Chuck Nessa

Listen to the original issues and then blame someone.

Huge corp pushing a singer/songwriter by spending huge bucks and bringing all the head honchos to Boston really intrigued me. The list of "invitees" (press, bookers, wholesale customers, etc) was very interesting. Add to that the pressure on the "artist" to impress these folks. The "machine" at the top of it's game. Guess you'd have to know the industry from the inside to understand. Maybe Chris A could explain.

In 1973, while a CBS/Columbia Records employee, all the NYC honchos brought BJ to Boston as an introduction. It was a private party at a hotel (25 or so guests) and BJ played piano/sang stuff from the first lp. It was an interesting sociological study. Chris might be able to shed more light on the mentality of the day.

Laz, (re:AE in the car) I do not think you should post impressions of the recordings with Phillip in your car unless you really know the stuff. Yes, the 2nd improv is better but..........................

The next time you heard of him was from.....................

Thanks.

Yes. Gor blesher, Guv! MG So, does he have his shades on backwards too? I can't imagine the difficulty of tying that tie!

This is one of my favorite Monk albums - sublime arrangements by Hall Overton. Loved it on vinyl, and was really happy to get the complete concert on CD. I agree with the praise for Overton's charts on this terrific set and the Riverside Town Hall concert but want to point out the "genius" was Monk's. The "arrangements" are transcriptions of Monk solos/chords/comps for multiple instruments with individual (piano) notes assigned to wind instruments. Overton was a fine "translator" but Monk is the MAN here.

I do remember seeing McPherson and Adams when I watched. Don't have time to watch again but the personnel of this concert must have been the basis of the tour: 50th Anniversary Concert/Live at Carnegie Hall - Newport Jazz Festival, July 1, 1978 Cat Anderson, Doc Cheatham (tp) Jimmy Maxwell, JoeNewman (tp,flhrn) Eddie Bert, John Gordon, Benny Powell (tb) Charles McPherson (as) EarL Warren (as,cl,fl) Arnett Cobb, Paul Moen (ts) Pepper Adams (bar) Lionel Hampton (vib,p,d, vcl) Ray Bryant (p) Billy Mackel (g) Chubby Jackson (b) Panama Francis (d) This was issued on Timeless and a few other labels.

No connection with the Swiss concern or any yogurt company.

She was Jimminy Smits' manager.

Most of the stuff was from Warwick. Much of it has been reissued by Fresh Sound. Check sessions by Fuller, Teddy Charles, etc for details. No time now.

Did a bit of research and can provide the following: -The Joe Daley Trio at Newport '63- : Joe Daley (ts) Russell Thorne (b) Hal Russell (d) New York, June 3, 1963 PPA1-5137 Helicon No. 2 (unissued) Vic PPA1-5138 Ballad Vic LPM/LPS2673, RCA (E)RD/SP7606 PPA1-5141 Knell - , - PPA1-5142 Dexterity - , - PPA1-5144 Helicon No. 1 (unissued) PPA1-5145 The clown from Naptown - Live, Newport Jazz Festival, R.I., July 5, 1963 PPA5-5407 Ode to Blackie Vic LPM/LPS2763, RCA (E)RD/SP7606 PPA5-5408 One note - , - PPA5-5409 Ramblin' - , -

Other than the opening introduction, all those edited out announcements are by Daley his ownself. I believe 3 titles (Ode to Blackie, One Note and Ramblin') are from Newport and the other 3 were studio recordings. They did other titles in the studio. Hal insisted they were omitted because Joe thought they were too out and would hurt the sales of the record.

Still have LSP-2763.

Please explain this. I think you just really pissed me off.

Is someone marketing self heating weenies?

That's the one I have too.

It doesn't make any more sense to me, nor is it any more appealing, than the Dukes of Dixieland covering A Love Supreme. I'm not very good at articulating what I'm trying to say but you get the idea: Zorn's cynical parody of Sonny Clark music in the late 1980s was a pivotal recording for the jazz media's flaunting and celebration of their ignorance and total lack of understanding or appreciation of bebop or hardbop, more or less dooming any artists honestly and authentically working within that idiom to the bottom of the review stack. Not sure it was a "cynical parody" and am curious about your charge of someone(s) moving those "authentically working within that idiom " to the bottom as a result. Were you counting on folks "sheepish enough" to follow this blindly? WTF? "It's that man's fault Mommy!" "Is this next tune a 'Sonny Clark groove' or a 'Hank Mobley groove'?"

Thanks for the update. I wondered what happened to the project.

What he said. Do you omit the ? too?

I'll jump right into that sucka'.

Who's going to write it?

Unworthy of my vision of you Jim.

I think you just need wheels.