Chuck Nessa

First cd I heard (early '83) was a Philips disc by Art Blakey.

Couple of points: The AACM did have "critical coverage" at home. Remember Down Beat is based there, and at least 2 daily newspapers wrote about them. I first became aware of Muhal, etc. thanks to a Pete Welding concert review in DB. That piece prompted me to look them up as soon as I moved to Chicago. The "elders" in Chicago such as Von and Fred didn't need records in the marketplace to be held in high esteem by the younger musicians. One BIG reason the first tier of AACMers went to NY was to lose the mantle of being "local musicians" and all the baggage that comes with that tag. After making the move they could return home and command higher fees.

More than anything, I think it is the "laid back" feeling.

Shortly after the lp issue of "The Rajah" and Mobley's "Far Away Lands", I ran into Kenny Washington at the Jazz Record Mart. He asked me about recent records that turned me on. I mentioned the Mobley session and he stopped me. He dissed Donald Byrd on this session and said "all the guys in New York are digging the Lee side". After this I relistened to "The Rajah" and see it as a sequel to "Lee-Way". Thank you Kenny.

Beyond Braxton and Lacy (more solo recordings than I can digest and be coherent)my favorites remain Evan Parker's Monoceros (direct to disc lp) and the "live" solo portions of Roscoe's Nonaah on my label. Don't know if the Parker is on cd and to my shame, Roscoe's is not. In another thread I sang the praises of RM's Sound Songs, and repeat that recommendation here. I'm sure I'll think of others later.........

Not sure when he started using "cues" etc, but Roscoe Mitchell's 1975 Sackville quartet recording has a version of his composition "Cards".

Not fair for me to say since I have not heard the tapes.

Someone told me at the time, more material was recorded at the sessions for Vol. 1. I'm not sure there was enough for another lp. Someone else told me the unissued material had major intonation problems courtesy of one of the bass players.

Which one of you won that argument?

Three months after Air Time the band recorded their first Arista/Novus lp. The contract was already signed when we made our record. The title was Open Air Suit. The back of the jacket depicts playing cards fanned out with the graphic from the poster (in my cover) on the cards. Each tune listing has a hand signal in front of the title. I wish I had a scanner to show you. Much hocus pocus in the liner notes about the tunes as related to cards, suits, etc. The cover of the lp was a painting of a mandrill displaying his colorful butt.

You should have ordered it from me.

Sex? Who mentioned sex? If that's important, let me mention Keep A Knockin' (but 'cha can't come in)! Come back tomorrow night and try it again.

No, I'm sure Jim believes what you do is your life......and nobody's life is easy. Lou done a great job.

While we can all quibble about details (and personal prejudices) I think we all owe AMG and Mr. Yanow a debt of gratitude. We all have personal feelings about certain records: Maybe you got your first lay as a result of Spiritual Unity.... BUT this is a great source of info and Scott is a decent guide through 75 years of music. Some of the later entries by others are suspect.

I don't have a fuckin' clue.

Yes, Steve was a stickler about tuning his drums. I spent extra time making sure we captured all his sounds and gradations in the recording AND mixing of this date.

Better than if it had been intonined or intotenned. The mind reels at the possibilities.

Dan, get the Weinstock interview! If Cadence passes, someone else will be interested. If you contact Ira Sullivan feel free to use my name. It may help. If you have difficulty contacting him, I can help with that.

Chuck, could you please elaborate on this, or did I overlook some your comments on this earlier in this thread? Thanks a lot! Not sure what you want elaborated. I thought the earlier unquoted portion of the post set these sentences up, but......... Maybe my meaning will be clearer if you go back to Kart's post beginning with 'Jim, when you say, "I wonder how much of our differing views on the cat is chronological in nature," you're right.'

My sentence: was meant to include this. I meant a broader area than this - you can't lay a musician's commercial decisions at the feet of labels/producers. Availability of gigs has something to do with it too. In today's conservative musical scene, it would take a very strong individual to strike out in new directions. Most musicians do what they can, only a select few individuals are willing or able to "follow their muse".

Thanks for posting. Hadn't been there in a while and missed the topic.

Will they deduct the VAT for US customers?

As I recall, there was a score for Subtraction (primarily a composed piece). I don't remember the details of the notation, but it was on music paper.

As long as we're being nosy - might we ask which titles they were interested in?? Just curious... If memory still serves, they wanted to license the whole catalog.

You ignore commercial considerations.