AllenLowe

yes - Mehldau and Cleo Laine - 2 people it makes sense to hate - Mehldau in particular has become a precious bore -

Clem - I love Wallace Markfield; some day we may even get along, if you stop calling everybody a douchebag - and I admire Statman, funny you should mention his name as I've been trying to reach him - don't know Melanie Klein, however -

the authenticity thing is quicksand - just listen to the music and decided if THAT is authentic - it will sound the same whether or not you can figure out his ethnic percentages -

I think Zorn is sincere in his appropriation of Jewish themes, and Zorn, being Zorn, does whatever the hell he wants to do. I've been thinking about this a bit, as my latest musical project is about post-1950s Jewish suburban acculturation, from Bloomfield to Andy Stein - this kind of cultural nationalism can be interesting or tiresome and I think Zorn has made something vital out of it, something that, agreeing with Clem (abusive as he continues to be) is worthy of serious critical examination. Where I quibble with Zorn is his apparent unawareness of other strains of radical Jewish culture (I've tried, eg, in vain, to get him interested in a Dave Schildkraut project but I have a feeling he has no idea of Schildkraut's importance) - even so, no one can cover every base -

I'm thinking of Brad Pitt as a donor - but don't tell Angelina Jolie -

I love the Hound Dog Taylor - also a VERY interesting clip of the Rolling Stones live in 1969 in which, on Honky Tonk Woman, they nearly double the tempo during the tune - so much for the vaunted RS rhythm section -

see you then Grandy... Nate, Jaki was drinking heavily in those late years, very depressed over his wife's death - listen to the earlier solo albums and it will change your life - and also be aware that Jaki was playing without key centers as early as the middle 1950s, according to his fellow Bostonian Charlie Banacos, but never got credit for it because he was out of NYC - at his peak he was incredible - check out, as well, the OJC stuff at Lennies on the Turnpike, with Joe Farrell - wow!

that is one flat rat -

just a bit more on Balliett, who has written some great profiles but has real limitations and problems - he called Miles Davis a "first rate second rate trumpet player," disliked Jaki Byard, and got caught up in his own descriptive prowess - I find some of his musical descriptions unbearable - on the other hand, his profile of Pee Wee Rusell is a work of art, and many of his interviews are indispensible - and the Max Roach comment on lack of swing shows a fundamental lack of understanding of a certain key jazz aesthetic -

John Szwed told me about running into him at a Jazz Journalists Association event a few years ago - he was a major jazz hipster -

interestingly enough, that Hawkins with strings album was Dave Schildkraut's favorite Hawk recording -

how about Gary Coleman? (well, maybe as Pee Wee Marquette)

actually, if you look closely, there is small print on many albums that says: "do not listen to this while operating heavy machinery"

actually, I think Justin Guarini should play Duke -

or Mussolini's kid -

is that the one with vocals by Martha Raye?

I have an old recording, Mussolini on piano, Hitler on bass, Stalin on drums - not bad once they stop fighting over Poland -

Busard's a nut, but a nice guy and fun to talk to - and has the most massive collection of American music on the face of the earth -

Clem - you're thinking of Robert Walser -

if Bill Gates had a nickel for every time Windows crashes.... wait - he does!

I actually have a US distibution source for Frog, and can probably place orders - if you are intersted email me and I'll make a call to find out -

$25 for a signed photo - and some of you guys got mad at me for FIRST pointing out what a skinflint Horace is -

I'm with Jim on this one - though I never took FORMAL lessons, my teachers were on the turntable: Ornette Coleman, Charlie Parker, Sonny Rollins, Charlie Haden, Bud Powell, Booker Ervin, Dave Schildkraut, Monk, Charles Mingus - that's a good faculty - from age 14 to age 17 I listened to jazz maybe 4-6 bours a day (almost every day) - than I sat down at the piano and read a lot of lead sheets. I've taken the best piece of educational advice from Von Freeman: "Learn your chords and suffer."

well, Tristano was the same guy who described Sonny Rollins' playing as "all emotion, no feeling."

yikes - not a smart attitude from the director - as the movie Ray proved, it's just not true - unless you are Doris Day playing Ruth Etting in Love Me or Leave Me, it's probably a better idea to use the original. Unless, of course, you have something to bring to the vocals, something that captures the spirit. From what I've heard of Phoenix, it's a bit of a botch, but I'll reserve final judgement until I see him in the context of the movie.