Chuck Nessa

EMusic has new ownership.

I would put that session at, or near the bottom of his BN dates.

So, you've changed schools. How's it going? I was thinking about you today. Oh yeah, nice list.

If that doesn't work, try Goo Gone. You can buy a bottle at any food or drug store. It is also great for getting all sticky crap off jewel boxes.

I've ordered a number of times and have never had a problem.

I think they are inflatable.

The front cover of my New York pressing had STEREO inside the logo. Later pressings had the stereo at the top of the jacket.

I suggest you stay away from the stuff on my label.

He may have played at the Hungry Eye, but my memories are further north on Wells St. for the "regular" gig.

As I understand it, BN pays a royalty to all artists/estates for everything sold. It is the responsibility of the artists/estates to inform the label of their current address and rightful status. Remember Tom's story about finding Jutta Hipp and delivering the check. Musicians "always" say they don't get anything. Believe me, deciding where to send the money is no easy question. I have had problems and I only started my label in 1967. I have at least 4 estates in dispute, and only 2 have contacted me. The above concerns "artist royalty" only - composer royalty is automatic to the Fox agency and they must hold tons of money waiting for the correct address/heir.

The Gene Shaw gigs Larry mentions were after 1966 (not sure when). The band included an organ and I'm not sure there was a bass player. Just can't remember beyond trumpet and organ. No other horns.

Time to pick a small nit. There are/were actually two variations. The vertical one JohnS describes is really the hubkawall. I've seen a version of this about 7 ft tall and 10 ft long. The hubkaphone was a smaller collection of caps suspended horizontally on a frame - and is played like a vibraphone.

ditto

A guy named August Blume, either a writer or a fan who basically just invited Coltrane over to have dinner w/him & his family after seeing him gig in D.C. (Heh--can you imagine?) August (aka Augie) Blume was a long time music biz guy. He worked for RCA for a while, and also worked for Jefferson Airplane.

Outstanding!

If you can find it, Donald Lambert's first Pumpkin lp has an unbelievable version of The Trolley Song. I also want to second the recommendation of the Joe Turner Solo Art disc.

There were a few New York pressings. I used to have one.

I always viewed "Message", "Jackson" and "Sophie" as records of excellent encores.

I see I came of harsher than I'd wish. Listen and have fun.

A "nice review" from AMG is irrelevent. People In Sorrow is their masterpiece and Reece is very good. I stand by what I said and feel everything else comes later. After you digest that, I'll talk. Again I welcome contrarians. Sorry if I come off as snotty, but if I don't know this stuff, I don't know anything. Act accordingly.

Under that name, the best is People In Sorrow, now on an EMI disc from Dusty Groove and others - search for AEC. Next best is the Byg/Actual disc called Reece and the Smooth Ones. I believe the stuff on this level (or better) is on my label or Sound on Delmark. The later discs are really spotty. For later music I reluctantly recommend the bootleg Live In Berlin on WestWind. This is an interesting journey but I don't want someone hearing a lame performance. Jump in guys, and I won't hold any grudges - argue, but not hold grudges.

I will now try to tidy up some dangling questions, mostly from Free For All. The "local bar" was "Talk of the Town" in Montague, MI (my locality - across the river from Whitehall) and I drank St Pauli Girl. Don't remember Bob's choice. The scene in Iowa City when I was there included JR Monterose and Paul Smoker. I explained this in some detail in a Monterose thread a month or so ago. Larry Kart's description of the Chicago scene at the time is very good. I would only add a number of "young professional blacks" brought their families to the Sunday AACM concerts at the Abraham Lincoln Center. Sometimes maybe 20% of the audience would be families in their Sunday finest - just like church. I have not seen that sort of thing (black or white) since then. I hope George Lewis deals with this - I spoke to him about it a few years ago. In the late '60s the "local" club favorites were Eddie Harris and Yusef. They regularly played on Wells St. Lastly, for Mike Fitzgerald - I don't know of any Ike Day tapes and never heard rumors of them.

On our summer trip out West a truck kicked up a rock and left a walnut size dent in the front fender of Ann's PT Cruiser. She just got around to getting a quote this week. The dealer's body shop told her they'd fix a scuff on the door for nothing as a favor. Then they quoted $486 which included removing/replacing door seals, PT Cruiser logo, door handle, door lock, window seals. She called today and asked them to requote the job without the "favor". The guy said it was necessary to do the door as well as the fender "so we can blend the paint. That paint has seven different shades in it and you won't like the match if we just do the fender". What a bunch of crap. PS, the color is the standard silver.

Depends on your tolerance for the "show business".

Von had toured for years with the Treniers. In the late '60s he was in Milt Trenier's lounge act at Caesar's Palace. Cadet issued a live date called "Carryin' On". Recorded 3/22/67, the band was Danny Long (p), Von (ts), Joe Diorio (g), Jimmy Johnson (B) and Frank Shea (d). This is Cadet 4057. I believe Chico was mostly raised by his mother and didn't have regular exposure to Von until his return to Chicago. Wilbur was too individual to be considered an Ike Day heir.