Chuck Nessa

Just like the "originals" on vinyl.

Harry Nilsson Carl Nielsen Emmett Carls

I would have thought your mind was worth more than that. Obviously not at this point.

The Blue Things The Pretty Things Pretty Flamingo Pretty Purdie Ken Purdy Ken (Barbie's friend)

Might sell mind for 148. And I might throw in an lp of it.

Grilling sausage tonight. Not code.

That's the reason I'd never try it.

Went to Starbucks in search of Ella and Paul but it isn't in stock yet.

Sorry, some performances demand a response. Few, but real.

Reflective tape on body parts is common in Michigan. Just don't cover the duct tape.

g_d these liner notes made me think of "jewish intellectual on acid trying to be hip". i guess i should re-read. Not a bad assessment. He was one "piece of work".

Might that be The Chase? And, could you elaborate on the Byas situation............ Here is a slightly edited version of the story (originally sent to Sangrey). The Chase We were living in Madison in the early '70s and made frequent trips to Chicago and saw Dexter twice in one year that I remember. Gordon played one of Joe Segal's "Charlie Parker Month" gigs and he was back for "The Chase". Joe was then holding his events at the North Park Hotel (across Clark St from the Lincoln Park Zoo) in a large space that reminded me of a high school lunch room. Stage (risers really) at the North end and a bar in the Southwest corner. It was a long laborious trek through the rows of folding chairs to get a drink. I think Joe was only doing Sundays then, maybe whole weekends but I remember Sundays. Anyway these Sundays consisted of afternoon show around 2, dinner break and an evening show. I remember, the night of the July/Bird gig, going to dinner at a Mexican place down the street. Imagine this table with the following dinner companions; Dan Morgenstern, Red Rodney, Dexter, Roy Haynes and Ira Gitler. But you wanted to hear about the "Chase" gig. Joe ran those things with his wife and a couple of his kids helping out. I arrived about 90 minutes early (must have made great time on the expressway). Joe met me at the door and said something like "Great, someone who knows something. Prestige wants this recorded and I hired an engineer but I'm here all alone and I have to work the door. Will you take charge of the recording. So I look inside to find my old friend Leon Kelert fiddling with a tape machine. Leon was some sort of electrical engineer, trad band fanatic, record collector and proprietor of Blackbird Records. He had a semi-pro Concord tape machine and had recorded a few dixie dates for his own label. I'm sure Joe hired him on the cheap and pocketed the money Prestige sent for a "real" engineer. Anyway, Leon was in over his head and knew it. He was as happy to see me as Joe was. Leon had the recorder set up on the right edge of the stage, no playback facilities and only a cheap pair of headphones. Since the sound of the band would overpower the headphones, I decided my best chance was to have as thorough a sound check as I could get for balances and just watch the VU meters. Oh yeah, I moved the recorder off the risers and set it on a folding chair or something. The show was 3 tenors - Jug, Dexter and Byas. Joe told me we would not be recording Byas since Don and Prestige had not come to terms. Later that day Morgenstern told me Byas was pissed at Prestige for not paying him for material they licensed from Swing and MPS. The format was a continuous program of tenors rotating in quartet and quintet formats, sort of "round robin" style. Because of the format, Joe had hired 2 rhythm sections, or they would have played for hours at a time. Of course the place was packed with a rowdy Chicago crowd and Byas took the stage to announce there were 2 thieves at the edge of the stage and asked the audience to police us while he was on stage. This became an ongoing "joke" throughout the day and by the end of the evening Byas was plying me with Courvoisier, back at the bar, an exhorting me to punch him in the stomach so I could see just how tough he was. We rolled tape when the other guys played, both afternoon and night. I watched the dials and Leon sat there with his headphones, shaking his head from side to side. In the evening, during a fantastic version of "Lonesome Lover Blues" (or what passed for it) a drunk tripped over our power cord and unplugged the machine. At the end of the piece, a delighted Jug, wiping his brow with a bar towel, looked over at me and said "How's it goin' fellas?". I held up 2 fingers, he stared at me for a few seconds and turned to the mike. Then Jug said "the man says we have to do it again". Dexter chuckled and the crowd went wild. When the record came out I was relieved to discover the sound was better than I feared. I never expected to be paid anything but was really bummed there was no "thank you" or any mention on the record. Leon Kelert died a few years ago and Koester bought the "estate" from Leon's sister. The estate was comprised of Leon's record collection and the Blackbird tapes. Among the tapes Bob found some "out takes" of the session and turned them over to Fantasy with the understanding I receive some credit on the cd.

Wired?

Probably 'cause I was involved, Dex and Jug on Prestige. Really a shame Byas wouldn't let us record his participation.

Listening to/recording the Cecil/Braxton broadcast and sipping Johnny Walker Red. Shit, I just lost the broadcast!

You might be interested to know the cd version adds "A Kiss to Build a Dream On", "Gone With the Wind" and "Laura" for a total time of 69:26.

Texas Twister is a favorite. Also on New World is Jay McShann's "Going to Kansas City" with Tate, Julian Dash, Gene Ramey and Gus Johnson - very nice. I suggest "The Ballad Artistry of Buddy Tate" on Sackville - with Ed Bickert's trio. I also recommend all the material on Prestige/Swingville, though they seem to be disappearing. The twofer called "Buddy and Claude" is gone from the Concord site and some of the others are only listed there.

and shoplifters spread the wealth.

Possibly because you can still hear the music in your head.

Boy, there's a legacy to build on.

While you're largely correct, I can think of some odd exceptions. 1) There was a series of funk jazz albums on Inner City that involved graduates of Miles Davis's '70 bands: Mtume playing with Hubert Eaves (? I think that was the name)...there were others, too, if I remember the names, I will amend here. They were very bland funk albums. 2) There was an odd album, also on Inner City, called "The Three", a trio of Joe Sample, Ray Brown and Shelly Manne (well, they are all West Coast guys). Now on eMusic: The Three 3) Alphonse Mouzon was in Weather Report, then made many fusion/dance albums on MPS. 4) Idris Muhammad seems like a guy who went the other direction: from a dance/fusion focus to becoming a respected Jazz drummer. One thing you don't seem to know. Most (not all) Inner City releases were licensed from companies outside the US. Others were licensed from "producers" in the US. They made choices by imagined "sales potential" and that's the truff.

Understanding "context" is everything.

---> edc i useta have most Craft on vinyl; Kajanus on vinyl, then-- shit-- a Koch cd set or was it Finlandia? that old coot from Penguin, Robert Layton, is a little better on Sibelius & Nielsen, i think he touted Kajanus, Beecham too. So, wtf does that mean?

Phil's been goofy since 1956.

about the johnston: i wonder if the conductor counts off the beats of music silence. i am quite being serious. a live performance would be interesting. planned measured silences in music can be powerful. i do hope we respect this powerful item, and are even occasionally moved by it. Since it is a quartet, the first violin probably gave the cues.