Chuck Nessa

No thanks. I have a severe fear of heights and this canyon beckoned me to jump. I walked away from the edge quickly and told Ann I would not return. I did say it scared the shit out of me.

Taking this thread in a different direction, I have a recommendation for all travelers in the West. Do not ignore the Black Canyon National Park! It is just east of Montrose, Colorado. This place scared the shit out of me and left the biggest impression. The photos on the official website do not do it justice. The walls are so sheer and the canyon so deep, some of it has never seen daylight. We arrived just before sunset and found the others there (very few people in the park) whispering to each other - it has that kind of effect.

I think the poll as listed is unfair. I like Andrew a lot, but am not sure where he would rank in my top 50 list. AH is a fine, serious artist but I'm not sure he belongs above any number of artists recorded in the 75+ years of jazz history. The '20s produced a shitload of great keyboard artists and each following decade produced more. I think Earl Hines takes up about 5 spaces in my top 50.

Vacation was GREAT! I gamble enough with my label, and did not spend a dime on games of chance in Vegas. My wife Ann threw away some quarters, but that's it. Thanks to Catesta and Riverrat for suggestions before we left. We met some list members on the way and extend a special thanks to Jim and Brenda Sangrey - some damn fine folks.

I might be able to get you a gig as a "strong man tag team" locally - no need to haul those bulky instruments.

I can guarantee whatever is contained in their set is dubbed from Sony/Columbia sources. These guys (Fresh Sounds/Definitive/Jazz Factory) are the sleaziest type around.

Pianist Rene Urtreger is the only "non american" on the date.

Just want to point out the music does not get better with the increase of bits. (Supposed) music fans forget this and spend more and more money for the same stuff. I suggest you buy technology every 20+ years, and music constantly.

Not meaning to burst a bubble, but wasn't this recorded in 1960?

Absolutely last call. My local post office closes at 4:30 tomorrow, and we leave on vacation at 5. I'll be back online on July 14. Thanks to all taking part. It will contribute to the reissue of my Warne Marsh material.

This is the time of electric instruments, and the bass players responded with pick-ups. This gave them equal footing with the rest of the band, and it went to their heads. Silly bass players started asking engineers for the electric sound and the engineers started taking the sound directly into the board. Bass players also found they could get a decent "direct/amp" sound on cheap instruments and forgot about the "real" sound of a good instrument. I heard a story from Cuscuna where he asked for miking of the bass and the engineer said "Have you ever heard Buster's bass?" In 1979 when I recorded Leo Smith's "Spirit Catcher" at Rudy's, Wes Brown caused a minor crisis 'cause his bass didn't have a pick-up. Rudy automatically tried to attach one and Wes stopped him. Rudy went in the back and found a lavaliere mike no one had ever seen, and all were happy. Wes asked Rudy what is was, and Rudy said "ask Chuck".

First of all, Kenneth Terroade had his own record on Byg/Actuel and is sideman on a bunch. He's originally from Jamaica and a Google search will reveal some info. All of the Ornette/loft pictures mentioned were taken at Ornette's place on Prince Street. A number of the photos are included in the original vinyl of "Friends and Neighbors" - don't know about the cd versions. Three or four photos from Prince St. are reproduced in "A Harmolodic Life" including one of Ornette and Braxton playing pool.

With what retail pays, any store is lucky to find clerks who can tie their shoes.

The Storyvilles are all worth owning. Try the trio first, then Vol 2 with Konitz.

There's a box we can all hum to.

My guess is these 1 minute "spacers" were there to keep the extras away from the originals.

I have nominated Catesta to select for the week of June 28-July 5, and he has accepted.

When Revenant licensed the material the masters they received were dubs from vinyl. They were unhappy about this and used Japanese cds issued by Tokuma as source material. The Japanese cds had the extra material. Revenant had already printed the packages and elected to use them rather than take a loss on the printing.

My best deal was coming home in 1973. Ann, my wife had been to a garage sale and presented me with near mint originals of Kenny Drew's Undercurrent and Horace Parlan's Speakin' My Piece. She paid fifty cents for them.

Chris wins, hands down. No contest. If it is "take b", he can endow the list.

I'm a bit shocked by the few responses to this disc. In the early '60s, while in college, this record was owned and played often by almost everyone I knew - it was huge. I thought the front line alone would attract attention. This is the last Waldron recording of his "first career". Booker and Dolphy are in perfect settings to show their best qualities (but why didn't Esmond Edwards ask for more takes of Warm Canto?). All the compositions are interesting and Rudy did a fine job recording the band. Even Mal's cigarette smoke (on the cover) intrigued me. I guess you had to be there. ANYWAY, I've nominated Catesta for the next AOTW. Maybe he'll have better luck. Oh yeah, I forgot to say Mal has Ron Carter on cello, where he can't hurt anyone.

The Colpix stuff is an EMI/BN effort.

I believe he also had a place, at least a phone number, in Seattle.

He was living, and teaching, in Cathlamet, Washington. In the late '70s or early '80s he toured with Earl Hines. I remember them appearing in Chicago.

Again, I bought it cheaply as a Barnes and Noble close out. A fine collection.