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Chuck Nessa

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You will be getting a variation on the purple. The black and blue was an early experiment. I have been trying to upload a "corrected" avatar for a while but the system rejects it. Not sure what the problem is.

maybe it's too big. Like attached files must be <100Kb, avatars must be <40Kb (used to be <20Kb)

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Nessa -- "Subconscious-Lee" was done only once (right at the end of the recording of that tune Warne told me "That's the best I ever played that tune").

Saturday morning on Jazz a la Carte:

Buddy DeFranco with John Pizzarelli Trio and Butch Miles, "What Is This Thing Called Love?" from Cookin' The Books (Arbors).

Dizzy Gillespie Orchestra, "Hot House," Diz and Bird at Carnegie Hall (Blue Note)

The Quintet, "Hot House," Jazz at Massey Hall (OJC)

-- charlie parker, dizzy gillespie, bud powell, charles mingus, max roach

John Coltrane, "Fifth House," Complete Atlantic (Rhino)

Warne Marsh, "Subconscious-Lee," All Music (Nessa CD)

See YOU at 7 (that's a.m. on your f.m.).

Edited by blue lake
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Yet more spectulation I know but isn't it fun.

A recent Jazzreview (UK) mentioned that Lee Konitz had posession of tapes of Warne and Lee from the late 1970's that he (Konitz) was considering releasing. Again sounds interesting but may be just wishful thinking.

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Yet more spectulation I know  but isn't it fun.

A recent Jazzreview (UK) mentioned that Lee Konitz had posession of tapes of Warne and Lee from the late 1970's that he (Konitz) was considering releasing. Again sounds interesting but may be just wishful thinking.

I hope those aren't the recordings of the live Konitz / Marsh / Raney dates I made for Gerry Teekens (who later founded Criss Cross Records) in the 1970s; they turned out to be an absolute mess... :(

Edited by J.A.W.
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My inexperience, and the fact that the mixing console that was used for the Sennheiser microphones wasn't working properly, as we later discovered; I still don't understand what exactly happened, since the listening tests were all fine and my Revox A700 recorder was OK.

A pity things went so terribly wrong, since the music was incredible... Gerry and I haven't been on speaking terms since it happened; I hope he destroyed the tapes.

It was quite embarrassing, and I understand Lee was very mad at me when he heard the results. If he reads this (you never know), I hope he'll accept my apologies.

Edited by J.A.W.
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I thought it might have been personality conflicts. In 1982 I put together a band for the Chicago Jazz Festival that included Warne, Lou Levy and Jimmy Raney. You could feel the draft from Raney. I remember Lou asking Warne about it. They also played at the Jazz Showcase that week and Raney pretty much stayed by himself.

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I thought it might have been personality conflicts. In 1982 I put together a band for the Chicago Jazz Festival that included Warne, Lou Levy and Jimmy Raney. You could feel the draft from Raney. I remember Lou asking Warne about it.  They also played at the Jazz Showcase that week and Raney pretty much stayed by himself.

Now that you mention it, Raney didn't really fit in. It might indeed have been a clash of personalities, I don't know. Anyway, there was something wrong with the sound of the band (though, like I said, the music was incredible), and that may have contributed to the recordings not sounding as they should have. Fact remains, though, that the faulty mixing console was the main culprit.

Edited by J.A.W.
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I remember Gerry Teekens telling me (before the recording sessions, that is) that it had always been one of his dreams to put together a band with Konitz, Marsh, and Raney. Peter Ind helped him organize the band, but, like I said, Raney didn't fit in. Nevertheless, they made great music, which was quite amazing given those circumstances.

Edited by J.A.W.
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