Chuck Nessa

Idiotic time frame.

PayPal or mailing address? I'm in.

Big Chief Russell Moore.

Not sure I would read 'em.

O'Henry Ernie Henry Ernie Banks

Thanks John.

Need I say I have sweaters older than............

Sorry.

I remember when (in about 1980) Bob Koester (owner of Delmark) asked me how we were expected to compete with budget reissues of Miles, Rollins, etc. He was referring to relatively cheap releases by Fantasy and CBS. Now, after the free download revolution, we have to compete with 8 lps on 4 cds without royalties. New music will suffer. How can any new, or even living, artist have a chance?

Glad you had a fine time. Only musician you mentioned I am really familiar with is Cam Brown. First heard him in the Brian Trentham group at the Notre Dame Jazz Festival in 1964 (?). Next time I saw his name was in the personnel listing on a Saba lp by George Russell. Trentham was there too. Guess I am officially an old fart, out of touch.

I went back to the 24 track masters and remixed it for cd. I prefer the cd mix but the lp sounds fine too.

Sounds similar to restrictions on Dreamboard.

Dang!

Fascinating piece John. Thanks for the link.

The issues seem to be legit. You can make your own judgement on Jazz Loft.

I seem to have scared off the usual suspects. I will be reissuing all the Russell material next year. You have been warned.

Play it as loud as you dare.

I will wait for Larry to put this in the contemporary Chicago context. Back in the '60s Hal was one third of the Joe Daley trio. This was the first public display of the Ornette influence in Chicago and they had an RCA lp to spread the word. Hal and band mate Russell Thorne eventually turned against (the less adventurous) Daley. I saw/heard the Daley Trio (with Clyde Flowers on bass) at the '65 Down Beat Festival in Soldier Field. My next encounter with Hal was a John Klemmer gig in Old Town in 1966/67. The rest of the band was Bebop Sam Thomas on guitar and Malachi Favors on bass. I tried to communicate with Hal but he seemed intimidated and withdrawn. Joe went on to establish a large following and group of students among the white bop influenced players in town - he was a masterful player. Thorne dropped out and eventually resurfaced as the owner of a book store specializing in the occult. Hal went on to make a decent living playing in shows for "dinner theater" and eventually collected a number of young forward looking musicians to realize his dreams. By the time we connected in the late '70s his NRG Ensemble included Steve Hunt, Brian Sandstrom, Curt Bley and Chuck Burdelik. As I understood it, Burdelik was a replacement for the departed Mars Williams. All of these players were wonderfully inventive musicians with excellent technique. In May of 1981 we made the first NRG recording to no acclaim and fewer sales. In the Fall of 1981 Mars was back in town (after touring with The Waitresses) and Hal mentioned they were jamming in his attic with great results. I suggested a recording session and they agreed. Hal, Mars and I went into Mike Rasfeld's Acme Studio and we rolled tape (4 reels) of pure improvisations. Mars and Michael Lytle eventually edited the material down to seven pieces of lp length. By the time the project was finishing, Mars was a member of the Psychedelic Furs and was in England working on a release with that band. Mars took advantage of the situation and finished the masters with engineer/producer Howard Gray at Manor Studios. This record was issued to nasty reviews and fewer sales than the NRG record. A year later I had been discussing a new project with Hal and he mentionrd he had a number of charts with baritone parts Mars used to play. I knew Charles Tyler would be in town for the Chicago Jazz Festival and suggested he could play the bari parts. Hal seemed unfamiliar with Tyler but I knew Hal loved Ayler so I made the connection and Hal agreed. I contacted Charles and he agreed to stay on for a couple days of rehearsal and recording. We recorded Generation on September 9,1982. I have a very personal attachment to these recordings and understand it is a minority opinion. I get to do that. edit to clean up typos

Don't know anything about it. I am out in left field.

dang.

How can labels currently paying artists, studios, engineers, note writers, etc compete with cheap xeroxes of other peoples work? Death to those few still trying.

An extension of listing "broadcasts". edit for typo