AllenLowe

yes, and I didn't realize that rats were such big jazz fans -

well, it depends what those dicks are thinking about - we are talking about detectives, I assume -

sorry, that's for each - look at the bright side - these boxes and CDs have rat feces on them - it's amazing what a CD laser can read through -

tooty fruity good booty bootsy collins puss and boots

everything has been mailed - and my usual apologies for some lateness; the excuse du jour is a family emergency (very aged and sick in-laws) and 4 teeth that were pulled in the last two weeks with some nasty novocaine side effects (completely unexpected; the dentist had trouble numbing the area and had to give me quite a bit, and said "oh you might feel a little drowsy" - well, yes, if you call getting dizzy and passing out the next day 'drowsy,' she was right - and I was saved from a bathroom concussion by my wife catching me at 3 am! - didn't help that I had two gigs soon after on alto; strange thing was, I actually found it easier to play without my four bottom teeth) - but enough of my Queen for a Day appeal - just got an email from the distributor that there are 5 dented /unsealed boxes on the way of both Volume 3 and 4 (5 of each) - they know you guys like a bargain. The Boxes are intact, CD and booklets are fine - I can sell these for $32.50 each shipped if we do paypal - my paypal address is alowe@maine.rr.com shoot me an email at that address and they're yours - I should have them in hand by tomorrow -

thanks guys - is there any way I can get a copy of that german mag?

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 -