Chuck Nessa

The Norman Granz Jam Sessions were studio recordings.

I suggest Rocky controls his balls from now on.

I'm pretty sure nobody "boned" Sterling Hayden.

This is "ancient" technology used by hearing aid professionals for years.

Another thought. You can examine the arts, or any other subject, from a number of directions. For example, I feel the political/economic situation in the last days of the '70s and the '80s had a big influence on the ultimate direction of all arts (and much else) in America. Exchange and interest rates at the time had a more profound influence than individual tastes. Aesthetics, and the perception of same, are affected by other outside pressures, not just "purity".

I've stayed away for a while. BUT in I find these snippets from your posts to be ugly/arrogant for someone trying to open a discussion. You could have generated a discussion about the topic without the following quotes which I find insulting. My interpretation of these messages reflect an unhelpful and egotistical "academic" stance. That's where the "drunken dorm" image was hatched. Here are the quotes: “My own suspicion is that a lot of jazz fans and even musicians are pretty naive on the subject of aesthetics. What I've heard a lot of is "this is good" or "this is cool"….” “The trouble with the attitude of "he's got his world, I've got mine and there's no point in discussing it" is that it drastically reduces the importance of music itself.” “It's kind of funny that when people discuss totally inane things badly, no one seems to care, but trying to disuss anything serious (well or badly) always inspires someone to compare the discussion to a late-night dorm-room conversation.” “Anyhow, ignoring John McDonough is one thing. Saying that a disagreement you have with him is of no real significance is another.” “I can ignore McDonough because he's an idiot and can't see the truth I can see; the truth which I might then relate to thee.” ‘Saying we have opposite views and that both those views are all well and good says something about the object of the disagreement. It says it is insignificant.” “We can avoid the dorm-room problem by a) not being drunk yet; and having a bit of care in writing and interpreting.” Have a nice life.

Sorry, I just can't find my old bell bottoms.

Everyone should remember Verve only has the tapes involved in Granz's sale of Norgran/Clef/Verve to MGM (now part of Universal/whatever). Other tapes in his posession went to Fantasy when they bought Pablo from him. There may still be more.

Most likely the artwork was finished in 2002, but the covers/cds not produced. The cover on the site would be reproduced from the artwork files, not a scan of printed material.

I'm afraid this will fragment us and no thread will succeed. Go for it, but I will only post to the classical messages (if I like them).

Lots of confusion here. Alan Bates (English record producer) bought the Debut catalog in the '60s. He had a deal with Fontana to issue his stuff. As mergers progressed the lps started to show up on Polydor along with original Bates recordings (Dexter, Webster, Bud, etc). Bates eventually consolidated his holdings as Black Lion and Freedom. In the early cd era he got in financial trouble and was forced to sell/forfeit the masters to a German outfit operating as DA Music. DA is currently leasing masters to something marketed as 1201 Music in the US. Bates/Black Lion/Freedom did issue all the European sourced Fantasy issues and a bunch more. Alan Bates managed to hold on to the Candid catalog and operates it today.

Braxton's Composition 98, on lp was a 2 disc set with both a studio and concert version of the piece. The "live" version was performed 5 days after the studio job. I have the cd and the lp set. This was a quartet with Hugh Ragin, Ray Anderson and Marilyn Crispell.

Are we talking Beach Boys here or is this some animal thread I missed? Remastered pet sounds seems kind of kinky.

Anything reissued from the Muse catalog will be on Savoy Jazz. Search for their site to learn of their activity.

Look, I've known McDonough since 1966 and don't like him. I argued with him for a couple of years. Then I noticed he always had a "superior attitude". The only time I saw him discard it was in the company of Benny Goodman and Benny made him carry his bags. WNMC show up here touting a discussion using JM pieces as a starting point - fine and dandy but WNMC makes a point of repeatedly insulting anyone not wanting to play his game. Go back and read his posts. If WNMC had not repeatedly used denigrating terms for others, I might have played but enough is enough. He might have learned something from us if he had not "started on the mountain-top". This attitude is why I treated him as a child.

Interplay issued an anthology of Bauer performances (1959-69) at the end of the lp era.

I go to bed in the 11-11:30 range and get up about 6:45. I wonder how much the TV schedule/time zone situation dictates our habits. When we lived in the Central zone and news was at 10 we went to bed earlier than we do now in the Eastern zone with news at 11.

I don't think so. If I choose ignore the writings of John McDonough it may diminish your view of me (if you are aware of it), but does not concern the music at all. This reminds me of drunken, late night dormroom discussions. It's kind of funny that when people discuss totally inane things badly, no one seems to care, but trying to disuss anything serious (well or badly) always inspires someone to compare the discussion to a late-night dorm-room conversation. Anyhow, ignoring John McDonough is one thing. Saying that a disagreement you have with him is of no real significance is another. I can ignore McDonough because he's an idiot and can't see the truth I can see; the truth which I might then relate to thee. Saying we have opposite views and that both those views are all well and good says something about the object of the disagreement. It says it is insignificant. We can avoid the dorm-room problem by a) not being drunk yet; and B) having a bit of care in writing and interpreting. --eric Are you getting credit in some undergrad class for this thread?

I don't think so. If I choose ignore the writings of John McDonough it may diminish your view of me (if you are aware of it), but does not concern the music at all. This reminds me of drunken, late night dormroom discussions.

The review could have been worse. Best of luck with this FINE project.

Very few opportunities for an Iowa farm kid but the first was Shearing's quintet at the KRNT Theater. The first "real" jazz group was Shelly Manne with Conte, Kamuca, Freeman and Budwig. Next was Brubeck. Conte Candoli invited me to the hotel to give me his Crown lp and Brubeck invited me to a party at the Hotel Fort Des Moines. Brubeck soon asked me to go with him to a steak house, to escape the "socialites" of DM. The extraordinary kindness of these men (and Duke E shortly thereafter) cemented my relationship with the music. Somewhere in there, the Four Freshmen were favorites.

CRAP! Give the artists and the "producers" some credit. Let someone with more information make decisions. Just because something is on tape does not mean that you NEED to hear it. We all need protection or editing - silly posts notwithstanding. Alfred Lion decided Andrew's "Judgement" needed to be heard before "Smoke Stack". He decided to leave a quintet date in the can 'cause it would not do Andrew's career any good at that point. Give these guys some credit. Reputations are at stake here.

The Blue Note revered here died when Alfred retired. The remnants lived until Frank died. Anything else is something else. The current owners of the legacy are doing a decent job of keeping the history alive. Not perfect, but OK. What ever they do to keep the label name alive (and reissues coming) is just fine. It could be a lot worse. I know these sentiments were stated above, but I want to put it into one post.

I know Bob Koester, of Delmark, talked to/interviewed Jerome about his Apollo days. Maybe an email to Bob at the Delmark website would be helpful.

Not yet.