Chuck Nessa

It sounds like the prelude to a train wreck to me.

My Patton Select is number 0006, same at the catalog number. Concerning the sequence of the Mulligan set, Cuscuna took so much crap about mixing alternates with "album sequences" he stopped doing it.

I suggest Jim collect credit card numbers and hit us for a quarter each time we post to a topic, a buck for a posting to the political forum and five for inserting political stuff in a music topic.

As long as the web lacks a King Oliver site, you got no complaints in my book.

Bach's Well Tempered Clavier and work up from there through 250+ years of fantastic music. You can get a very good (piano) version of this on 2 Naxos doubles for little money. You can go back further if you want to find earlier styles which you might connect with Ornette, Ayler, AEC, etc. Machaut is a bitch.

Well, this is off topic but Thurs and Fri I am in the studio putting this together. It will be out around Feb.

I take it the cup mentioned is a pouch for young, privy to mammals down under.

Did you check yourself out?

Referring to the David Wild website to refresh my memory. Trane was ill in the latter part of '66 which explains the lack of recordings. While working at the Jazz Record Mart, a customer asked to hear ASCENSION and I put it on the turntable. I noticed it was a different take than the one I knew. I grabbed the record and ran to the Down Beat office to see Don DeMichael. Don was the editor and a good friend. He'd heard nothing of the two takes and said "Lets call John". He placed the call, got the news Coltrane was in the hospital, and placed a call to JC there. We were both on the phone and mentioned the discovery. Coltrane said the change was at his request - he thought the others played better on the "new" take. I said I thought his solo was better on the other one and he said that didn't matter. After talking to Coltrane, DeMichael called Leroi Jones and told him of my discovery. Jones (then a regular DN columnist) asked for an exclusive, and he subsequently produced a story.

This is my favorite post '60s Jordan date. I still have it on vinyl. His reading of the Lord's Prayer is worth the price of admission (in typical bebopper style, Clifford changed the title and claimed copyright ) - all the rest are "bonus tracks" for me.

Have you tried getting tech data sheets from resin suppliers, such as Dow and Chevron? A Google search for PVC resins may help.

The 2 VeeJay dates flank Leeway as well.

Mucho danke for the place.

Check out his SteepleChase date with Tete.

When I arrived on the Chicago jazz scene in 1966, a story currently circulating was about Peggy's poodle getting lost in her hotel. The story was - her beloved doggie had gone missing and she asembled the hotel staff. She promised a night in bed to the returnee. A lowly janitor returned the dog and was paid.

It would be a gift to MANkind if someone posted a list of these porn searching women.

Ann and I live on a street one block long. Vans pull up at the end of the street and dump out kids. We get 2-300 kids a night. Years past, Ann dressed up in a scary outfit and I boomed up sound effects from the basement. After doing this for around 20 years and having to deal with "smart ass teenagers", we decided to go to the local multiplex for a movie to avoid the whole thing. Our plans were to be gone between 5 and 9. It worked like a charm. We arrived at the theater about a half hour before the start of Runaway Jury, so we went into the nearly empty auditorium. Slowly it filled to around one third capacity. We noticed EVERYONE in the place were couples about our age. Guess it wasn't an original idea for those in our age group. Not sure if it's reassuring to be part of this group, or not.

If you are talking about US/domestic issues, beyond the Urbie Green there is only the Lou Mecca date and the two Best From the West records. The Hank Mobley Quartet is in the Mosaic box, but not elsewhere.

FORCES IN MOTION gives you a terrific vision of Anthony's pesonality and his music. Thanks for the compliments but a bit of clarification is in order. The original sessions for THREE COMPOSITIONS were produced by Bob Koester. Bob hired me to produce all the Delmark AACM cd reissues, and I went back the the original session tapes to remixed/edited the sessions. For your next musical adventure, I suggest Muhal Richard Abrams YOUNG AT HEART/WISE IN TIME. This contains a half hour solo performance by Abrams and a quintet with Leo Smith, Henry Threadgill, Lester Lashley and Thurman Barker. Your perception of Leo's sound large sound is correct. I'll never forget a session where we had to be careful with the placement of his mike, so his sound didn't overpower the other guy's mikes. The engineer made the mistake of calling it loud - Leo responded "It's not loud, it's strong". He has a wonderfully personal sound as well. PS Being referred to as "Mr. Nessa" gives me the willies.

Gee, I didn't think you looked strong enough to master a brush that broad.

Strata-East, owned by Tolliver and Cowell (Stanley was a semi-silent partner), was a vanity label. You could release a record if you had the money to deliver finished tapes and artwork (and if Charles approved). Musicians usually used the studio and graphic artists used by Tolliver, but it was not necessary as far as I know. Clifford Jordan had a side deal to deliver his dates and others he produced (Sanders, Brackeen, Payne, etc). Lots of unhappy guys around the edges and the product suffered from indifferent production qualities, sound, distribution and finances. From what I've heard, lots of musicians were looking for money that never materialized and gave up. Tolliver was always painted as the bad guy, and Cowell came out relatively clean. In the mid '70s Clifford Jordan tried to make a deal with me to escape Strata-East. I could not afford it, so.......... I am completely mystified by the reputation this label has on this board.

Why? It is supposed to be about music. Secondarily, much of "collector lore" is false. If these guys knew minimal stuff about the way record companies operate(d) and the practices of pressing plants, many prices would be "adjusted". Much of the "collector lore" is a joke. What if after 120 pressings the stampers broke, the plant faulted the mothers, and requested a new mastering? Is number 121 a better or worse pressing. If they printed 2000 covers and labels and used them up. What if.... What if the first set of stampers is used way beyond reason. What if..... What if on the first day of production, things are slow at the plant and they make 10 sets of stampers and use them all to keep the staff working? I can keep the variations going for hours. Why do some pressings have a deep groove on only one side? Why might a pressing only have an ear on one side? How is a stamper with an ear better than one without, made on the same day in the same bath? What is a bath?

Fred is Dead! Not a haiku, but accurate.

Contact me, I'll give you his home address.

I bought this the day it was issued. No laminated cover. Damn, I hate this collector shit.