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Chuck Nessa

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I think I'll put my copy up tonight with a Buy It Now of $50.

Can I get another copy, Chuck?

<_<

Uh...yeah; could I put five copies on "hold", Chuck? I'll um...let you know where to ship them in a week or so... :g

My "buy it now" is still $15.

Someone recently bought 10 Art Ensemble boxes from me and I'll bet anything they show up on Ebay.

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Having known the LP from the first, just wanted to say that the sound on the CD is a notable upgrade (particularly on Warne, for reasons that Chuck has explained) and that the alternate takes (first time I've heard them) are pretty mind-boggling; the multiple versions of "I Have A Good One For You" are like you're looking over the shoulder of Dr. Frankenstein and his rhythm section as he tries out various ways -- some of them extremely, beautifully strange -- to bring his baby to life. Not many times in the history of recorded jazz that you get to look behind the scenes like this; only one I can think of right now that comes close are those multiple solo-piano dissections of "'Round Midnight" that Monk recorded for Riverside before he made the take finally released.

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. Not many times in the history of recorded jazz that you get to look behind the scenes like this;.

how about those multiple alternates of a blues number (Upstairs?/Downstairs?)on "Fuschia swing song" by Sam Rivers, you get a real sense of progress towards the finished article.

As I noted above I was intrigued to hear Levy use electric piano only on the last alternate take (before the master) , wonder why he tried it.....oh that's creativity for you....

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As I noted above I was intrigued to hear Levy use electric piano only on the last alternate take (before the master) , wonder why he tried it.....oh that's creativity for you....

That recording of "Good One" was recorded after a couple of versions of "A Time For Love", as indicated by the take numbers. Lou simply stayed on the Rhodes for take 9.

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As I noted above I was intrigued to hear Levy use electric piano only on the last alternate take (before the master) , wonder why he tried it.....oh that's creativity for you....

That recording of "Good One" was recorded after a couple of versions of "A Time For Love", as indicated by the take numbers. Lou simply stayed on the Rhodes for take 9.

was there a run down on this on this thread or somewhere closeby? I can't seem to find it now. I hope it's part of the linernotes.

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That would be cool. (so we now what we missed out on... ;) )

I just found back your post from feb 20 in this very thread (link), which shows some of what I was thinking of.

I think I mixed this up with some linernotes I read recently of a completely unrelated CD. Sorry for that, but please, do bring it on Chuck!

Edited by couw
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Friday, Feb. 20, 1976

Takes

1 Lunarcy

2 I Have a Good One (fs)

3 I Have a Good One (fs)

4 I Have a Good One

5 I Have a Good One

6 I Have a Good One

7 A Time For Love

8 A Time For Love

9 I Have A Good One

10 317 E 32nd (incomplete)

11 317 E 32nd

12 Background Music

Saturday, Feb. 21, 1976

13 I Have a Good One

14 On Purpose

15 On Purpose

16 On Purpose

17 Subconscious-Lee (fs)

18 Subconscious-Lee

19 A Time For Love (incomplete)

20 317 E 32nd (fs)

21 317 E 32nd (incomplete)

22 317 E 32nd

23 Background Music (incomplete)

24 Background Music

25 Lunarcy

26 Easy Living

27 Easy Living (incomplete)

28 Easy Living

29 A Time For Love (fs)

30 A Time For Love (incomplete)

31 A Time For Love (incomplete)

Edited by Chuck Nessa
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Hey, I'm extremely happy you didn't throw in all the extra stuff but used some discretion instead--I really hate the baggy monsters that Columbia &c like to make out of reissues. The "Good One" takes are a very interesting sequence--you can hear them trying out diffierent approaches (halftime vs walking on the head, e.g.); & you can hear that Marsh's obliquity on the opening cadenza is giving the others a little trouble in finding "one", so he straightens his approach on the intro out on the later takes (#9 in particular). I like Marsh's solo on take 5 a lot, though eventually the musicians get out of sync.

Anyway, a really welcome reissue. The doubletime section of "Lunarcy" is pretty scary! & "Easy Living" is one of Marsh's best ballad readings I've heard.

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I am listening to this one at this very moment. I was struck by the buzzing beeline Marsh takes on the head of the first track. His soloing (the little I have heard) I find has this quality of going in, backing up, circling, and falling on top; he continually seems to pushing and stretching and I like that a lot. But as he is doing it on the theme statement of the head I can indeed imagine the other players not finding his "one" that easily. I'm looking forward to hear the rest of this disk.

thus far :tup

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I am listening to this one at this very moment. I was struck by the buzzing beeline Marsh takes on the head of the first track. His soloing (the little I have heard) I find has this quality of going in, backing up, circling, and falling on top; he continually seems to pushing and stretching and I like that a lot. But as he is doing it on the theme statement of the head I can indeed imagine the other players not finding his "one" that easily. I'm looking forward to hear the rest of this disk.

thus far :tup

So you finally got it. Any idea why it took so long?

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So you finally got it. Any idea why it took so long?

none. no customs tag or re-sealing, nothing whatsoever. So it must have been the mail service somewhere along the long line.

I'm glad it's here now though, as I am really digging this Marsh disk.

Yep, it's great, no doubt about it :tup

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