AllenLowe

whoops, missed prior post - never mind - I saw Bird, anyway, recently, at the mall -

I would grab that poster and hide it, as that is very interesting and potentially very valuable - sort of like Elvis tickets to the last show that he never performed - I would wait, however for cover of darkness or a power failure -

"you cannot copyright chords or chord changes" - I tend to agree, but apparently Johnny Green was able to make the record company pay when Coleman Hawkins released a tune, Rainbow Mist, I think, in which he just plays over the changes of Body and Soul -

John's a friend of mine, so I'm not objective, but it's a great book, as is his Miles bio - I'm not in the acknowledgements section, but if you take the 26th letter on each page from pages 226-234, it does spell out my name - John's personal, if oblique, tribute to our friendship-

if you look closely, you can see that there's a section he erased just before he died - that's called decomposing -

does anyone know if Rutgers has one?

with that ringing phone, I would have just overdubbed a regular ring - I know they wanted that song, but nobody would have cared -

so have we come to any conclusion as to the current internet whereabouts of Simon? He (or she) always had something intellignet to say - unless he was really ARICEFFRON, and thus banned from the board -

that works for me -

well, I AM suffering from Friday fatigue -

same thing, 7/4 - same notes, same thing in real practice in relation to the chord - (in other words, if I am playing a dflat over a c chord, doesn't matter where the octave is since the chord is the chord) - the musician playing it is hearing the 1/2 tone clash, which is what gives it its sound - I feel this way in the same way that I feel a 6th is a 6th even with a dominant 7th present - it's what the musician is hearing that determines this, not necessarily the underlying harmonic theory -

if you want to know what a minor ninth is, go to the piano and strike two keys 1/2 step apart (b and c, or c and csharp, d and e flat, etc etc) - there it is - and it ain't no job, it's part of life - like the birds singing or the wind blowing -

well, there are fiddles and there are FIDDLES - same with banjos - an example - there's a 1923 recording of Fiddlin John Carson, singing solo with self-accompanied fiddle, in which he consistenly plays an interval of the minor 9th - similar, strangely enough, to Thelonious Monk - there are solo recordings by Doc Boggs, vocal and banjo - and it is not your typical, pos-HeeHaw banjo, but rough and bluesy and quite beautiful - all that from the 1920s -

well, I tend to like the old stuff - a lot of soul, a lot of blues, very down home - really shows that country music is a black AND white thing - add Bill and Cliff Carlisle to that list, as well as Jimmie Davis, Jimmie Rogers, the Carter Family - there's really a lot to discover -

she did, according to Edward Albee -

I gotta admit, listening to Lucinda Williams is like having fingernails scratch a blackboard, to me - her pitch is terrible -

Hokey Mokey - a trombonist, as I recall, from a Donald Barthelme story -

well, there's that CD with notes by Stanley Crouch, with all the mistakes - wait, no, since he meant it to be that way - well, in that case, ANY CD with notes by Stanley Crouch, since he gets everything wrong -

well, there's the ususal: Hank Williams, George Jones, Loretta Lynn, Roy Acuff, Merle Hagard, Johnny and Jack, Kitty Wells, Johnny Cash, Merle Travis, Lefty Frizell, Jean Shepard - and than some of the older stuff - Webb Pierce, Faron Young, tons of 1950s Honky Tonk - plus Ernest Tubb and the old guys - Fiddlin John Carson, Dave Macon, Frank Hutchison, Riley Puckett, Kelly Harrell, East Texas Serenaders - a lot of good stuff worth checking out -

and actually he's got it somewhat wrong on Isadora Duncan, who died in a car, but died because her long scarf got caught under the wheels and choked her -

the Homecoming is one of the greatest plays of the modern era, simply one of the greatest plays ever written - ranks with Waiting for Godot, IMHO -

we have a winner -

actually, I just found an internet site that says 1950 - this is before Getz, I think, if correct -

when were Goodman's Carnegie hall recordings first issued?

1) I like both of Europe's bands, but the 1913 group is really the most exciting - their drummer was Buddy Gilmore, very advanced, very propulsive - I don't know if you can get those recordings anywhere; I have them on an old Victor black&white French/ragtime LP which I was very lucky to find in NYC in the 1980s - 2) I happened to also love Sweatman's band - Archeophone has a CD of their recordings, well worth getting - very peppy, clearly a black ragtime band in its swing and feel -