AllenLowe

Some CDs (I take check, paypal, money order; email me direct at alowe@maine.rr.com) - 1) Los Lobos: Just Another Band from East LA: 2 CDs, used, in mint condition. $10 plus shipping. 2) Spike Jones: The Wacky World - RCA comp, still sealed. $6 plus shipping. 3) J.B. Lenoir: His JOB Recordings, 1951-1954. PAULA. Used, mint condition. $5 plus shipping. 4) Howlin' Wolf: Live and Cookin' At Alice's Revisited. 1972. Used, some scuffing, plays fine. $5 plus shipping. 5) Furry Lewis: South and Beale. 1969 recordings. Lucky 7. Some scuffing, plays fine. $5 plus shipping.

excellent musicians - I have to admit, however, that I think there should be a moratorium on "projects" that are designed as tributes to individual musicians- something about these seems to be a negation of the creative purpose, and a repeat of old gestures -

God, has anyone heard Keeley Smith lately? I like her Capitols, but I heard her sing on TV a few years ago - it was embarrassing -

All are LPs - all are in mint cosition unless otherwise noted - prices do not include shipping ($5 priority mail for 1 LP - .50 each additional); I'll take paypal, check, or money order (please email me directly at alowe@maine.rr.com): here's what's left: 3) Johnny Griffin: You Leave Me Breathless. Black Lion. $6 4) Benny Goodman: The Complete Small Combinations, V 1/2 - French B&W. 2 LPs. $10 5) Errol Garner: Afternoon of an Elf. Reissue of 1955 Mercury solo LP. $6. 6) Eubie Blake. The 86 Years of Eubie Blake. Columbia double LP. $12. 8) Jimmy Knepper in LA: (Tabackin, Kellaway, Shelly Manne). Inner City. $6. 9) Jay McShann: The Man from Muskogee. (Claude Williams), Sackville. $6. 10) John LaPorta: The Clarinet Artistry of John LaPorta. Italian reissue of Fantasy LP. $10. 11) Johnny Guarneri: Gliss Me Again. Classic Jazz. $5. 12) Benny Goodman: 1934. Sunbeam. $5. 17) Phineas Newborne: Look Out-Phineas is Back (Ray Brown) - Pablo. $8.

I once left a pair of shoes on top of my car and than drove off - never found'em - I feel your (more expensive) pain -

get the DVD of the movie Festival Express - it's not only one of the best rock and roll films I've ever seen, but has INCREDIBLE Buddy Guy in it -

Hans - it's just like old times (actually we've never met) -

looking at it now, it's: "The Essential Jazz Records Vol. 2 Modernism to Post-Modernism." Published 2000 - he mentioned 1975 above,so I thought he was talking about the other volume -

well, from what I've heard he was clearly working within a musical framework similar to Django's - sound-wise, stylistically, etc - it's just that, great as he was, he doesn't have that touch of manic genius that Django had, that sense of the music just exploding out of him - this is not meant as an insult, as that kind of inspiration is found in about 1 out of every thousand jazz musicians - I would be interested, however, in hearing some of his later recordings - are they available?

I was just listening to that Aleman CD that Dave Grisman put out - excellent stuff though not, as Leonard Feather once claimed, on the same level as Django, Interesting, however, that he lived so much longer - which I could have heard him in person -

there's a second volum of that Essential Records - still excellent -

yes - and there are a number of live bootleg CDs of that band which are excellent -

must be a different Bob Cunningham -

well, it's a little different, but I always thought Julius Hemphill's big band CD had the freshest writing for a large group in the last 30 years -

they are - I just haven't taken enough -

don't get me started on academics - as a matter of fact, to save time, Mike can run some of my rants from the Jazz Research group - well, I'll say a bit, if everybody insists. The Grabbard book has some decent writing in it, mixed with the usual bad stuff. Nothing wrong with academia, as a matter of fact I'd take an academic position in a minute, though no one will ever me offer me any such thing. The problem, as I've said before, is that the academics make so damn many musical gaffes - last night I was reading a collection of articles on Jimi Hendrix. Prof says, Jimi played a right handed guitar strung as a lefty, even though he could easily have found a left-handed guitar, to show the world that he was working against the grain, playing against convention. CRAP! Hendrix played the best guitar he could find - quality is variable - so if he was searching for a guitar, he was going to find 100 righties for every lefty - so what are the odds on which one he would find acceptable? So here we go again - prof turns a reasonably explainable action into some kind of symbolic B.S. - hope she got tenure -

wait - I knew a Bob Cunningham who played bass with Al Haig - but he was white -

is that other photo Jay McShann?

good way to pack - between two shirt cardboards, surrounded by bubble wrap, and in a box that's not too small -

I should mention that the EQ and CEDAR need to work together - CEDAR will do some slight dulling of the high frequencies, which can be compensated for with EQ - but if done right, there should be greater audbility with less noise -

thanks, Kevin - to answer Dr. Rat - the current cheap editing programs are generally ok to good - though I would suggest the better ones like Wavelab (inexpensive but excellent) - for mastering the key things are, IMHO: good converters (nice to have 24 bit with good noise shaping; currently I am using 20 bit, which are fine for older material and pretty damn good for current material); fast enough computer; professional level sound card; a good DAT machine - a good CDR program or a good free-standing machine; a good digital EQ (the last is REAL important) - GOOD MONITORS (I emphasize this because I think most monitors are crap - the best things to use are excellent stereo speakers, again IMHO); with current equipment one can do excellent work, even with 16 bit - as I said, converters are vital - for restoration of old recordings: I have yet to see a cheap program that can de-crackle or de-click without introducing some degradation of sound - there also exists no de-hisser that will elimiate ALL hiss, but with judicious use there are a few programs that can help a lot. as for CEDAR - it is a modern miracle, and if used correctly can do incredible work - sure, there are many who have botched things with it - but I'm willing to bet that it is used on many things that you've listened to without knowing. Interesting that this should come up - somebody just sent me that noisy Benny Goodman, which I intend to work on and do an A/B for anyone here who is interested - still, there are other factors - the most important (other) in my experience is EQ - knowing how to deal with frequencies, working for clarity above and beyond the usual - in my experience this is where many excellent engineers fall short - and amazing things can be done here, especially with good digital eq, which is seamless - engineers who I like: Pomeroy, Seth Winner, the late John R.T. Davies - I'm sure there are others but I am somewhat out of the business these days -

Doug did the Bix and the Mildred Bailey - he's in Brooklyn -

and I'll save you some time: Doug Pomeroy: 718-855-2650 - don't worry, I'm fine, and, as I said, Doug is great, probably the best in the business - just defending my honor -

hey Dan, no sweat - Doug is great - and I will not be insulted if you go to him instead - it's just that I'm good at restoration, love doing it, and have my own studio.

Here's a list of credits, companies and individuals for whom I have done mastering: (if I a sound miffed it is because I AM - but I'll get over it): Sony Legacy Rhino Records Rykodisc Global Village Music Venus Records Enja Records Ken Burns (Florentine Films) Stash Records National Public Radio (Fresh Air) Michael Feinstein Jimmy Jones Billy Crash Craddock Music and Arts Programs of America Kaiser Permanente Brother Where Art Though (the film; one cut mastered appeared in the film)