AllenLowe

Nels Cline is a complete bullshitter, IMHO - lotsa fashionable noise -

"Where are the bubbles?" you'll have to ask the sisters...

there's very little of Cheatham on record for this middle period, at least as a soloist - he told me once that he made his living for a time as a section man with Latin bands - Doc also always said that he didn't really develop as a soloist until much later, but I HAVE heard recordings with Georg Wein's group - I think from the 1950s - that show him playing beautifully as a soloist -

well, few people know this (Lou Reed is my cousin, so he confides in me) but the original lines in Walk on the Wild Side were about the Lennon sisters giving head -

just for the record, the monk it referred to (according to a documentary on Goodman) was a local guy whom Benny was told was a great jazz player but whose playing turned out to be a complete dud -

he actually stole "My Ding a Ling" from Dave Bartholomew - tried to take writer's credit, when it was Bartholomew's - so the chicken's may roost with his royaties, as far as I'm concerned -

1) I actually think the released recording of Massey Hall is in very decent fidelity - BUT 2) If you've ever heard the version that is the ORIGINAL (before Mingus overdubbed) - it is MUCH better - it's a pity that Mingus messed with it -

this crime sounds like a nocturnal commission -

well, maybe she thought she had oral consent -

maybe from now on these series should read: THE COMPLETE* *except for whatever we couldn't find, the janitor stole, or we did not think would sell enough copies -

just to let everyone know - all orders have gone out as of today - sorry it took so long, but I got delayed because of the hurricane - well, it did rain last week -

has anybody noticed that the song actually rejects New Orleans at the end: "And there’s one thing more...I miss the one I care for ....more than I miss.......new orleans" not really a good advertisement for the city -

I believe the Hawkins LP had a song with maybe my favorite song title - Miss GP -

the Wells sessions are solid - not great if you know what Dickey was capable of, but worthy, especially considering how little he recorded -

how limited? How many copies?

well, ther's under age and there's under age - from what I recall this kid was maybe 14 or so - maybe somebody else here has better info -

hey, it's late and I'm tired - but isn't the bridge to Angel Eyes also similar to the bridge to Do You Know What It Means to Miss New Orleans? (not to change the subject) - also, reminds me of the night a very good friend of mine, a pianist, always drunk, was playing at a club in NYC and started to play You Took Advantage of Me - now think of the bridge to that and the bridge to Wrap Your Troubles in Dreams - well, he got a little confused and basically just kept going from one song to the other, sorta AABABBBBAAAAABBB - it was quite hilarious and he, himself, too drunk to really remember the difference, began to try to see if he could lose the bass player. the next day he had absolutely NO recollection of the incident, and about 20 years later he stopped drinking -

who's joking?

could be Dizzy Dean that they're talking about - and I think one of those guys once got a letter from Dizzy Reece -

I think they recently beat up a few women -

I'm partial to the stuff from the 1920s - incredible energy and very personal takes on the new sounds -

now that you mention it, I do see the resemblance -

1) anybody want to buy an orgone box? 2) Interesting about Ind's hate of the avant garde - I once did a talk for a jazz seminar called: "Who Hates What And Why?" and it was about the generation of 1950s jazz progressives who hated the post-Ornette generation. It was prompted by a long interview I did with Johnny Carisi at which he displayed a huge amount of hostility for "free" players - I think the problem was that the 1950s guys had more of a traditional theoretical basis for what they did, almost an academic slant to justify and explain their ideas. It always bothered me, as I liked Carisi a alot personally, and I wished he could be more open to this kind of change. And I will add that in addition to the theoretical rejection of the new music, there may have been a racial resentment, as Carisi and his fellow '50s progessives, largely white, were really pushed aside in the 1960s and were often told how irrelevant and un-influential they were.

bump for the weekend crew -

actually I was making a bad joke abut drug use - sorry -