AllenLowe

so they seem like "nice guys" - what constitutes a "not-nice guy" in Philly, Ron? Mass murder? Pedophilia? Nazi memorabilia? Bush support?

sorry, the only languages I can read are English and pig-Latin - amd pig Latin I learned from the Three Stooges, so there are some idiomatic issues -

I'm a little late to this, so I apologize if I'm repeating info - but what of that 1953 Kenton Band? I think that was the tour with Bird and Dave Schildkraut (and there's a funny story about someone complaining that Bird was practicing too late at night, and it was really Dave, who was quite proud to be mistaken this way) - are there recordings?

no offense, but your list is a mess - and, honestly, I agree with Mike that the whole thing is misguided - I could start with Mingus/Changes, which was Mingus on his way down, IMHO, but than we might get bogged down - the list is especially bad post-1960. You can't do it in 25 choices; it's like those silly old Great Books lists, as though you could some up Western Civilization in that way - you cannot sum up jazz in this way, and the list is, if anything, desrructive and even offensive, as it re-enforces certain misconceptions about artistic cause and effect and historical order.

well, he's an idiot - and that will kill the value of his CD - you gotta have the ORIGINAL booklet that came with it -

well, Al Haig once said:"I'd play in a toilet to play with Bird" - Bird's side men paid their dues - as Haig told me - "Charlie was a great guy - no hassles, no problems - no money" -

I did a search for "dominatrix...whips and chains" on google and got sent here -

yes, he was than young and cranky -

just, per Zwerin, his autobiography is quite good - I guess he's just getting old and cranky -

so wait - is there any way I can get volumes 24, 25 and 48?

glad you're back Larry, and though that review was friendly, it does not BEGIN to describe the importance of Larry's book - I do not exaggerate when I say that Larry is one of the best writers on jazz that Ive ever read, and I have read just about everything and everyone. And I mean this not only in terms of the quality of his ideas but in his WRITING ability, which is rare in any cultural field.

interesting but a bit jazz-centric - meaning, how about other historical New Orleans values? The old neighborhood/tribal traditions? The odd-ball African retensions? The ties to voodoo and early rockand roll? Cajun music? this is somewhat of a problem with jazz people, I think, as they sometimes forget there are other musical worlds -

Mike - didn't know you had moved - I should have guessed from your recent thing with Krin about Miles - just want to add something here - I taped and am halfway through part two - I found, in particular, Dylan's remarks to the Emergency Civil Liberties Union repugnant, and reflective of what a jerk he could be - the ECLU was an organization formed to fight McCarthyism during the 1950s when the ACLU backed down and chickened out - it was formed by people who put their entire livelihoods on the line to stand up to McCarthy - to make it seem like they were using Dylan or wanted to control him speaks to the ignorance of his whole hipster ethos - these were people who risked more than he (or Ginsberg or Rutolo) ever risked, and to reduce them to a bunch of guys losing their hair bespeaks an ignorance that is beneath contempt - also, one major problem with this doc, and maybe it'll change in that last hour - where the hell is Phil Ochs in all this? They talk about protest and a generation and never mention the man (except once, and only peripherally) who was probably the greatest topical songwriter ever?

my vote goes for Abbott and Costello -

sorry, I take my cues from Max Roach - you gotta pay me first, and THAN you can interview me -

I vote for Larry's computer - we need him back here -

"that's just wrong" - well, only if she was using a silencer -

one thing this documentary re-enforced, for me, was how much I hate Baez's singing - it's like fingernails on a blackboard - yeccchhh -

he went out with a bang...

might there not be problems ever releasing the Boris Rose stuff, as it was basically bootleg material?

there's a lot of bitterness - Spoelstra felt that way, Van Ronk a bit too; and Dylan treated Phil Ochs like shit -

"He has never described himself as anything but an entertainer who was lucky to be working. His iconic status was thrust upon him by those who wanted to see a serious message in everything he did." I disagree with this - from his first days in NYC Dylan strove to create an iconic mythology for himself, to creat an image of ultra-cool/bohemian/counterculture/bard. This was a very conscious decision, and he used and than discarded people as necessary yto reach his goal. He was a great artist but not a nice guy, rather was manipulative and turned his back, after fame, on many of the people who had helped him out initially.

I agree with these preceding criticisms, but will add that there is so much good coverage here, so much good footage and interview material that this is an invaluable historical document (and also a lot of fun) - also, having Scorcese as director probably opened up a lot of doors in terms of permissions for use of footage -

yeah, well, when it comes to journalists, some things never change - from Howard Reich to Dan Rather -

I guess I see it differently - I find his responses kind of intellectually leaden, unclever and not particulary pithy - just insider references meant to assure the hip that he is one of them and vice-versa -