Chuck Nessa

Though it does not fit the original question, Roscoe Mitchell plays recorder on the first record I produced in 1966.

Just about to go upstairs and eat a big hunk of salmon with brown rice and veggies.

I don't like Leo, like Martin, think the "story" is fantastic and hate all the Oscar hype enough to wait for the dvd (and for my blood pressure to go down). This is all complicated by the Eisner/Weinstein fight. Scorsese should have a couple of Oscars by now but the industry jockey-ing (sp?) is insulting.

Sorry Jim. The 50 year limit is up on some already and some fellow in Europe named Jordi has 'em.

I had high hopes when I bought this CD years ago, but I also was disappointed. I wish they had made this recording ten or so years earlier. I don't think age was the problem. I heard they were "falling down drunk" at the date.

Last year Mary Ellen Rouse (widow of Charlie) told me she had to hire a lawyer to get his tapes back. This was after she discovered it had been reissued on cd.

I feel the same way. My favorite Byas dates are the various quartet/quintet sessions from the '40s. I love those.

Tape op is the term.

Licensors do not pay royalties to artists - they pay royalties to the source label and that label pays the artists their share.

B-)

Frontier info When Clifford played the tapes for me Cuscuna copied (by hand) listings from the tape boxes and added more info from questioning Clifford. Mike then gave me the paper and I am reproducing the contents below. Wilbur Ware w/Jordan, Cherry, Blackwell A – 1 Symphony For …… 10.16 bass solo 2 Red Cross 8:21 3 Mod House 5:49 B – 1 Wilbur Ware Tune 7:24 2 A Real Nice Lady 8:35 3 All By Myself 7:43 bass solo Note: B – 1 has “Superbass” scribbled above title and “? BeWare” below B – 2 is really Sophisticated Lady Ed Blackwell A – 1 Shades of General Lofty 21:10 2 That Moment of Glance 4:50 B – 1 Farid 9:05 2 Eternal Rhythm 13:55 A – 2, B – 1 Blackwell, Ware, Cherry, Lugman Lateef A- 1, B – 2 Blackwell, Higgins, D. Charles, Roger Blank, Frank Charles Note: Lugman was Clifford’s spelling – “Tenor man from New Orleans” he said. Are you familiar with Rabin’s A Discography of Free Jazz? Published by Knudsen in 1969 with a manuscript date of August 1968 noted by Rabin. The newest entry in the book is from September 2, 1968 (!). This Sept entry is a Cherry session from Stockholm with “unknown titles”. He lists the Ware session as Jan ’68 along with the Blackwell, Cherry and Brackeen dates which leads me to believe my info of Blackwell on this session is correct. In this book, Rabin lists the Cherry session as a quartet – no mention of Maffy. The tune listing is as you report from Lord, with the following spelling difference: “Ahmed Mouvafak”. I did not hear (or see) the Cherry tapes since Clifford said Don didn’t want his session included in the sale.

Correct.

There's been a bunch of discussion - his name wasn't on the threads, that's all.

Sorry, I missed DL. Don't get it. He's a fine saxophone player, but.............

Mike, I think I can provide some timings for the Ware and Blackwell material. Stay tuned.

The dates for GBG are probably correct. I neglected to mention this stuff followed, but Clifford still owned the masters and considered them part of the Frontier holdings.

check out jim dye's post on the first page of this thread, and free for all's subsequent reply. If they were really hip they'd have worked in St Louis Jimmy (Oden)'s Goin' Down Slow.

Just curious Chuck, are you saying that only Tolliver's and Cowell's own recordings are "real" Strata East recordings? (Or, rather, Strata "productions"??) I know in the past you've discribed the label as essentially being a vehicle for various artists to have released their own recordings/productions -- that there really wasn't a Strata East "roster", as such. The Brackeen date, like the rest of the Dolphy Series (and some unissued sessions) was recorded for Frontier Records, a project started by Clifford Jordan in 1968. Clifford's financing evaporated and the label never issued any of the sessions. He later had some of the material issued on Strata East. Strata East's first issue was the Music Inc. big band date from 1971. Tolliver quickly realized the problems of a small, one issue label and had the idea of expanding the company by offering it as an outlet for other artist's "self produced" sessions. The idea was to have a steady stream of new product and thus more clout with distributors and the ability to leverage better rates from printers, pressing plants, etc. This way he could expand the footprint of his small operation with other peoples money and provide an outlet for other artists at the same time. Unavoidably, bad feelings ensued. In the mid '70s I had a meeting with Clifford (in an office Michael Cuscuna shared with Maxine Gregg-Shaw-Gordon) and he offered for sale the entire batch of recordings, both issued and unissued. Unfortunately I could not come up with the bread.

Don't look back : Virgil Jones (tp,flhrn-1) George Davis (fl,g-2) Kiane Zawadi (euph-1) Harold Vick (sop, ts,fl,b-cl) Joe Bonner (p,el-p,tu,perc) Sam Jones (b) Billy Hart (d) Jimmy Hopps (perc-3 White Plains, N.Y., November 1974 Don't look back (1,2) Strata-East SES-7431 Melody for Bu (&,2) - Señor Zamora (1,2) - Stop and cop (3) - Lucille - Prayer (hv,jb only) -

Shut yo' mouth!

Search and discover.

Don't go up and down much, eh? Why don't they ever play "Shaft"?

Is that the first day of the famous "Idiot Festival"? I thought it began much earlier but will search board registration dates to confirm.

Come on over. I'd love to mess with your mind.