Chuck Nessa

Except the yellow was much less yellow My UA copy was different. It was white with Philadelphians in large block letters in pink/rose.

So, is the chili house the source of Biddy's SECRET FORMULA ?

Bruyninckx says the track in question was the only issued recording from this session. The last lp JS mentions was recorded in Nov '60 and has yet another bassist. BTW, the bass player on the track in question is Buddy Catlett - real first name is George, hence the G.

I heard Coltrane during 3 different engagements at the PN. Never heard John Neumann.

Indeed!

I arrived in Chicago a few weeks later. I did hear the same band (sans Jack and Rock) on their next trip.

Roscoe Mitchell and Evan Parker are masters of this technique. So was Art Tatum.

Tide liquid on the gentle cycle. Dry on low.

Holy crud - someone having a fight with Dan Gould! Hard to believe.

Not sure I ever saw another copy. I think I got $1000 for it. I don't have the music anymore, but we do have my Art Ensemble set as a result.

Concerning Braxton's "standards" recordings. Anthony works with a very personal "time feel" and the "standards" recordings with "bop players" don't work for me. When he works with "his people" it is a different "can of worms". The Parker and Tristano/Marsh programs are a good example of this. I thought the Magenta records with Hank Jones were very unsuccessful. To many conflicts, a kind of parody I think.

I hear ya'. I "advance ordered" from CDU and have yet to "listen" to the set. Playing ain't the same thing - I've played the set twice.

I am more than grateful for the early ESPs. My opinion of Ayler would be 'fainter' without Spiritual Unity, etc. Without ESP what would you know of Byron Allen, Charles Tyler, Giuseppe Logan, Patty Watters, Burton Greene, Frank Wright, etc? The ESP label, in many ways, was similar to Dial and the emergence of bop. If you were there at the time, and open to new stuff, ESP was the only beacon. We should all be thankful for such a "naive NY lawyer".

I hate writing. It is not easy for me and I do not want to make mistakes. Ask Flurin. I did write a piece, sent to friends about ESP and my old friend Bernard Stollman. Here is the text. MY CONTACTS WITH BERNARD STOLLMAN Chapter 1: THE PHANTOM Early 1968, with one record issued and a 2nd in the can, I received a letter from Elizabeth Van Der Mei on ESP stationery (cream color paper with green hand print). I recognized the name from "new music" articles she had written for various publications. In the letter she said she was working for ESP, they were considering distribution deals with other independent labels and wanted to include me. I think we exchanged a couple more letters and I decided to make my first trip to NYC to discuss the proposal with Elizabeth and Bernard. From 1967 through 1974 I worked for a chain of record stores called Discount Records. I asked for a couple of days off, to make the trip and booked a ticket for my first venture to the Apple. I wrote Elizabeth of my plans and told her when to expect me. I cabbed directly from the airport to ESP, suitcase in hand. I don't remember the address, but their offices were in a quaint old building that looked like it might house the office of Sam Spade. That may be why my memories of the visit are in black and white. I opened the door to the small reception area to be greeted by a pretty, young (18?), thin, large breasted female in what seemed to be a perpetually wet t-shirt. She was eating a sandwich at her desk (here you can insert an image of the receptionist on "The Practice, if you ever watch it). She told me Elizabeth was in Europe and maybe didn't work there anymore. She said Bernard was at his psychiatrist's, and called down the hall for someone to come talk to me. This nice elderly couple waddled down the hall, and invited me into another room. She was in a flowered dress and he was in a black suit, unbuttoned vest, white shirt and tie. They said they were Bernard's parents and though they were retired (from the garment industry?), had gone to work for their son. Pop said Bernard needed help with "business things". They were "beamingly" proud of Bernard and said they were delighted to meet one of his colleagues. They told me Bernard was having some problems, had gone to the doctor four days in a row, but would be in the office at 4 o'clock. I mentioned the need to find a hotel, and would return at 4. They yelled to the receptionist to book a room for me and I returned to her desk. "Miss Congeniality" said I could go home with her, but I declined and took a room at the New Yorker Hotel. When I returned at 4, I encountered a guy sitting behind the receptionist's desk. He said he was Bernard's best friend, Bernard could not come to the office, and his parents called him to talk to me. This "slick looking business type" said "So you have a record. Give it to me and I'll check it out. I don't understand this stuff myself, but I'll give it to my kid. He's only 14, but he's smart as a whip". I declined and left. I bummed around the city the next day and flew home that night. While exploring the streets of Manhattan, I did notice a strange black and silver record jacket in a store window and copped "Cosmic Music" on Coltrane Records, so the trip was not a complete waste of time. Chapter 2: THE PEDDLER Jump ahead to 1973, I'm now a regional manager for Discount. We live in Boston and I have stores in Burlington VT, Amherst, Albany, Cambridge, Boston, Stamford CT, Greenwich Village and Scarsdale. The Scarsdale store was the front part of a building that housed the home office of the company. My normal routine when visiting the NYC area stores was to call on Stamford first, then Scarsdale, get a room in the city and spend the 2nd day at the Village store. One afternoon after visiting the Stamford store, I arrive at the home office to find Bernard waiting for me. He was a tall, thin, brown suited, slightly shabby looking salesman with a tattered sample case. He was there to sell records to Irwin Katz, the exec vp and buyer for the chain. Earlier someone had mentioned my name in Bernard's presence, and he waited to greet me. He seemed very untogether, and fumbled through his case locating a copy of his new Frank Lowe record. He proudly pointed out Joseph Jarman's name on the jacket, and mentioned a session occurring "as we speak" with Raphael Donald Garrett "and his family". By the time I got home with the new record, the liner notes separated from the jacket. I put the record on the turntable, and the pressing was horrible. Obviously ESP was on hard times. Chapter 3: THE PHANTOM RETURNS In the Spring of 1979 Ann and I traveled to Boston (from home in Chicago) to attend the NAIRD convention. This was a trade convention for independent labels and distributors. A fixture at all these get togethers is always a “trade show”, where companies had display tables and booths. This year a larger than normal percentage of participants were jazz people. On the first day, while setting up our table, I was aware of a couple watching from across the room. The man wore black jeans, black turtleneck, black stocking cap and carried a black leather coat. The tall, woman was in black as well, with gold jewelry accents. They exhibited the spare elegance of money. After a few minutes they approached and he said "Mr. Nessa, Bernard Stollman here" then he introduced his companion as his fiancé. During the introductions he told her "This is a very great man". Where the hell did that come from? He said he came to check out the business climate to see if he should reactivate the label. As he walked away he said "It's important we talk tomorrow". At breakfast the next morning someone, Bob Porter I think, suggested a group photo of all the jazz producers at the convention. Ann got her camera and we proceeded to round up all the appropriate people. Checking with the desk, we discovered the Stollman party had checked out. EPILOGUE: A few months ago Bernard made an appearance on the Sun Ra mailing list. I sent him an e-mail and he chose not to respond. Edited to make the spelling correction as per Brownie. Thanks.

Never heard of the book or author. You might think he'd talk to me for a book like this (I ain't hiding). Maybe he should send me a copy. Greenwood charges so much 'cause not many purchase them. This has nothing to do with quality. They do a great service for all of us and a bunch of slackers ask questions answered by members with the books. Wanna find the problem, look in the mirror.

I was brought to this board by a black Dodge Ram pickup (Hemi "under there", gun rack in the back, deer on the hood, beer behind the seats and militia pamphlets everywhere). Did I mention the "Christian literature" an the Bush bumper sticker?

At one time I had one of the Roosts. Standard, tepid, cocktail piano. Never heard the Prestiges.

The Carisi material was scheduled for release on vinyl (LPM-1371) but was never issued. In 1988 seven titles were issued on a Bluebird cd called The Arrangers . The rest of the cd included the Evans and Russell arrangements from the McKusick Workshop dates as well as five titles by the Rod Levitt Orchestra.

My office was further north - across from Jordan Marsh. Looks like we traveled with different crowds.

In late '73 or early '74 Freddie was gigging at Paul's Mall in Boston. I was managing a chain of record stores in the Northeast. My office was in the back of a store on Washington St. I answered a knock on my door to find Freddie standing there. He said he wanted to thank me for stocking all of his BN lps. He said he knew it probably wasn't profitable, but the Blue Notes were the real shit.

I couldn't identify the tenor at the time. I might do better now 30+ years later. I don't remember being very impressed with the date at the time.

My favorite composition of this collection is Israel and my favorite recording is from Carisi's "ill fated" RCA Workshop project. Great versions of Springsville, Barry's Tune and Lestorion Mode on this one too.

I had (have?) the reference acetate in the ebay entry (or another copy). Hadn't thought about it in years, don't remember selling it. I might have turned it over to Bob Koester.

Here's what I found in Bruyninckx: Lionel Hampton All Stars : Lionel Hampton (vib) Ram Ramirez (p,org) Kenny Burrell (g) George Duvivier (b) Osie Johnson (d) New York, c. April 1960 HO004 Railroad no 1 blues (*) Glad Hamp 60004, GHLP1O01, GHLP3050, Ember (E)CJS805, Quadrifoglio (It) VDS9405 HO005 Sometimes I'm happy Glad Hamp 60005 Wild Bill twist (*) 60009, GHLP1O01, GHLP3050, Ember (E)CJS805, Quadrifoglio (It) VDS9405 Wailin' Glad Hamp 60009 Broken hearted 60003 Mama 60007 The wine song 60010 Let's be happy - Note : (*) These titles were erroneously given for a live session at the "Metropole Care" in December 1961. However these are big band performances and the sound and atmosphere is entirely different. Furthermore both listed titles are identical and quintet recordings. The only difference is the added applause most likely dubbed in on the original recordings. Lionel Hampton and his Orchestra : Dave Gonsalves, Virgil Jones, Floyd Jones, Andrew Wood (tp) Vincente Prudente, Haleem Rasheed, George Jeffers (tb) Bobby Plater, Ed Pazant (as) Andrew McGhee, Herman Green (ts) Lonnie Shaw (bar) Lionel Hampton (vib,p,d,vcl) Harold Mabern (p) Calvin Newborn (g) Lawrence Burgan (b) Wilbert Hogan (d) New York, c. 1960 McGhee (*) Glad Hamp GHLP1O01 Playboy theme - Hava nagila - Lonesome nights (Take my word)(bp arr)(*) - Wine song - , Folkways FJ2871 Note : Folkways FJ2871 entitled "Jazz man for all seasons", see following sessions for rest of this LP. (*) These titles on Hindsight HCD242. Glad Hamp GHLP1O01 = Ember (E)CJS805 = Quadrifoglio (It)VDS9405. Lionel Hampton and his Orchestra : Dave Gonsalves, Floyd Jones, Andrew Wood, Virgil Jones (tp) Vincente Prudente, Haleem Rasheed (tb) John Neely, Bobby Plater(as,cl,fl) Andrew McGhee (ts,cl) Ed Pazant (ts,cl,fl) Lonnie Shaw (bar,as,cl,fl) Lionel Hampton (vib,d) Harold Mabern (p) Lawrence Burgan (b) Roland Faulkner (g) Wayne Robinson (d) Live, "Olympia", Paris, March 25, 1961 'S wonderful Europe 1 (F)710462 (CD) Midnight sun - Tenderly - Hey-ba-ba-re-bop - On the sunny side of the street - Hamp's boogie woogie/When the saints - Answer me my love Glad Hamp GHLP1O05 How high the moon - , GMLP1O03, Ember (E)3342, Folkways FJ2871, Hindsight HCD242 Flying home Glad Hamp GHLP1O03, Europe 1 (F)7lO462 (CD) Summertime GHLP1O05 Little bitty pretty one - America by night - Note : Europe 1 (F)710462 entitled "En concert avec Europe l". Hindsight HCD-242 entitled "Live at the Metropole Café 1960-1961". Glad Hamp GHLP1O03 entitled "The exciting Hamp in Europe". Glad Hamp GHLP1O05 entitled "Live on tour". Concert, Brussels, March 26, 1961 Mr. John Glad Hamp GMLP1O03, Ember (E)3342, Hindsight HCD-242 Concert, Brussels, March 26, 1961 Mr. John Glad Hamp GMLP1O03, Ember (E)3342, Hindsight HCD-242 Concert, Milan, April 1961 Mr. "J" Glad Hamp GHLP1O03, Ember (E)3342, Hindsight HCD-242 America by night - Note : Glad Hamp GHLP1O03 = Ember (Jap)EMC5. Lionel Hampton and his Orchestra : prob pers. Virgil Jones, Floyd Jones, Dave Gonsalves, Richard Williams(tp) Lester Robertson, Haleem Rasheed, Lester Robinson (tb) Bobby Plater, Ed Pazant (as) Andrew McGhee, John Neely (ts) Pepper Adams (bar) Lionel Hampton (vib) Kenny Lowe (p) Billy Mackel (g) Lawrence Burgan(b) Wilbert Hogan (d) Cornelius "Pinocchio" James (vcl) "Metrople Café", New York, December 9, 1961 At the Metropole Glad Hamp GHLP3050 Encore - After you've gone GHLP1O05, Hindsight HCD-242 They say it's wonderful - It's all right with me - , - Take my word - McGhee - Rebecca, Rebecca (pj vcl) - Blues for Gertie - Alexander's ragtime band - Flying home -

I think it is time for Mike to revisit the math in his first sentence.