Leeway

Sallie Mae Freddie Mac Jimmie Mack

And what does that reference have to do with anything? (my italics/bold) Please Lee, is that even a serious question? What do you think it has to do with, besides personal and community identity, at least a few strains of American historical narrative (Jewish diaspora, Upper Midwest of same) etc etc. I'm drastically understating: it means everything and to evade that is to be complicit with historical anti-Semitism... You know the story of Arnold Schoenberg's conversions and why, right? (The economics of it matter, greatly, also. Compare Dylan's background, his ideas on labor value with the biographies of Tom T. Hall and Merle Haggard.) The schtick "Dylan" playes with in other people's voices and now in his own absurdly dyed hair (or wighat) dotage is inane: like he's one of the oppressed... but not those oppressed, whose tales remain great, important stories! (Insert your favorite I.B. Singer & Cynthia Ozick & Philip Roth here.) Instead this bitter schmuck Dylan plays like Mr. Americana, the voice of our collective historical concious of verities etc... It's farcical. Indeed, it's so farcicaal at age 73 he still lashes out at Merle Haggard and especially the great Tom T. Hall and even Jerry Leiber, just to keep it jazzy-- That "Bob Dylan" forsook his heritage-- baruch attah adonai...-- but is still pissed off at Jerry Leiber essentially called him a fucking fraud-- which he was and is-- how does that work? Did Dylan's $$$ make him crazy or is it the hair dye? (That's from Josh Alan Friedman --> http://www.amazon.com/Tell-Truth-Until-They-Bleed , you likely know & already love his work with artist brother Drew) Sometimes Dylan may fraud of genius, he may be the fraud of "If Dogs Run Free" but to front on Merle Haggard or Tom T. Hall-- -- and yes, lest we forget, Tom T. Hall's wife of four decades died a few weeks ago, think Bob said Kaddish for Dixie, tho' she knew far far far more of what, who Dylan pretends to be, from Mother Maybelle and Faron Young on down? Yeah, me neither. (You know Lenny Bruce at Carnegie Hall where he extols this song right? Dylan's "Lenny Bruce" is trying to tell us something but dopily doesn't know how. Dylan had fifteen years longer to think about it and Phil Ochs' "Doesn't Lenny Live Here Anymore" still blows it away.) So "Dylan" does have a "right" to be a touchy about Leiber and, classless wannabe salt-of-the-earther that he is-- though actually he's been a show biz functionary, however idiosyncratic, since he was what 19-years-old?-- he let Jerry have it. However, as noted in previous posts, you 'fact check' Dylan's nonsense re: Kristofferson & Tom T. Hall, none of it holds up: chronologically, 'politically,' aesthetically, etc. Shalom! Nice comeback Moms, but I don't buy it. Your initial statement has the whiff of anti-Semitism, and you know it.

And what does that reference have to do with anything? (my italics/bold)

Pistol Packin Mama Pistol Pete John Pistole

More from the Teddy Edwards interview: He was asked about his absence from the recording scene. Edwards" From the recording scene I disappeared, but I was still playing. I was playing in burlesque joints. I was cut out of the recording scene completely because I didn't fit with what they were doing. I was playing too strong, too powerful." Asked if he had played "cool," would his situation have been better? TE: "I would have had a better chance but maybe not." He goes on to explain that on a Gerry Mulligan date, they used Chico Hamilton and Chico brought in Buddy Collette. They were promised their own dates. "I think they were basically the only two Black people they use don that label [PJ], and Buddy was kind of a light (stylistically) player all that time." According to TE, "basically they were the only two Black guys they used at Pacific until they had to change their tune until he [bock] did a complete about face when his pocketbook ran out and then I think the only (white) one was Bud Shank. But this is life. I never stopped doing my work. I played in Blues & Rhythm, Latin bands, burlesque, whatever." BTW, he had much nicer things to say about Lester Koenig.

In the April 1994 issue of Cadence magazine Teddy Edwards was interviewed and the subject of West Coast Jazz came up. In Mr. Edwards view, racial prejudice was a factor in the music: "See, the recording companies out of the East recorded mostly Black musicians, with exceptions of guys like Zoot Sims, Stan Getz, and a few others. The music was hard and swinging out of the East and was light and delicate out of the West Coast thing, The Jazz out of the East was heavy and Black and out of the West was light and White, that's the way it sounded. We had plenty of hard hitters there [West] but we didn't get recorded. Sonny Criss, Hampton Hawes, Wardell, all of us, but we were ignored for mostly a racial thing. It was very racially motivated." Edwards singled out Pacific Jazz label as being particularly racially motivated.

The Real Inspector Hound McGruff the Crime Dog Snoop Dawgy Dogg

Prompted by the George Lewis thread. Interesting to compare this "Homage" to Braxton's "Charlie Parker Project."

Polythene Pam Lovely Rita Dear Prudence

Pinball Wizard Wizard of Oz Merlin

Prince of Wales Moby Dick Wendy Whalen

Just read an obit of Scott. Reportedly, Bogart called her the "most potent" kisser he had met--that's saying something I suppose. In 1954, Scott sued Confidential magazine for describing her as a member of a Hollywood lesbian set. The trial ended without a decision but is believed to have hurt her career.

Very interesting, thanks. Great photos too.

Steve McCall Muhal Richard Abrams Roscoe Mitchell

Lucy in the Sky with Diamonds Lucy & Linus Lucy- got some splainin to do!

I was in the control room for that session. Cuscuna missed his flight to Chicago, called me and I just sat back and let Muhal run things. IIRC, I forgot a scarf in the studio. This is a habit. Great story--and recording. Worth the scarf, LOL.

Jimmy Walker Johnny Walker Doak Walker

Peter Pan Pa Kettle Harry Potter

Yes, that pasta and wine has its effects!

Intense and compelling but maybe just a bit tamped down (the influence of Motian?). "Clarence" Herb Robertson, though, blazes away. I don't recall other albums where Herb uses his full first name name.

Booker Ervin Ervin Magic Johnson Magic Jack

and

Have you read "Last Exit to Brooklyn"? Considered his major work; do you see it that way? Selby's nickname was "Cubby," so "Harry" might be a slight shift to establish a similar but not identical persona (?)

Starsky & Hutch Hef's Hutch Hitch-22

Muhal Richard Adams, piano, percussion, voice, synthetizer. - Joseph Jarman, soprano sax, alto sax, bass say, voice, bassoon, alto clarinet, flute, percussion. - Douglas Ewart: B clarinet, bass clarinet, flute, bassoon, soprano sax, alto sax, tenor sax, african flute, percussion, voice. - Amina Claudine Myers: piano, percussion, voice. - Thurman Barker: trap drums, percussion, marimba, timpany, bells.