Chuck Nessa

As much as I love Wardell, I tend to believe the junkie stories. His playing changed markedly in the last years, with greatly reduced mental and physical facility, IMO (obviously not proof of anything). And, as I recall from the Ravett film, Clark Terry alludes to Wardell using. (If I'm wrong about this latter point - it's been years since I've seen the film - my apologies.) In what might be a rare display of discretion on my part, I never asked his widow before she passed. ("One of his widows/ex-wives", I suppose...) FWIW, JR Monterose told me Wardell got high in his hotel room, started jumping on his bed, fell off and broke his neck. Friends in the room drove him to the desert so they wouldn't be involved.

No complaints from me about Creed.

I have some connections to get anyone on this board "scrapings from the bottom of the barrel" for a few bucks.

I clean my kitchen with a "Bessie Smith" model broom. It is wonderful.

here

An amazing number anyway.

Good for you!

Maybe it just had sex. Otherwise forget it. This is where dead voices gather.

Make choices, live with them.

Geez!

Whatever. Shirley Horn is in my top 5. Now I have to think about numbers 3 and 4!

Up for all the right reasons.

For some reason photo editors and graphic designers want the subject to be looking to their left, your right. And that's da troof.

I can't know what I don't know so I don't worry. I am grateful for what I do know and what I might know in the future. I can't really know all the recordings I already have. I will never completely know the Beethoven sonatas as played by Schnabel or the early recordings of King Oliver. I am grateful for the mysteries to be explored in these recordings.

Many thanks Chris. Knew Lin a bit in Chicago - he said he had a Riverside date (w/Kenny Dorham aboard) that was canceled because everyone was so messed up. JR Monterose told me a Sonny Clark story. He said the two of them got high and nodded off. When Sonny woke up, and noticed the gallon jug of wine he was holding was now stuck on his thumb and Sonny freaked out. He had some sort of "heart attack" or seizure trying to pull it off. Can't vouch for either story though I could not see any reason for either of them to fabricate.

But the copyright does not need to remain with Universal in order for this to happen. Mosaic could do this if the music were in the public domain. There does not seem to be any sense of urgency whatsoever among the jazz community, or at least this board, that something will be lost (some things already lost) if nothing ever goes into the public domain. I must be looking at these issues from a completely different vantage point when I see in my culture (Cajun) the urgency of preserving and remembering our folk art rather than letting "the market" decide what gets sold and what gets forgotten and allowed to just disappear. From the 1960s on there have been deliberate, conscious efforts by musicians to help the Cajun French language and culture survive through the appreciation of our folk art. It may sound like an idealistic dream to you, but it is not to me and many people in Louisiana. Having the music available is part and parcel of instilling pride, enough pride to make efforts to keep our heritage. The music needs to be heard by people within the culture, not forgotten or thrown away because it has no profitable market. Maybe no one feels this way about jazz music, but there are other perspectives and other needs that can be best met by the public domain rather than private ownership. Who said I favor the 50 year rule? I don't. I hope you hold copyright for your lifetime and that you continue with your contracts. I can put emoticon frowns, too, at your apparent lack of concern for the survival of my culture, if I wanted to twist things the way you are twisting my arguments. Freeloader indeed! Not every argument for the public domain is some kind of weaselly clause used by freeloaders/. My "freeloader" comment was referring to the labels issuing recordings sans royalties, not you.

Which sets displease you?

What about others without "windfall profits"? Under the 50 year rule, my first sessions will become PD in 6 years. I still pay royalties on these recordings and the PD folks won't have to. The creators of the works lose. Someone can issue this stuff without my contractual obligations. My issues, at this point, will cost me a couple of bucks per copy more than the "freeloaders". Do you think you will get the best possible transfers/mastering then?

Mosaic issued the 1952 items before in their first Getz set.

Savoy/Denon.

Can't make up my mind - licker or lickee. Both sound good. Technical assistance not needed here. I found a way to be both!

Kind of weird to see "wow" from you in a sports thead.

I love it when we talk to ourselves on the board.