Chuck Nessa

The question: "I was curious about your thoughts on the Braxton disc you're coming out with. Braxton has so many records on the market, I was wondering why you think this one is special. I was going to ask you in a forum, but didn't want to put you on the spot. Thanks." I have known Anthony Braxton since 1967 and have always admired him as a musician and my admiration of his music (a different thing) has grown through the years. My usual plan is to record/issue ignored music I think is worth exposing. For years (and now) Anthony's music has been documented as fast as the public can absorb, or faster. A while back I was offered the duo session with John McDonough (completely unknown in the regular circles). I have lived with the recording for about a year and have listened to the music more than anyone including the participants. I finally decided this was a special, intimate performance and needed to be heard. The musical interchange is special to my way of thinking. The most recent Anthony Braxton releases getting attention are also duos, with Joe Morris and Gerry Hemingway - these are both 4 disc sets of "free improvisations" and are wonderful but the size of these (and other) recent releases are a bit off putting to some. My release (recorded around the same time) is a single disc with one long improvisation, compositions by both of the participants and finally a march by John Phillip Sousa. I thought this program might be a good way into Anthony's other releases and might convince some doubters. I also am proud to introduce Mr. McDonough to folks not knowing him. Thanks for the time.

Once again Al is alone on some island.

G'bye Blake.

The camera probably would show otherwise but that just shows something else.

The smell of that hair means she slept alone.

A posting from Michael Orlove's facebook page: First off, let me say how lucky I feel to have such an incredible ‘family’ out there. This viral outpouring of support has been overwhelming and humbling to say the least. THANK YOU!!! The last couple weeks here have been quite difficult especially having to watch many of my beloved colleagues go through this entire ordeal. It is hard to explain or understand why this all happened but numerous dedicated and creative employees of the Department of Cultural Affairs have been terminated. I am fortunate to have the option of joining the Chicago Tourism Fund starting January 1 (2011). In this economy I feel extremely lucky. I am no longer a City of Chicago employee but (as far as I know) remain 100% involved in organizing events at Millennium Park, Chicago Cultural Center, Chicago SummerDance, World Music Festival, etc. along with the incredibly talented team of Brian Keigher, Carlos Tortolero and Helen Vasey in the new year. Not the way I wanted to end 2010 but hopeful that next year could be even better. Thanks again for the enormous show of support…I am moved beyond words. Happy Holidays to all of you. Peace, Love & Music!

The real point of the article seems to be the turf battle resulted in the best people gone.

Hard to believe I know 2 John McDonoughs. Boy are they different.

A fellow Iowan.

When I saw the title of the thread Julie and Dexter popped into my head.

I have all the music too (for over 40 years) but will get the box - partly for the sound and partly to support Mosaic. My ears are pretty good.

Why ship them to California? Aren't you dropping into the sea?

I only spent 2 days in the same room with Mr. Hammond and the Ferguson piece rings true. Edit to say Leonard Feather was there too.

Not now.

Yes I have but it is not a fair comparison because lots of things changed in the years since the box was made. Besides the bit rate, tape machine, equalization and software used are different.

The Corigliano I've heard sounded irritating. What should I hear?

u so smart.

Heard fewer than 10. That's why I didn't join in. I spend most of my money making new issues (new and reissues). :-(

You could not make the journey.

No

Looks like everyone watched the video.