AllenLowe

Kirk Douglas stars in it, I think -

hey Makpjazz - I saw the Dameronia at Lush Life, too - which one were you?

well, maybe we should not respond to L "I have nothing intelligent to say so I post it anyway" P -

c'mon Chuck, rise to the bait - let's hear some insults, epithets, threats, etc. I'm feeling bored today and need some entertainment...

A 6 minute gap? Who was the recording engineer, Rosemary Woods?

wtf again -

I once got kicked off a group for suggesting that posting be kept down - this was a site in which normally the recipient got a single email containing the postings- something went wrong one day and all messages were send as individual emails - did this stop everbody? of course not - so 80-90 separate emails were coming in constantly, asking what was up - so I sent the list a message that went: "Hey schmucks! Stop posting." They kicked me off for using bad language (this was the 78 list). So I will say two things to organissimo: 1) they don't know from bad language; and 2) keep posting -

well, as long as nobody's dancing with a mailman -

love Hammett - I 've always thought, pound for pound (or maybe in technical terms) that Raymond Chandler was the better writer, but that Hammett was much deeper. Try Red Harvest, the best Hammett novel, IMHO - also, Joe Gores' book Hammet is a must read, a re-creation of Hammett's early years -

fo what it's worth, Sonny's version of There's No Business like Show Business (heard in 1968) made me HAVE to play the saxophone - until I heard that I was but a lonely oboist -

I heard Freeman only once in person, sometime in the 1980s at the CHicago jazz fest - wow - I think of him in Tatumesque terms. Such a complete command of harmony and, for all the idea of storytelling, told in such an unconventional way. Of course, his pitch is another thing that adds tonal ambiguity (in much the same way that latter day Jackie MacLean's does). It's a very brilliant adaptation of bebop, as I see it - beboppers had a way of circling the basic harmony and a few saxophonists (like Freeman and, in a much different way, Eric Dolphy) found a method of using the chords as particularly oblique signposts - I'm not surprised at Gitler's lack of understanding but am a bit by Dan Morgenstern's -

Garth - didn't he send me money once? How can you not like a guy like that?

Prez was definitely a changed man after the war - BUT - you have to pick and choose - first of course post-War is the session with Nat Cole and Buddy Rich (1946?) - also, some of the 1950s broadcast stuff is sublime, and there are good studio sessions from the early 1950s - Onyx put out that Lester Young LP which covered, I think, 1956-58 and had some superb things recorded "live" - Dave Schildkraut used to play the "live" 1950s stuff for me and say "this is where I went to school" - Prez had lost some of the energy but there is some rhythm play, repeated notes, etc on those things that is priceless -

I tend to agree with Mike on this - Sanborn certainly has command of the horn, but I got a similar impression from those Night Music shows (boy that was a great show - Ivo Papasov, weird Ukranian rock and roll groups, etc). All of this makes me quite nostalgic, because I saw that Butterfield band in Central Park ca. 1969, Sanborn and Dinwiddie were the horn players; I don't remember about the drums but that was a fantastic group - (Buzz Feiten on guitar) -

hey - those are my pictures - as a matter of fact, that's me in the first one with my ex-wife -

or: "Take this Photo - Please"

or - "Steal This Photo" - or "4 Pictures for $1,000"

wait - Von Freeman is a lesbian?

Chris is working on a Frank Driggs bio - called Photo Finish -

and Ron - thanks for the imaginary $$$ - I can use it to buy some imaginary food this month so my imaginary children won't starve - and it will be on your head -

Marcus - I sent you an email right back - I need your address in order to price out the shipping -

I was proud of myself -

on the steel thing - well, historically I'm not a real expert on this stuff - I did once have a conversation with Eddie Durham, and he said the early resonator guitars were just, really, made in an effort to be heard above the band. I think the steel body follows this, and has a different kind of resonance from electrics. The early electric guitars strike me as basically just acoustic guitars with pickups stuck on them. As players got more serious and wanted to play louder, they dealt with things like feed back by narrowing the guitar body, than playing solid bodies (some of the smaller hollow bodies are referred to as "semi-hollow" and do, in my brief experience, have a very interesting sound with the right pickups).

Uncle Skid's last name wouldn't happen to be Marks?

well, they were both IV drug addicts -