AllenLowe

just reading a previous post - yes, I did record with Byron in the late 80's or early 90s (have to check) - he's a very fine player, I think, in a "free" context -

yes yes on Danny Polo (and if you can find an LP of his 1930s Euro recordings grab it - and I recently picked up a Spike Highes LP with some early Polo on it) - I would add Teddy Weatherford -

a few weeks ago Eric Burdon was on one of those PBS pledge-night nostalgia shows - which I usually hate, and usually the musicians sound terrible, tired and out of date. He was fantastic, full of energy, and his voice better than ever - I just find Jagger to be a poseur; I prefer many others - Jagger is a little like Lou Reed - if he'd retired in 1970 we would remember him fondly, but he's become a parody of himself.

what, no Hot Dog?

Tom Jones is actually a damned good singer - I do think he his no longer able to draw the line between real feeling and Vegas emoting, and that this came out on that blues documentary -

you must mean Bennygoodman -

well, make that: Jackteagarden -

how does the sound compare to the original LP?

sorry - he doesn't hold a candle to Eric Burdon, who still sings great - to me Mick is the blues singer of the bourgeouisie -

yes, I have one word for you: Jack Teagarden -

I wish there were some interviews with Raney that we might read, though I know he became a bit of a recluse - Al Haig considered him to be "a nut," though I know that's a bit like the pot calling the kettle...

now wait a minute - this is a movie that has Chuck Nessa making out with a 19 year old super model? Now that's something I'd pay to see -

it's likely that they sound so good because they are like master recordings - if stored correctly and still in good shape -

well, it depends - if something was recorded on "Friday" night, but after midnight, is it really Saturday morning? Likewise for Saturday night after 12 - is it Sunday morning? So the question would be - do you prefer Friday night, Saturday morning, Saturday night, or Sunday morning -

thanks - will definitely search it out -

I'm a little late to the discussion here, though I had poetic ambitions once upon a time - inspired by Delmore Schwartz and Isaac Babel (non poet but master of language) - love Beckett's poems, too, but have lost my ambition in this area - look forward, however, to meeting Dave Gitin when he comes up here to Portland (maine) to do a reading in June - I also find Pound's translations fascinating, and older poems like those of Sappho, plus W.C. Williams and Charles Olsen - and Sterling Brown - but it's a discipline I've lost -

How about this one (I have a recording date of 4/1/05): Charlie Parker - 85 - sax Buddy Bolden - 107 - castanets Wynton Marsalis: 43 - trumpet, Stephen Foster - 160 - piano Stanley Crouch (drums, vocals) - 57 nice quartet recording, produced by Phil Schapp - should be out any day - recorded live during the recent Stephen Foster fest on WKCR -

Curley Russell was still grieving about this 20 years later and said that everybody knew his wife was a terrible driver - a horrible and unnecessary waste -

Funny Schaap story: I asked Al Haig if he would do Schaap's show; he said to me: "I did it once; I tell him I made such and such a recording on such and such a date; he tells, me, 'no you didn't, you made it on this date, not that date.' I figure, he knows everything already, so why the hell does he need me?"

what you are hearing as separation has a lot to do with instruments at different frequencies; the space in a recording is really the separation and preservation of different frequencies. Chances are that the more high frequenices left in , the more space (or air) you will hear between instruments or sections -

it's called hair spray -

yes, hope to see Dave Gitin in Portland in June - but right now I haven't met anyone - are you guys avoiding me?

per-Julis Hemphill (with whom I recorded twice and performed with once at the Knitting Factory) - Julius was a monster musician, a great composer/arranger, but essentially a "free" player - he was a brilliant soloist and wrote fascinating and original themes, and than improvised on them in a wonderfully organic way. I did discover, however, at our first (of two) recording sessions that he wasn't particularly comfortable with conventional chord chages; on one tune from the session, with a relatively simple set of changes, he sounds stiff and uncomfortable- left to his own improvisational devices, however, he was incomparable.

When I played at the Knitting Factory with my group John Szwed came up to me afterward and told me it must have been a hip gig because Irving Stone showed up - and he introduced me to Mr. Stone, who was a real nice man - I was quite honored -

IMHO: 1) The Bluebird box, if you can find it - contary to what many people have said, the remastering on this is brilliantly done - the problem was in the final EQ before release - just boost your treble and you have incredible Jelly Roll in great sound - 2) Library of Congress - the Rounder stuff has all the music but has, stupidly, cut out all the talk (Larry Gushee told me a few years ago that plans were afoot to release it complete, but were shelved when Alan Lomax died); get the Rounders, but find, if you can, the Swaggie LPs (though they may be expensive thes days); 3) Commodores - the best are the solo recordings, incredible stuff, in full mature flower, but the small group Comodores are way under-rated - 4) The 1923 solo recordings - really should come first, have been reissued in many forms - best sound is on the old Folkways LP with remastering by the late Carl Seltzer, but John R.T. Davies did a fine job also -