Chuck Nessa

When I saw the header I hoped Pops had been left out. Thanks. Tough choice (it would have been easier for me if you included Henry Allen), but I decided on Roy for sentimental reasons.

These are "reasonable" big label transfers, but since I want more material I have gone elsewhere. For the time being, I have settled on the Classics and Neatworks (for the alternates). These give decent transfers and all the material.

Dickie Wells, Sam Nanton, JC Higginbotham, Bill Harris, Lawrance Brown - in that order.

Within the stylistic limitation, I can't vote. Jimmy Raney would get my vote, with Jimmy Gourley not far behind.

Amazing. In 1966 or '67, the Guess Who arrived at Delmark looking for a record deal (they thought they might contain enough Blues to attract the label). I declined and sent them to the Chicago office of RCA with a contact name. I guess it worked out for them, though I never heard back.

The Uptown cd will be available within the next couple of weeks. It is a package similar to the Uptown Mingus project, with a big booklet outside the jewel box. It contains 2 interviews with Eager by Ira Gitler and Bob Sunenblick. The music is astounding - Duels with Serge Chaloff, a quartet date with Dick Twardzik and an apartment jam with Bird. Mr E was looking forward to this release to reintroduce himself to the world, and his (almost) new home in California.

Also understand. you must take all "quotes" by Paul Bley with a grain of salt. Paul is an aquaintance of mine (for about 30 years) and though he's a great artist, he has agendas. The first one is Paul.

Sorry, Laimbeer made me alergic to the Pistons.

hey why not leave the girl alone. she seems a fragile sort, and could develop into something really important for BN and EMI. We are the beneficiaries of her success, as well.

In Bruckner, I'm a great fan of conductor Jascha Horenstein. He made relatively few commercial recording, but I've managed to collect Horenstein recordings of all of "the nine", and 2nd versions of 6, 8 and 9. A release by BBC Legends contains 8 and 9 recorded in the '70s. The recording of 8 is one of the most powerful performances of anything I've heard. Not note perfect, and decent '70s broadcast sound, but amazing. Though a completely different character, I also love the various recordings by Eugen Jochum. His 2nd series with Dresden is available in an inexpensive EMI box, but the DG series is good as well. Once you have favorite versions of the symphonies, it is very worthwhile to check out the budget series on Naxos by George Tintner. Many times he uses different versions of the pieces, and the differences are sometimes amazing. Tintner was an excellent Brucknerian.

Before this Bartok thread becomes a Janacek thread, let me add some recommendations. The Kocsis series is now up to 8 volumes, not counting the Concerti (which are my favorite versions). All of the Ivan Fischer orchestral discs are worthwhile. For the string quartets I prefer the Keller Quartet (cheap) or their teachers, the Vegh Quartet. Naxos has a number of good bargains including the Violin Sonatas, Concerti, Rhapsodies, Contrasts with Gyorgy Pauk and the piano concerti by Jando/Ligeti. The 2nd Violin concerto is one of my favorite pieces - my favorite by far is a recording from the early '50s by Ivry Gitlis with Horenstein conducting. This is available cheaply on a Vox double, as is a very worthwhile set of the "concerted" piano works with Gyorgy Sandor. Not currently in print, but if you can find the Ferenc Fricsay recording of the Divertimento (on a deleted DG disc), you will never take this piece for granted.

Roscoe's disc is called "The Bad Guys" and is on the Around Jazz/il manifesto label. It says "Live In Fano - Jazz by the Sea- July 2000". I have no idea of the availability or who might distribute it. Roscoe sent me this copy. The Pinnock box was only $30, so I can live with 'em all.

No chance to listen yet. I just opened the boxes. I also received a new (Italian) disc by Roscoe Mitchell and the Note Factory (Leo Smith is the trumpeter on this one), and an 11 cd set of the Mozart symphonies by Trevor Pinnock. I'll be spinning new sides for a few days.

After some online speculation about the "health" of Okka, 2 new releases hit my door today. "Furniture Music" is a the first solo project by Ken Vandermark, and a group called Triage (Dave Rempis- alto/tenor, Jason Ajemian-bass, Tim Daisey-drums) is represented by a date called "Twenty Minute Cliff".

I would be delighted to find threads on Webern, Tommy Johnson, Billy Banks, Machaut, Berwald, Borodin, Red Allen, Tommy McClennan, Haydn, Horenstein, Furtwangler, Joseph Jarman, Elliot Carter, etc. I glaze over when discussions of early recordings center on transfers. Music first, technology after that. I do know this is a Jazz group, but the art-form has always expanded using techniques from other musics. Knowledge of some of these influences are invaluable. My good friend Duke Ellington said something about only 2 kinds of music - good and bad. PS. I have the audasity of calling Duke a good friend since that's how he addressed me on one occasion. Gimme that amount of slack.

I'm in knots waiting for you to expose yourself. In the meantime, I think I'll go to Windsor and tie one on.

OK folks, we have a 4 page thread, with 8 people posting. Lots of us only did it once (including me). This is really important. Let us hear from the rest of you. Step up to the plate.

Ah, forget it. Randy plays drums like the son of a tenor player!

Ed, first shot at mine for $10 plus postage. I will settle for the RVG B) .

This board is my internet home, BUT for me it is too locked into music from '55-65'. This is fine music, but only one decade. I really don't understand the "taste limits". Music be happnin' for thousands of years, and maybe into the future. Why only one decade. Branch out folks.

Or an open fifth, with a lemon twist.

I wonder if Babe's people have made tour information available to Verve. This reminds me, when Michael Cuscuna was preparing a series of Coltrane issues for Impulse in the late '70s', he made a presentation to the marketing crew, and a young exec stood up and said something like "If Coltrane is so important, why don't we do a 'direct to disc' date with him and back it up with a tour?"

No, it is pronounced "Par Tay".

I’m not sure we’ll ever see a color blind society – at least in the US. I have a bunch of rambling reflections to buttress this, so bear with me. I’m a typical white american. My father was half Norwegian, half Irish. My “Irish” grandmother had black kinky hair and olive skin – descended from the Spanish and Moorish survivors of the destruction of the Spanish armada, legend says. Anyway, my grandfather was disowned because he married a Catholic. My mother is from English stock, but her father was one quarter Cherokee (or Sioux). He was know as “Indian Charlie”. Born on a farm in central Iowa in 1944, we were considered Norwegian like the majority of our neighbors. The surrounding towns had population totals from 100 to 15,000. I remember in junior high, we had a basketball game in a town about 30 north. A fight broke out. The general consensus was “well, they’re all Germans, what do you expect?”. There were “Swedish towns”, “German towns”, etc. I remember a local real estate agent who’s name was always preceded by “that Frenchman”. He was never just Rex Purviance. One of the local grocery stores was owned by someone with the first name “that Jew”. No tv in my early years, so I remember being confused when I first saw an African American. No one in my experience looked like that. A bald headed, "shoe shine boy" on the capitol steps in Des Moines was my first Negro. I vaguely remember my father explaining the situation, but don’t have any memory of what he said. I was probably 5 or 6 at the time. Then a big lesson was delivered the Summer before eighth grade. I was attending school in Randall, a town of about 100 people. The school district was a K-12 deal, all in one building, not counting the gymnasium. There were 18 in my class, and we were the largest one. Such a small district had trouble attracting teachers and had to hire Mr Robert Graves in 1957. He was to coach and teach social studies. In a small district like that, coaching meant all sports the school participated in - baseball, girls softball, boys and girls basketball and dual gender track. This was a local scandal which built to a fevered pitch when someone (rumored to be our neighbor Milo Hovick) dumped brown dye in the local swimming pool. I remember local gossip about the difficulty Mr. Graves and his wife had trying to rent a home. They wound up in an apartment above Holm Hardware in Story City, but someone said Torb Holm would do anything for money. My parents never said a word about any of this but I remember riding in the car with my mom to Story City, to invite Mr and Mrs Graves to our house for dinner. They accepted, and other than saying something about the Graves' having a tough time, my parents never mentioned it again, that I recall. I grew to love jazz in high school, and when I went to the University of Iowa I got involved in the civil rights movement. I was preparing to leave, with a busload of others, for a week in Mississippi to register black voters, when we got word of the murders of James Chaney, Michael Schwerner, and Andrew Goodman. The organizers cancelled the trip. Two or three years later I moved to Chicago and started making records. Twenty years ago, we moved out of Chicago to our current abode, to finish raising the kids in a small town. We thought it would be good for them to get away, from what we saw, as bad influences. The town we moved to Whitehall, Michigan. The White River separates our town from Montague. Both towns combined have a total population under 10,000. The surrounding townships are densely populated. The area is supported by big manufacturing plants and tourism. Lots of beaches, sand dunes and boating. Any way – we bought a house and met the neighbors. About a month after moving, the guy across the street put up a “for sale” sign in his yard. When we asked him about it, he said he missed Montague. The guy was moving 2 miles away, to feel at home. Maybe more later. Forgive the ramble.

Volume 2 of the Monk has not been reissued on Black Lion either. The complete list of the 24 bit reissues can be viewed on the DA Music site, which offers them for sale at 13 euros.