Chuck Nessa

Shit, I forgot. Where don't the sun shine?

I don't have a clue - if you know send me an email.

Sorry - this thread bugs the crap out of me. Monk gave you more great music than you deserve! WTF do you find it interesting to dig up his health records. He gave you more than you deserve. Let it go and thank your god.

OK, you asked and here comes Chuck the ASSHOLE AND JERK. I tend to ignore threads started by Hardbopjazz 'cause there are about 4 a day (is this your goal?) and most of the questions have been dealt with before.

So........ we have a black director making a film of a novel by a white guy writing about the black experience in america. Why am I dizzy?

só passée Yup, that seems to be me. At least I'm eating the correct food for my class.

I ordered the trout with almonds and cream sauce. I hope it arrives soon.

Thanks Mister Mooster! They were released around the same time and tended to cancel each other out in the "best of the year" polls. I was flattered by the competition.

I have a jewel case edition from BMG France 1994.

Bruyninckx says this was recorded in 1965. He also says no keyboards are audible in Sidewinder.

Couple of corrections to the Goldmine info (big friggin' suprise). The first Impulse! labels were printed in orange and black (like the jackets). What they see as brown is the result of overprinting orange with black ink. Later the purple and green label was also reproduced occasionally as yellow and orange.

I bought this as a new release as a result of the sessions with Evans. After that I bought Soft Samba and stopped spending money.

I just want to say some of you may consider this a conflict of interest BUT every "non paying" label whether a bootleg or fraudulent outfit is not only stealing from the family, BUT they are robbing sales from the labels living up to their obligations. Being as straight as I can be - I sent Gerry Marsh an advance check and some cds after an announcement of my release. I paid Warne for the session and sent royalty checks to Warne in NY as a result of queries from Warne and Gerry. Warne was an unrecognized GIANT, but the audience recognition never reflected. I support anything the family does to protect their rights.

Time for me to search all postings by l p. I think this might be interesting.

The US version was issued on lp and cd. The lp reflected Lion's choices. Thank goodness the cd format permits the whole program.

The 1630 U-Matic tape is an outmoded format for cd mastering. Many modern plants don't have the hardware to use them.

I don't understand the general drift of this conversation - all the praise of Blues In Orbit. I have absolutely nothing against it (I've had it since the lp was issued and played it two weeks ago) but I find the other two far more memorable. Is this reputation generated by it's previous cd incarnation and the fact the others have been generally unavailable?

Outside the occasional arrangement, the only McFarland "leader date" I had affection for is Verve 8518 - Gary McFarland with Bill Evans. I bought them all for a while but eventually felt betrayed. Why the heck doesn't Verve reissue this date!

A funny thing - at least to me. I have never met SC, never wrote him, never called him. BUT over the years he's found it necessary to call me and "explain his views" and sometimes say he's not against this or that. Does he not want me to feel negatively towards him? WTF! I'll never forget his call around 1982 when he called and said something like "I know I been ripping your boys but I was at one of Roscoe's rehearsals (this would probably be the Sound Ensemble) and he had them kicking ass".

The only piano trios I can think of are Albert Ammons/Meade Lux Lewis/Pete Johnson and Willie the Lion/Joe Bushkin/Jess Stacy . Looks like the rest of you are talking about piano and rhythm. B)

See ya in Pentwater.

Can't be positive, but isn't that Chuck Nessa's backyard? OK! I confess, this is my back yard. I should let all know the thong was really uncomfortable. Don't try this at home.

For 7 friggin' years I have sent corrections about MY ENTRY and a big bunch of artists I have worked with and recorded. In spite of the assurances from 4 or 5 people, nothing has happened. Seems like a thousand errors from the '80s and '90s will live forever.

In 1962/3 I saw the play at a University of Iowa Theater Workshop. Good friends of mine (and very good musicians) had the playing parts. For an 18 year old freshman this was amazing. I'm sure I'd feel different now. Within the next year I saw Shirley Clarke's Cool World, Shadows and a bunch of shit. I have subsequently seen Shadows and still think it is strong. Back then I went on the first day of Shadows, sat through it 3 times and went once a day as long as it played.