Neal Pomea

I remember that TV show the article mentioned! yeah, he was kind of light-hearted like Bobby Bare. Also, Looking at the World Through a Windshield was a pretty good truck-driving song. Bill Kirchen used to do it all the time.

Disconnected phones for James P. Johnson, Bunk Johnson, Jelly Roll Morton, and Johnny Dodds...

Mark Polizzotti says it's Charlie McCoy playing the second guitar in "Desolation Row." Is the earlier, electric take on the recent No Direction Home set? I meant the official release on HWY 61. Always assumed it was Bloomfield! That's interesting.

They could only make me look better to Josephine, Mary Lou, and Ann-Margaret!

A pop song by John Leyton? I only knew him as Charles Bronson's tunnel king buddy in The Great Escape (one of the escapees by rowboat). I must have been flipping back and forth and missed Del Shannon.

Obviously Isle of Lucy with Josephine Baker Mary Lou Williams Uncle Dave Macon Ann-Margaret, and Nathan Abshire

If the White Shade of Pale standard on authorship and copyright applied to Desolation Row, it's back pay for Michael Bloomfield and his beautiful guitar line! He really nailed it on that tune! Does the new collection mentioned in the first post include material from the '67 Carnegie Hall tribute to Woody Guthrie? I really loved Dear Mrs. Roosevelt, Grand Coulee Dam, I Ain't Got No Home... More satisfying to me than the '74 tour material, but that's just me. He also did a fine job harmonizing with Judy Collins on This Land is Your Land.

I can go with a Bob Dylan thread! I saw Masked and Anonymous for the first time this week. Wow, without the section of the CD with the director's comments, I would have had NO idea what was going on! Still, it made more sense than Renaldo and Clara. And the song performances were really great. Two of the emotional highlights were I Remember You interspersed with scenes of his movie mother and father, etc., and the boys singing Dixie. Odd choice for the movie, except to express something of nostalgia for lost causes, according to the director. Oh well, he gets to punch the journalist in the stomach... I bet your collection doesn't include the one called Dylan, which supposedly was a bunch of outtakes that Columbia released to spite him when he moved to another label. It's the one with Big Yellow Taxi, A Fool Such as I, etc. Scraps from Self Portrait. It has never been released on CD, supposedly because of Dylan's wishes. I am partial to Dylan and the Band, especially the Genuine Basement Tapes (the ones that didn't make it to the Columbia lp and cd.) I should pick up Good as I Been to You, which I think is the better of his two "recent" albums of old folk songs. Enjoy your finds!

Happy Birthday! Here's to more copyright discussions in 07.

Nick: Hey! Get me! I'm giving out wings!

Yup. Any Bach heirs here to collect? What a dickhead. You mean the judge, right?

Jane is a peach! Through her brothers she introduced me to a lot of blues and 50s r&b. I introduced her to jazz, old and more modern, Cajun, and country. Together we explored bluegrass, and to this day I think she enjoys it more than I do. I prefer the country music of the 50s and earlier. For a while here in Washington, radio had bluegrass every day. It is now consigned to weekends, supplanted by talk radio. We commiserated about that development, as well as the demise of WDCU radio for jazz. I did more jazz cd collecting and spending 10-15 years ago than I do today, but we tend to like the same things,. The be bop and hard bop is a bit busy for her (strange for a person who likes bluegrass at breakneck speeds!). Maybe busy is not the right word. Emotionally, it doesn't suit her like New Orleans jazz, which can be quite speedy. As for sprawl, well, she's less than happy about that. I am the same way with my cds and records as I am about my books, papers, etc. They are all over the place and even I can't find stuff. She is way more sensible about organization than I am.

Onion Asks, What Do You Think?

I believe I will send a Native American in my place to accept my award, a la Brando.

For library databases: RILM Abstracts of Music Literature ProQuest Dissertations and Theses In Dissertations and Theses, find a dissertation and go to the appendix with the bibliography and see what all is listed there. The writers need to thoroughly survey the literature. Hope that helps.

Eclectic show! When John Fahey died, Tom did a show on him, even interviewed Fahey's friend, Dick Spottswood. I was really surprised! It was a nice tribute.

Interesting point about memory. I understand that when Harry Smith released his Anthology of American Folk Music in the mid-50s, the music on it was considered old-time, almost ancient, even though some of those recordings were no more than about 20 years old at the time. We seem to have lost a lot of memory in a short span in that instance! Now, I am not saying that today Count Basie is considered "old time" the same way Uncle Dave Macon was in the 1950s, but Walter Page's Blue Devils or Bennie Moten's orchestras probably are. Some call it cartoonish music. Fine with me, I love those old cartoons! Hooray Kansas City! On the topic of FM, I hear it every weekend. Here in the DC area we have great shows, many kinds of music! But I mostly hear those shows on a boom box in my kitchen, so I can't help with picking out a tuner.

Did this just come out recently? It's the kind of thing Rob Bamberger would cover on his radio show Hot Jazz Saturday Night on WAMU in Washington DC, but I believe he did a whole show on Oliver this summer (or was that last year, so it's time for another special? ) Thanks for calling it to attention.

Iraq Study Group's exit strategy was simple: eat the damn thing!

Somebody should write a story (whether it happens or not) about Joe Bussard in the audience in a tuxedo among the nominees getting called up for the award and thanking all the little people who made it all possible! Best Boxed Or Special Limited Edition Package * The Cellar Door Sessions 1970 Howard Fritzson, Dan Ichimoto & Seth Rothstein, art directors (Miles Davis) [Columbia/Legacy Recordings] * Fonotone Records Susan Archie & Henry Owings, art directors (Various Artists) [Dust-To-Digital] * A Life Less Lived — The Gothic Box Hugh Brown & Jean Krikorian, art directors (Various Artists) [Rhino Entertainment] * One Kiss Can Lead To Another: Girl Group Sounds Lost & Found Hugh Brown, Sheryl Farber & Maria Villar, art directors (Various Artists) [Rhino Entertainment] * Stadium Arcadium Flea, John Frusciante, Anthony Kiedis, Chad Smith & Matt Taylor, art directors (Red Hot Chili Peppers) [Warner Bros.]

Did anybody vote for the Eminent J.J. Johnson? (I would pick volume 1)

I am not so sure that it is generational. By putting artistic creation in the public, by publishing, it has by definition been put in the public domain. What did you think public domain means? That was the understanding in the U.S. in common sense terms by the generation of the founding fathers. You can look at the foundations of the Enlightenment philosophy if you like. Being made public means being in the public domain. Those were the facts understood by the founding fathers in the U.S. I think too many misconceptions are being read into the concept of the public domain, as though you could have an ownership conflict between Owner Public Domain vs Owner Sweat of His Brow Artist/Publisher/Engineer. It's like a law suit between a fact and a person! Public domain is NOT a right like a private owner's right to their property. It is more like the absence of property rights. It's more like a fact. If anyone asserts that public domain is the public wresting ownership from a private owner, I would disagree on the facts. The private owner is only a private owner by statutory grant, not in fact. An artistic creation is like an action or a word one utters. You cannot make it private once it is out there. And you can only assign property-like rights for so long, in my opinion. That said, now that artists and their families, publishers and their families, and engineers and their families, are economically dependent on this long-wayward trend of copyright protection, what can we do? We cannot cut loose these people. I do not see any reasonable proposals for addressing this. It is not as though special compensation is awarded creators as wards of the state, or like beneficiaries of Medici-like patrons of the arts. Is there a new model forthcoming? I don't see any reason why copyright as currently configured should be the social instrument of providing economically for the creators/performers/publishers/engineers of music etc. Ok, I meant that with a pretty good will. Guess it'll go over like a lead zeppelin.

Any details on this? AMG has no information that I could find.

I gravitate toward "pre-classic" recordings made originally on shellack 78s, the kind heard at Red Hot Jazz Archive.

Lindsay: "So Bob, is that a 'tape deck in your tractor' or are you just glad to see me?" Lord, I apologize for that.