Chuck Nessa

Is that the car you drove on your trip to KC, Chuck? Yikes! No shocks on those crappy Missouri roads? That'll keep you "regular" for sure! ← No, we drove Ann's car - she has a job and a 2002 PT Cruiser she bought for $13,200. My car won't go 20 miles without a recharge.

That's how you get your packages.

I was making a "generic" statement but if you wanna make it personal and compare 1040s for the last few years I'm game. Driving a 1992 Nissan Sentra without 5th gear, shocks and I have to charge the battery each morning (alternator died) to get to the PO for the mail. edited to add Sentra to the above.

Disturbing.

Lovano seems to me to be an honest musician working reasonably hard at his craft. I just can't connect with his stuff. Not his problem. This puts him above 80% of current folks I am aware of. I'd rather hear Chuck Burdelik.

Too many americans have way too much money.

FWIW according to Bob Sunenblick, Stanley Crouch and Loren Schoenberg have decided Max is playing on 52nd St Theme at the end. What do you think? Sid was probably "my call".

Your first post does not look like you are looking for ANY input - it is a statement.

Yes to all Jim S says but Diz is at the top of his game here and "on his toes" 'cause of the rest of the band. BTW, on two differet occasions I saw Diz treat Al Haig like shit. Both times Haig just took it and played impeccably.

your boat is sinking nemo.

Didn't know you are a brass player.

I wouldn't count on that. -_-

Bad boy!

Great for her. She doesn't have to do the oldies tours. Just go to work and cash good checks.

Absofrigginlutely!

Ain't gonna happen.

Saturday morning at 1 - just noticed that outrage.

The current WBEZ has a lot of nerve tagging onto the AACM event. Crap. I hope the AACM gets some benefit from this crumb from the station.

Interesting answers from Chris and Phil. By chance all three of our answers come from slightly different directions - Phil as artist and artist/producer, Chris from primarily producing for someone else's company and me primarily spending my own bucks. Not a large difference but maybe "telling". Chris has lots more experience than the rest of us and I was delighted to read his response.

Sorry I'm late to the thread but it's been "one of those days". I have ignored the previous answers (not wanting to be influenced) so there are bound to be redundancies. Each artist/band is different - some want to be involved at every step and some feel they have done their part when the session ends. I always spend lots of time with the artist before the sessions to make sure we are both pulling the same wagon. I have suggested sidemen and tunes where appropriate but don't think I ever insisted. I am generally a "hands on" producer always trying to end with the best possible presentation of the artists music "at that time". In the heat of a session, sometimes the guys can lose their "vision" and need to be "prodded". Selection of takes is usually a joint decision. I think I always "program" the recordings and never had a complaint. This is a subject near and dear to my heart and regret the above isn't more thorough and revealing but it has been a frustrating day. Maybe more will come to me later.

Actually, Ted was the 4th mastering engineer with a crack at it. The discs were shipped to him.

You wouldn't believe it if I could tell the story.

Not really for me to say but - I don't think so. Mr JJ is the source of all this info so maybe he should be questioned.

It is included in the Sandor VoxBox of the concerted stuff I recommended. There is a very fine disc by Kocsis and Ranki worth investigating too. Mike's mention of the Hungarian Quartet on DG reminds me they were my intro to the quartets in 1962. I must get the reissue - didn't know it was available. Thanks.