Chuck Nessa

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.

AND they can benefit from royalties. This is always a concern for "good" producers. I can site dozens of reissues dictated by royalty concerns.

I hope this means repressings of oop titles. There are more than a few I'm hunting.

I voted for Sun Ship with First Meditations a close second.

Indent was issued as a Freedom cd with the Arista/Freedom cover. Blue-J's was booted on cd. 1000 is probably a good guess for quantities on the original lps.

Thanks for sharing.

In this case the copyright date reflects the recording date (Nov 4, 1973) not the issue date. I worked for a chain called Discount Records. At that time we had around 30 stores. They sold out quickly and I was not able to get more copies.

I'm with Mr Thornton on this one. Stollman was a bad businessman, not a bad person.

From Bruyninckx: -Dizzy Gillespie live at the Downbeat Club- : prob pers. Dizzy Gillespie (tp,vcl) Dave Burns, Matthew McKay, Ray Orr, Elmon Wright (tp) Taswell Baird, Bil1 Shepherd (tb) John Brown, Howard Johnson (as) Joe Gayles, James Moody (ts) Cecil Payne (bar) Milt Jackson (vib) John Lewis (p) Ray Brown (b) Joe Harris (d) Kenneth Hagood (vcl) "Down Beat Club", New York, July 1947 I waited for you (theme) Jazz Guild JG1010 Groovin' high - Oop-pop-a-da (dg,kh vcl) - Cool breeze - Stay on it - Lady bird - Dizzy Gil1espie and his Orchestra : poss same or similar pers "Down Beat Club", New York, August 1947 I waited for you (theme) Jazz Guild JG1010 Woody'n you - Two bass hit - Oo-bop-sh'bam (dg,kh vcl) - Hot house - Ray's idea - Pan-Dameronia (incomplete) -

Two solos - one fast, one slow. Good solos, but only two.