Chuck Nessa

Bad idea. I think the organ mentions in the general music postings spreads the word and encourages "non organ specialists" to check out things they might not otherwise consider.

Visits to the Plugged Nickel were few and far between - It cost bucks and I had few as a student, and maybe fewer as a JRM/Delmark employee. Two trips to the PN from Iowa City were in the company of JR Monterose to see the Coltrane quartet. JR and Elvin were tight. We would spend the night in Chicago so we could take in 2 nights of the "classic quartet". One time the band assembled on stage sans Elvin. Trane looked around the club for him, dismissed Garrison and Tyner, sat down at the piano and lit his pipe. He played chords for about ten minutes before Elvin stumbled in the front door. It was obvious Elvin was feeling no pain. Trane motioned to the drums and Elvin sheepishly got into position. Trane kicked off (maybe) Impressions at a furious tempo and worked Elvin for (possibly) a half hour. I've never seen anyone sweat as much as Elvin that night, but by the end of the performance he was flying. The last time I saw Coltrane was also at the Nickel with Alice, Pharoah, Garrison and Ali. Other groups I heard there included Horace Silver, Jimmy Smith, Monk, Wes Montgomery and lastly Miles. In the late summer of '68, just before moving to Bloomington, IN, I went to the Nickel for the last time to see Miles. The group included Wayne, Dave Holland, Tony and Chick (making his first gig on the road with the band). Chick looked scared to death - afraid to play chords behind Miles. At intermission Joe Segal motioned to join him at the bar. When I got there he introduced me to Miles as a record producer. Miles grinned ear to ear, extended his hand, grabbed by forearm with his left hand, and whispered "Step outside M-F, and I'll break your arm". Then he chuckled and slapped me on the back. Miles was in a playful mood because he was marrying "Mademoiselle Mabry" later that night. Roscoe, Muhal, Braxton, Jarman had reasonable local followings, but not enough to support them. The description of the local scene is too complex to get into now, but I may come back to it later. Remind me later. I left JRM/Delmark because of a personality conflict with Bob. He had a habit of exploding and throwing tantrums at the least provocation. Once because he didn't like the way I opened mail (neatly sliced edges led him to believe the envelope was unopened - he wanted them ripped open) and another time because I threw away an old, old piece of carbon paper. The following story is the event sparking my departure. I had convinced the Chicago Sun-Times a piece on the AACM would be a good idea. They assigned a young female reporter to accompany me to a Sunday night concert. We agreed to meet at the JRM. When she arrived I introduced her to Bob and he chose that moment to explode and rip my guts out because a light bulb was burned out. I decided at the concert I could not return to work. All this paints an ugly portrait of a guy I have tons of respect/love for. I regret that, but it was the way it was.

Yikes!

After all the above, I don't know what to say. I think the interviews listed above cover most of the info. If anyone wants more specific questions answered, I'll try my best. I was a lucky guy in the right place.

Sorry, just enjoy the music. That is the point after all is said and done.

I think the Schaap version sounds like SHIT! Great music and we will not get it presented properly for another 5 years since they decided to issue this crap. There is no reason for all the noise, and his liners about the history of the recordings is "fanciful" at best. I think this reissue is a major flaw in the Sony program.

SHIT, I thought this was about what was going on musically in Chicago during those years. History was being made you know. Turns out to be about a pop band (possibly - rumors everywhere in town) about a mob sponsored rock band. Guess I don't know what time it is.

I spotted at least 2 who might become 2 o'clock dates. Get me outa this place! And buy a round for the band.

Into a heavy Earl Hines thing - Grand Reunion, Solo, Plays George Gershwin (Swaggie), Australian Sessions and finally Guy Lafitte - Corps et Ame. Next up, Cubs/Braves game 3.

This should be interesting.

Don Ferrara - tpt, Sal Mosca - p, Peter Ind - b, Shadow Wilson - d.

Dude, if that actually happens it will begin raining frogs shortly thereafter and then the plague of locusts will come.... I've got a big pot ready to boil them frogs legs.

I always liked girls who wore the hair off.

As the photo loaded, I thought you'd posted a picture of a zebra's ass. Close, but no cigar for me.

If it is legit you should be able to find it on the Microsoft site. If it ain't there, avoid it.

Chris, you were there 20+ years before me. You must have stories about Weinstock/Rudy. Please tell us.

I see they've copied 17 tracks from the Uptown Mingus disc. Bastards!

Twenty-something years ago I talked with Rudy about the differences between BN, Prestige, Savoy, Verve, Impulse, CTI and Muse. This was before the beatification of BN. This occasion was my "audition", to see if RVG would accept me as a client. He was in semi-retirement. Willis Jackson's "Single Action" was the project that day. I continued my probes on subsequent sessions with him. He said Alfred had very strong opinions about the sound he wanted and he did everything possible to meet his demands. Alfred also showed up to supervise the lp mastering - no other producer did that. The rest of this post is "my interpretation" of other things he said. Weinstock (copying BN's move to RVG) wanted it cheap and fast, as did Savoy. Alfred wanted stronger drums than the other two. The producers seemed to get what they requested, unless it was something developed by one of the others. Rudy said he never tried out new equipment on Lion, but did first runs on Prestige dates 'cause Bob wouldn't notice/care. He took it to BN when he felt comfortable with it. Talking to Rudy about this stuff was like asking a lawyer about a client's files. At the end of one session when I asked what I owed him he said "I always handed Alfred a blank invoice and he filled it in. Here - fill yours out". I declined and handed the clipboard back to him. No way could I pay what I owed him.

Page 346.

Cubs have been my team since the late '50s and the Red Sox have been the only AL team I've cared about since the early '70s when I drank untold quantities of beer in the Fenway bleachers. Let me dream a few days.

16-2 Billy Taylor: Trio, vol 1 and Trio, vol 2 16-5 was completed with Phil Woods: Sugan

So Long Eric was on the previous issue, mislabeled as Good Bye Pork Pie Hat.

The new reissue has a version of ATFW not on the previous lp or cd issues.

I can tell. AND I do be into buts.

Somewhere ( in a Down Beat Yearbook, I think) I have a photo of the band. I don't think jj made any/many gigs. No recordings I can think of. While I can appreciate Mr. Johnson's technique, I don't think he could add anything beyond harmony to this band, and his solos would detract from the whole.