AllenLowe

well, as Lenny Bruce said, we all have to get get together - Jewis, gentiles, whites, blacks, Scandanavians, Italians, French, Germans - we all have to get together - and beat up the Greeks - or mayble, in this case, LP -

this whole thing of reviewers and technical knowledge could start a whole other thread - I've never believed reviewers HAVE to be especially technically knowledgeable to write well on music, as a matter of fact, most of the best ones I've read have little tech knowledge. But they get themselves in trouble sometimes trying to sound authoritative. This has happened to Giddins on several occasions, even Martin Williams. I have a fair amount of technical knlwledge but am entirely self taught, so I find myslef treading carefully, or calling a friend like Randy Sandke to make sure I'm on firm ground (Randy being one of the most technically knowledgeable musicians I know) -

hey, LP, here's Dizzy Gillespie on a white JEWISH saxohonist, Dave Schildkraut: "Dave was the only alto player to capture the rhythmic essence of Bird." Dizzy also mentioned that he called Dave on several occasions for recording sessions. no great Jewish players? (well, what did Dizzy know?)

because you're right on both -

Hey, l p - many African Americans ripped off people in the record business - VeeJay Records or Don Robey - does that indicate some kind of genetic condition? Don't forget the Irish, the Roman Catholics, the Poles, the Russians, the Latinos - there's been plenty of ripoff to go around, funny that you only notice the Jews - how many Jews are in the Bush adminstration, the biggest rippoff going now? What's your background? Racist, anti-semitic, genocidal, white, yelloe, brown? C'mon, give us the truth oh member of the Aryan nation and dedicated anti-communist -

I'll give you $900 today, $900 next week -

wait - are you referring to my post or the review?

well, if you are talking about chromaticism you are probably referring to the tonal ambiguity that can be created with chromatic playing - in other words there is no such thing as a wrong note, every note has some relationship to the key center. Jazz musicians have always used chromaticism to create a sense, really, of bi-tonality -

Herman Foster Helen Keller

or at least feeling it on the special internet braille version -

ARE YOU SURE IT ISN'T THE OPPOSITE?

that requires too much thought and reasoning - hey, this is an internet board -

I wonder if any of them are reading this...

"and he died in the hotel afterward." so it was murder -

check out the Lenny Bruce routine about the junkie who gets interviewed for a job with the Welk band: "Mr. Welk, I have a monkee on my back." "Vee like animals!"

oboe was my first instrument - I HATED IT!

I'll give you $900 for it -

"A very good movie came out recently, giving a completely unusual angle of view of the personage...." actually my model is the Producers -

I was only making the point that we can't necessarily separate the public and private life - and, bad as he was, at least Hitler never slapped Eva Braun in public -

Bud Johnson, yes - he was in one of the earliest groups with Dizzy/George Wallington, actually a very early recording exists on bootleg -

my favorite Welk moment - I was watching years ago and he used to have a black tap dancer. After one of the tap dancer's routines Welk came on and said: "That boy sure can dance."

wait - there was also Claude Kirschner - no, he was a circus mc for Barnum and Bailey -

some of us may remember when public broadcasting was frought with possibilities, before it turned into reruns of Masterpiece Theater and Lawrence Welk - it's now up to stations like WKCR to serve the function of offering some change from the usual profit-driven diet (and please spare me the posts about honest profit, et al; because what we're talking about is not honest profit but greed, media conglomeration and a national administration that prefers social uniformity and cultural castration) -

here's a recount - I am sitting with Hank in a restaraunt in NYC, ca. 1977, interviewing him. This is from memory, and I honestly do not remember how it came up, but here it is (and Jones confirmed this story on a later occassion): "Athur Miller was not nice to Marilyn Monroe. I played the piano when she sang happy birthday to President Kennedy in Madison Square Garden. Afterwards the three of us were in an elevator, myself, Monroe and Arthur Miller. She was very drunk and he slapped her. Hard." Hank is in his 50's, far from senile or delusional. As an added detail Al Haig was sitting with us when he made the comment, and Haig and I talked about it a few times afterwards. I really see no way that Jones can be mistaken about this. And it's not really all that shocking or surprising that Miller might continue to have contact with Monroe after the divorce or feel proprietary. That's show biz, as they say, and that's a not untypical male attitude - what likely triggered it was, married or not, her flirting witht he president - and their were real rumors about Monroes's affair with JFK -

it seems musicians love having their lives focused on when it looks good for 'em - and it's true that nobody's perfect, but it always seems easier for groups of males to ignore domestic abuse - just label it as PC and irrelevant to the art. Well, in many ways it IS irrelevant to the art - but if we talk about the lives, and what great people the artists are, it than becomes relevant. It's not trendy, it's honesty -and if Arthur Miller hit Marilyn Monroe (as he did), as Roach beat Abby Lincoln, and as Miles beat Betty Davis (all of which is absolutley true) - than what do we do? Pretend it's just a small part of their day? After all, we sure enjoy listening to the CDs -in that case, let's not forget to mention that Hitler was nice to Eva Braun and I have a very nice painting of his that I can sell you -