the Tea for Two on the CD comes from a "live" session recorded in the Midwest in 1937 - great stuff, in the same class as the Minton's material -

just to add, just got back from the post office - all orders went out tonight priority mail -

the offer will stand, at those prices - I was just using some high-pressure salesmanship to get people to order before Christmas -