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Warne Marsh: All Music - Nessa Records


paul secor

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So,,,,,,,,I guess this means I'll be getting MUCH more respect around here.  :lol:  :lol:  :lol:

That will happen when Bird and Diz and Town Hall finally sees the light of day. ;)

oh yes, can you add this to my order? or shall I keep from ordering till you have that one out... ;)

seriously: I ordered the Marsh, better yesterday than today, but still better today than tomorrow, righty right?

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To think that we knew Chuck before the millions, the feted soirees in Manhattan, the lavish trips to Las Vegas, the fifteen-foot-high security fence, the third home on Mackinac Island, the multi-CD "concept" records, the Trump-ish hirings and firings, the governorship and the biopic, the decision to invade Wisconsin...

Nah, we invade Ohio first (red state) so I can watch our friend Conn/Paul squirm.

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Good to hear--the disc deserves all the press it gets.

It's actually the only disc I included in my "reissues" list for Cadence--everything else that would have gone in got excluded by the journal's strict criteria :(. Otherwise I certainly would have added Andrew Hill's Black Fire & probably some of the reissues on Hatology (notably the Giuffre concerts from Germany). Oh well.

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I'm keeping my fingers crossed that this recognition results in enough sales to get us some more cd reissues in 2005.

I'd love to be able to buy copies of Wadada Leo Smith's Spirit Catcher, Roscoe Mitchell's Nonaah and Charles Tyler's Saga of the Outlaws on cd.

Edited by John B
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Good to hear--the disc deserves all the press it gets.

It's actually the only disc I included in my "reissues" list for Cadence--everything else that would have gone in got excluded by the journal's strict criteria :(.

Oh man, somebody please explain this in detail. It's been ages since I've subscribed to Cadence, and I don't remember what their voting limitations were/are.

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The limitations for just plain old readers' participation in the polls aren't all that strict. But for reviewers submitting top-tens you're only allowed to list things reviewed in Cadence from December of the previous year to November of the present year. This becomes a real problem for reissues because, e.g., Cadence doesn't usually get review copies of reissues from RVG/Blue Note, Columbia or Verve, for starters. Because of the limitation to the reissues covered in the mag, basically one has the choice of the Chronological Classics, Fresh Sound, Mosaic, Hatology & a few other labels. Plus Nessa, fortunately!

It's a quirky mag but, yes, it's far better than the glossies A good run of interviews lately.

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  • 2 weeks later...
  • 8 months later...

Wow, no one took up Jason's offer for any questions about Warne Marsh?

I don't know enough yet to pose any interesting question, so..

Chuck, do you still have this for sale? (And what else do you have these days? I already have the Bird/Diz and Mingus on Uptown, but what's the current Nessa catalogue? Or shall I PM you?)

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  • 5 weeks later...

10 months later, Im still open to questions. BTW there is a new Lennie Tristano book out that dispells the myths about him.  It's written by Peter Inn. Check out dad's sight for the info.

www.warmemarsh.info

Jp

The book was written by bass player/record label owner/etc. Peter Ind, not Inn. It's available from Amazon.com.

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10 months later, Im still open to questions. BTW there is a new Lennie Tristano book out that dispells the myths about him.  It's written by Peter Inn. Check out dad's sight for the info.

www.warmemarsh.info

Jp

The book was written by bass player/record label owner/etc. Peter Ind, not Inn. It's available from Amazon.com.

Here's Peter Ind's website.

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Here's an e-mail I sent the other day to Eunmi Shim, whose Ph.D. on Tristano is in the procves of being published as a trade book by the U. of Michigan Press:

Just read the Peter Ind book, which is very interesting, as you might expect, but marred IMO by intimations that Ind could be a bit hare-brained in some regards -- he was, as were some others in Tristano's circle, and still is a great admirer of Wilhelm Reich (he of the orgone box), and Ind cryptically states that like Reich (or so Reich claimed) he can (among other things) use Reichian principles or techniques to influence the weather with his mind (especially useful, I suppose, if one lives in Great Britain part of the time, as Ind does); Ind also is enamored of the crackpot theories of Immanuel Velikovsky (author of "When Worlds Collide"). I think you would find Ind's account of "Turkish Mambo" to be of particular interest; he says that the piece has "no orthodox time signature at all," that "the metronome beating quarter-note rhythm is merely the co-ordinator" and "you can choose according to what rhythm you hear as predominant and what kind of time signature you accept. If you regard the metronome as beating quarter notes, the other superimposed rhythms are all based on eighth notes. The rhythms are introduced one at a time, the first being a continuous phrase of seven eighth notes. Because these repeated phrases are set over the steady metronome beat of quarter notes, the do not convey a primary time signature of seven but only a subsidiary time rolling over the quarter note metronome beat. then a new rhythm is introduced, that of a 5/8 phrase. Once this is established, a third rhythm is added -- this is of a twelve eighth-note phrase. As jazzmen relate easiest to a 4/4 rhythm, it is usually heard by them as though the metronome is beating 4/4 time. But hearing it this way is arbitrary. What is not arbitrary are the eighth-note phrases set over or against a steady quarter-note metronome. But this still does not mandate a time signature, as we know it. The final addition of a bluesy-type right hand improvisation does give a final indication of 4/4 time, but this is just implied by the kind of phrases played by Lennie.... If we take the arbitrary 4/4 as a basic time signature, exact repetition of the interlocking phrases occurs only after 105 bars." My God.

I wish the book had been dealt with by a decent editor and proofreader -- lots of nagging typos and some odd assertions. For instance, here's a two-for-one shot. Writing of Nesuhi Ertegun's (of Atlantic Records) relationship with Tristano, Ind writes: "By the late fifties Nesuhi's enthusiasm for Lennie's music had waned, and he was then involved with more commercial aspects of jazz, such as the music of Ray Charles, Chris Connors [sic], and Charles Mingus." Yeah -- Mingus, that old chart-topper.

On the whole, though, it's a very worthwhile book for anyone who is interested in Tristano.

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