Chuck Nessa

According to Bruynincks, Trio is July 27 and Quartet is July 28.

At a Jazz Times convention in DC around 1981, I was privy to a discussion about this date. Participants included Keepnews and Max. Orrin said they never got a complete take and the record was a "splice job". Max said this was Monk's way of getting the musicians some extra money via "overtime". I thought this was Roach's way of "sticking it to the man". Keepnews was not a happy camper. Later, at the bar, I thanked OK for the Ernie Henry dates and he went off into the world of "people he lost money on".

If you don't have the SteepleChase "Swiss Nights", get these first. Finer Dex!

Sorry for the delay - hope I didn't take too long. My interest is in the "business side" of the label. With the boom caused by the 12 inch lp, I'm curious about the volume of output. The following info is a fairly accurate listing of sessions per year, beginning in '55 going through '70. 1955 - 31 sessions 1956 - 42 1957 - 65* 1958 - 37 1959 - 37 1960 - 99** 1961 - 105 1962 - 79 1963 - 45*** 1964 - 59 1965 - 38 1966 - 40 1967 - 48 1968 - 45 1969 - 33 1970 - 27 * I suspect this spike is a combined effect of a general increased record sales and the commercial success of Miles. ** This is a year of full steam recording for New Jazz, Moodsville, Swingville, Bluesville, etc. *** This is the end of the sub-labels and consolidation of all new releases to Prestige. I guess I'm curious about the source of cash that generated the '57 and '60 spikes and the reason for the retreat in '63. Was any of this fluctuation a result of the arrival or departure of different producers. All sessions from 55/56 are Weinstock produced as are most from 1957. Esmond Edwards takes over in the last half of 58 and continues to do the majority of sessions until mid '62 when Ozzie Cadena takes over. Don Schlitten produces some sessions in 1963, etc. I hope this info generates some question ideas for you.

The 2 volumes of Super Sax Japanese Tour, after a shitload of classical stuff. Life is good!

Sorry to be a wet blanket but I was bummed by the piece. Seems more like an article for the KC chamber of commerce newsletter. I've worked with Jay and he's much more interesting as is the whole KC history/current scene. Not worthy of my aspirations for the NY Times.

Lucky Thompson "Body & Soul". He thought it was funny, in context, because in the photo he seems to be quizzically examining his soprano.

So, here comes negative, smartass nessa. Mr Tom Harrell don't reach the top of Phil Woods loafers. Mr Woods is a minor figure spending the last 40+ years diminishing his strengths.

I bought the book from Walter - if you can find it, it is a masterpiece.

Joe was really into Rollins and resisted all movements forward. Thorne and Hal forced him into Ornette. All this info is from Hal and one short conversation with Russell Thorne. I first heard the band at the DownBeat fest in '65. By then Clyde Flowers (another unsung hero) was the bassist. Joe is very important to a bunch of white guys in Chicago, but this is very easy to over-estimate. He was also a nice guy, good techinician, etc. DJ Linda Prince created a "reunion" in the late '70s at Rick's Cafe Americain and the resulting interview on the local NPR station was a mess. Sometimes tenor players are "the bane".

I have the original lp and it indeed has 7 tracks. Mention of A Taste of Honey leads me to believe you are confusing this date with one by Lloyd Mayers and Oliver Nelson.

Where the hell is "Talkin' About"?

Chasing him around the oval office must have been a trial.

ROLLIN' WITH LEO is one of the discs mastered in NY and pressed in Phoenix, as mentioned above.

Thank you from the bottom of my heart. This reaction is why I have done what I have done. Corny as it sounds, I feel giving "new kinds of beauty" to the world is the highest calling a human can aspire to. Forgive the CRAP, but this means something to me.

My guess is it's a ploy to get publishing money. Statutory rates for recorded tunes is currently 8.5 cents for any song up to 5 minutes. For longer performances the rate is 1.65 cents per minute. You can calculate a 25 tune historical reissue as $2.13 per disc. This is on top of any artist royalty.

I think Roberta would object to the exposure of those thighs. She'd have been great! Thanks for the teaser Chris.

Jim is correct - that's Atala Mitchell on the cover. She "was" Snurdy McGurdy and burned off her youthful energy by dancing. She had a favorite pair of gym shoes she destroyed with her dancing. Roscoe and family lived on a farm in Wisconsin. Ann and I took a trip to spend a couple of days with them and Ann brought her camera to take some pictures for the record cover. We intended using the shoes but none of the shots worked out for a cover so we used the pic of Atala in action. Two related points - this was the 2nd time this young lady was "immortalized" on record (A1TAL2LA on Roscoe's Nonaah is for her) and she went on to earn a masters in dance at the University of Michigan.

It is a "best of" disc. I suggest getting "Nice Guys" first. If you are not convinced by that, get Rarum. If you like "NG" move on to others.

Thanks Dan. Best of the new year to you.

DEEP and Patricia, why don't you get a room and report back.

None of the players are on my radar screen, so I have no opinion, AND I find the recent Dave Holland bands a "snore".

March is my best guess.

My four favorite Mosaics arrive early in the series. Ammons/Lewis, Monk BNs, Port of Harlem and Nichols. All these sets included historically important new material. The label justified being with these releases.

If I'm not mistaken, all Breakstone recordings are vanity deals - paid for (and owned) by the artist.