Pete C

I knew nothing of his career change when I heard that he was opening for Cassandra Wilson at Carnegie Hall in the late '90s, so I was really looking forward to seeing him. Then he came on and did his corny showbiz bluesman act. I was horrified.

You're mistaking me for someone else.

Jerry Mathers Johnny Mathis Gustav Mahler

Right you are about those lineups. Now that I'm clearer on the particulars, I'll agree on the drummerless trio. I have Sankt Gerold, but I think there was an earlier one. It's definitely in the tradition of the Giuffre trio, but (not surprisingly given it wasn't a working band) without the same level of telepathy. It's the Surman/Oxley and Surman/Frisell lineups that don't click for me. I think in one case Bley/Oxley isn't working for me and in the other it's Bley/Frisell--and I'm quite fond of both Oxley and Frisell. I didn't intend my comment about Eicher as a put-down, I was just noting that, according to Bley those were producer-arranged groups.

Nigel French Giles French Buffy

I'd agree with Allen that social styles and behaviors are culturally defined rather than a function of genetics. The things that we can grant to genetics are certain physical attributes and propensities to disease (e.g., sickle cell, Tay Sachs). I don't know if there are any athletic accomplishments that can be attributed directly to a sub-Saharan body type. I do know that for many years the gatekeepers of the ballet world insisted that the African-American body type was unsuited to the art, a clearly unsupportable position based purely on a racially skewed notion of anatomical aesthetics. Perhaps even more egregious was a prevailing view, at least when I was younger, that black people didn't make good quarterbacks because while they had certain attributes that made them suitable for other positions they lacked the strategic acumen for quarterbacking (a canard that racists in my own family parroted). I don't follow sports, but I hope this POV is long dead. Views like this were promulgated by generations of anthropologists, eugenicists and all sorts of political baddies.

John, did you sing black music in Russia? There is this African-American singer named Ian Starr, who looks like a cross between Barry White and Tom Jones, who sings at Russian restaurants in Brooklyn, both in English and Russian. They love him in Brighton Beach.

I saw this excellent documentary on Butch's conduction work in a pre-release screening, and I recommend it highly. THE NEW YORK CITY PREMIERE OF BLACK FEBRUARY A MUSIC DOCUMENTARY BY VIPAL MONGA FEATURING LAWRENCE D.“BUTCH” MORRIS APRIL 2, 2012 8:00 PM The Anthology Film Archives 32 Second Avenue New York, NY 10003 (212) 505-5181. New York, NY – BLACK FEBRUARY, a film about an unprecedented series of concerts performed by legendary jazz composer and conductor Lawrence D. “Butch” Morris, will have its New York City premiere at the Anthology Film Archives on April 2, 2012. BLACK FEBRUARY, the first documentary feature by director Vipal Monga, chronicles a series of 44 performances in 28 days with 85 musicians, performed by Mr. Morris in 2005 to celebrate the 20th anniversary of Conduction®, his revolutionary technique for live music-making. More than a simple portrait of those 28 days, or a biography of an enigmatic and complex legend of the avant-garde, BLACK FEBRUARY is a film about the creative process and the scope of a musical theory that is redefining what it means to make music. Along with footage from these remarkable concerts that span a full range of musical styles from big band jazz to funk, the documentary features interviews with some of the leading lights of the New York creative-music community, including Henry Threadgill, JD Allen, Brandon Ross, Graham Haynes, Howard Mandel and Greg Tate. The April 2 screening represents a homecoming for the film, which has already screened across the U.S. and internationally. Tickets will be available at the Anthology Film Archives box office beginning at 5:30 pm on April 2. No advance tickets will be available. Tickets are $9 for the general public. The screening will be held at the Maya Deren Theater. Seating is limited, so please arrive early. The screening is part of the New Filmmakers Series, which has been showing provocative and innovative work by upcoming filmmakers since 1998. For more information: www.blackfeb.com

Ava Gabor Gabor Szabo Javert

Dwight D. Eisenhower Dwight MacDonald Dweezil Zappa

Louis L'Amour Max Brand Oscar Brand

I think there may be two albums with that lineup, as well as two with Evan Parker, Barre Phillips and Tony Oxley, and both of those Eicher-assembled groups leave me cold. I just don't think they gel.

Darryl Strawberry Louis Armstrong Fats Domino (they both found their thrill on Blueberry Hill)

Marky Mark Melle Mel Milli Vanilli

Dara was a fabulous trumpeter. Lousy blues singer, IMO. For me one of the great lesser known Messengers lineups is the one with Joanne Brackeen and Carlos Garnett.

Not Two, Not One, on ECM, with Peacock. IMO, easily one of the 10 greatest piano trio albums of all time.

My two favorite Nutcrackers are Duke and Stokowski.

Altschul and Motian are both very different drummers, and both perfect for Bley. I don't find that the Bley/Oxley combo really works, and I'm pretty sure that was Eicher's idea.

Knucklehead Smiff Jerry Mahoney Paul Winchell

Yeah, that's why I singled him out. A search shows that Donna Mills was on a show called Love is a Many Splendored Thing.

Manfred Mann The Mighty Quinn Dr. Quinn, Medicine Woman

Nanette Natal Nanook of the North Oliver North

That's why I mentioned him!

U.S. Grant Gary U.S. Bonds G.I. Lovemoney