Chuck Nessa

I have never understood the attraction of the Wes/Trane pairing at this time. It does not sound like a special combination to me.

I guess this is the most appropriate forum to post this message. The above titled NPR show is a favorite - very different each week. The reason for the posting is to get you to go to their site HERE and look for a program called "Music Lessons". It is episode #104 from the broadcast of June 5, 1998. You can listen online. The David Sedaris story called "Papa Was Not A Rolling Stone" is a classic. Everyone I play this for laughs 'til tears run down. The other stories are good too, but my family see's me in the Sedaris story. I must order the cd soon.

Old Bushmills.

Went into the file and changed it from CMYK to RGB. That made the bb happy.

All the file specs are within the range of my other avatars.

You will be getting a variation on the purple. The black and blue was an early experiment. I have been trying to upload a "corrected" avatar for a while but the system rejects it. Not sure what the problem is.

How old was Doug when he recorded this motha'?

Thanks for reviving this interesting thread. I'd forgotten.

Thanks Conn.

Ya' can't get this crap on AAJ or Jazz Corner. Thanks Jim.

PLEASE stop posting to this thread. It only incourages the lamest kind of babel. Stop now.

Excluded are (not including incomplete performances) alternates of everything on the lp with three exceptions. "A Time For Love" was attempted something like seven times, "Subconscious-Lee" was done only once (right at the end of the recording of that tune Warne told me "That's the best I ever played that tune", and "I Have A Good One For You" (you get every scrap of that one). After listening for over a year to all the tapes I decided I could get the "meat" onto one disc and a single disc would sell better than a set. The cd includes a note from me about this and I will post it below, as well as the tracks and times. PRODUCERS NOTE Before the sessions Warne told me he would record one tune each by Lennie Tristano, Lee Konitz and himself from his New York days. He also said they would do a ballad, a blues and Lou had a tune (Lunarcy). Lastly, he was working on the changes of It’s You Or No One and wanted to record it too. He said “I have a good one for you”. Lou asked me to rent an electric piano because he wished to use it for a recording of Johnny Mandel’s A Time For Love. The electric piano turned out to be defective and generated random static on all takes. We performed a salvage job on one of them for this issue, but some noise remains. We have included the initial take of On Purpose (complete with a shaky ending) to show the transformation from first to final version. On the first day of recording we started with a performance of Lunarcy and then Warne launched into a series of takes of his “good one”. We have included all versions of this piece at the end of the disc so you can loop back to the final master (track 1). I Have A Good One For You was the first piece recorded on the second day in the studio. They nailed that one. TRACK LISTING (the first 7 tracks are the lp sequence) 1 I Have A Good One For You (take 13) 5:29 2 Background Music (take 24) 4:32 3 On Purpose (take 16) 7:07 4 317 E. 32nd (take 22) 6:57 5 Lunarcy (take 25) 9:02 6 Easy Living (take 28) 4:09 7 Subconcious-Lee (take 18) 5:04 8 On Purpose (alt take 14) 5:44 9 A Time For Love (take 8) 5:20 10 I Have A Good One (false starts tk 2 & 3) 0:47 11 I Have A Good One (take 4) 6:48 12 I Have A Good One (take 5) 5:29 13 I Have A Good One (take 6) 5:49 14 I Have A Good One (take 9) 5:55 I forgot to add: Tracks 9-14 recorded on Friday, Feb 20 and the rest on Feb 21. EDIT NOTE: I see I previously reversed the dates. Sorry. I hope this information helps you understand my programming decisions.

The closed I get to golf is watching Buick commercials. Thanks to all for the tips.

Insider info alert - you will only hear it here: In '76 I had a bitch of a time trying to make the record sound decent. I think we remixed the date 4 times. For the reissue we dumped the multi-tracks into the computer and discovered a problem. We recorded Warne's sax with 2 microphones - one top and one bottom. We discovered the 2 saxophone mikes were out of phase. We simply corrected the phasing and it sounds much better now.

Sounds like GREAT advice!

Too soon - March 15.

Not from Newport, but from the corner of Livingston and Elliot. It was friggin' cold. Put your foot on the clutch and BAM your foot hits the floor and the pedal is gone!

Word to the wise: This sucker grows and grows. Buy it and play it a bunch of times. It gets better and better.

Ann and I will be there. By the way, my car worries mention in the Newport thread came to fruition. Last night the clutch cable broke and I had to walk home.

Trying to build up your "non political" posts Wheezie?

It all depends on the tenacity of the damn stores. It is available to them.

Once again, I'm too late.

It is a typical quartet setting. Lou Levy (p), Fred Atwood (B) and Jake Hanna (d). This was the rhythm section of Supersax, the band Warne worked with at the time.

Sing it for me.

Sunday? Is that the Muskegon gig? I was thinking Tuesday. No problem, I will see you whenever.