AllenLowe

"Do you think the Jewish community 'didn't' exploit Black American communities back in the day? Or if they did, has there ever been any formal or civic acknowledgement of this from Jewish leaders in the forms of apologies or even simple recognition." the idea that "the Jews" owe "the blacks" an apology is simple minded and silly beyond belief. Some exploit, some help, just like all white people. Some do both, like Sid Nathan. BTW, one of the reasons the Jews did well in the music biz is that they tend to lack the xeonophobia that often prevented white people from dealing with African Americans. "Another question might be, did Jewish communities buy into the White Suprematism of the US as well in their interactions or integrations with Black communities. And surely these issues must have had a significant effect on Jewish relations with Black American music, or to put it more ecumenically American music? " some did some didn't, but certainly the record of Jews in Civil Rights and other forms of progressive advocacy speaks for itself.

is it the Italian guy who played in Vegas (if it's not Carmen)? Can't think of his name, ended in an "0" (maybe).

it's ok; I am happily posting elsewhere on this site under the name Harry Kart.

I want it; a little pricey.

"naked women play Coltrane." what's the problem?

1) I have no idea if or what Stanley said or meant; I have given up trying to answer or understand his stuff. Life is too short, as the saying goes. 2) no no, Ellison was a great man and not the least bit anti-Semitic; I have seen an interview in which several interviewers ask him leading questions about The Jews, and in which he counters in a very smart and educated and humane way on the historical circumstances that have led to the way in which Jews have related to Civil rights and progressive politics.

well, poltically he's always been an Ellison-ite; and his views on many things (including his musical conservatism) line up with Elliison, who was admirably resistant to anti-semitic appeals.

Francis Davis is one of the best.

way better than his jazz writing.

UBU, this guy is a provocateur, albeit a dull and unsubtle one. I fell for it once, and probably will do so again, but you're a better man than I. As for Lost Chords - a valuable book, though problematic in many places (I do think Sudhalter makes some arguably racist statements, but it's been a long time since I read the book); as a matter of fact, one of the prime reasons I did Devlin' Tune was to address the fact that I thought Sudhalter was right for many of the wrong reasons - including his assertions (elsewhere; I think it was in the notes for a Timeless CD of white New Orleans bands) that black and white contributions to the origins of jazz were equal, and his very disingenuous statements about how some mysterious things happened at the end of the 19th and beginning of the 20th century that also somehow led to the big bang event of jazz invention. This is like saying some mysterious things happened and then you were born. It leaves out a lot of the verifiable details.

Dick Katz; he did the Teddy WIlson notes on the Smithsonian set. just as an aside, on one of my earlier CD sets of my own stuff I wrote something like 15 pages of notes; Tom Hull of The Voice referred to them as "the manual." Nomination for WORST WORST WORST- that British guy Bennie Green (I think that was his name) who did all the Pablos, I think it was. I hated those things then and I hate them now; it read like a high schooler writing a Masters Thesis after a bad motor vehicle accident that did real and recognizeable damage.

no reasonable offer refused; just doing a little mastering this week; very excited about this as it was a massive amount of work with incredible musicians who turned out brilliant work on very little notice and with not enough rehearsal. At least that's my unbiased opinion..............

I just sent him something because he's going away; I was waiting for thanksgiving to pass; working on some details and promise I will send you an email next week as well as post an announcement here.

that's fine, will hold the price, though may have to add a few bucks to Europe.

email sent.

no gap here.

ok

I must have it; will it be orderable in the USA? Or am I going to have to cross the Himalayas on foot, rent a camel, brave the Spartan Winter, risk my life against the Tribal Warriors of Afghanistan, scale a 1000 foot wall, grab a copy and run and then return the same way, bribing border guards to look the other way?

actually, Freelancer, I just recorded with DJ Logic. So now I got street cred. to quote Gig Young, "no gap here."

uh, Freelancer, I am a musician and I come from that environment, whatever that is. You can come up with all the sociological jargon you want in order to defend it, all from that course Conextualization and Gender Maladjustment 101, but it's still really bad music.

exactly; I've been struck with how corny the stuff is.

for Euro shipping I would suspect around $10 - and I apologize, as the rates have gone quite through the roof.

thanks everyone - these are REAL cds; the only concession to cost will be (I think) that the 25 pages of liner notes will be available as download or PDF or ebook; not 100 percent sure yet; if I get enough pre sale, I might be able to print them as real copy - and yes, it is $21 shipped for advance order.

new developments: Mulatto Radio. film at 11.

just heard from Ros by email (I talked to Verna today); he's ok, feeling optimistic, still in treatment.