SHELTERED VIEW

The statement attributed to Mr. Kenyon in your article ["Blowing It?" May 21] that the wind in Vermont only blows 20 percent of the time indicates that he has either never been outside, or has only left a lower-elevation sheltered enclave 20 percent of the time that he has.

If he is meaning to discuss whether wind is sufficient to generate electricity, i.e. efficiency or capacity utilization, he should speak in terms of specific turbines (preferably modern ones) and specific locations.

As for claims that Searsburg is surrounded by a fence, apparently he never tried to walk around the access road gate; as recently as four years ago, when I was last there, it was the only area that was "fenced," and thus hikers and others who have traditionally accessed the area for recreational purposes are still free to do so.

Ben Wileman

LOWELL

TALKIN' JIVE

I enjoyed Dan Bolles' interview with Ornette Coleman ["Far Out, Man," June 4]. My only quibble is that the quote around which he built his piece ("I think he's jiving, baby") did not come from saxophonist Sonny Rollins, but from trumpeter Roy Eldridge.

Reuben Jackson

WASHINGTON

Editor's Note: Mr. Jackson is correct. The words are often attributed to Rollins, but it was Eldridge who said them, in Esquire magazine in 1964. We apologize for the error.

CULTURAL REDUCTION

I wonder if Seven Days can encourage opinions to be shown with an appreciation of the equality between cultures? It is embarrassing to see the condescending language in the recent review of Naquele Tempo [reviewthis, June 4].

Speaking for myself, I do not want my culture reduced to getting "northern hips" to sway, or to offer only "a sexy samba." Likewise, I am not comfortable with his put-down of the flute player, by saying the "girl's got chops." A serious musician who has a professional education has gone beyond being a girl, whether [writer Jarrett] Berman appreciates the music or not.

U.S. musicians are discovering the vibrant contribution of Latin-American music. To describe Choro as "a toothless" art form is to not understand that it is one of the foundations of jazz, and is a form seeing a rediscovery here and in Brazil.

Seven Days does us all a disservice by choosing uninformed reviewers who show little understanding or appreciation for the greater world.

Luckily, Naquele Tempo musicians approach traditional Latin-American music with a unique respect that is rare and honest.

Hugo Martinez Cazon

BURLINGTON

CHEERING FOR CHORO

Jarrett Berman's review of Naquele Tempo's new CD deserves comment [reviewthis, June 4]. He's entitled to his opinion of the music; that's what reviewers do. But the characterization of Choro as "toothless 19th century fare" shows a basic misunderstanding of the genre.

Choro, like jazz, has roots in the 19th century to be sure, but, like jazz, has continued to evolve and re-invent itself and remains a living, vital musical form. Look for some performances by Hamilton de Hollanda or Ronaldo do Bandolim (just to mention a few modern Choro masters) on Youtube, or better yet hear them live. Many adjectives come to mind, but toothless is not among them.

Will Patton

BAKERSFIELD

CORRECTION:

Furniture maker Edward Allen is not a Castleton State alum, as alleged in the June 11 "Handmade Tales" feature. He's a graduate of Keene State College in New Hampshire.