Another Spam from Nessa

[PHILLYQ]

Much thanks to whoever posted this on a site that banned me: http://forums.allaboutjazz.com/showthread.php?t=34994

Not to derail, but if you don't mind my asking, why did they ban you? Was it due to publicizing your sales?

[Chuck Nessa]

Not to derail, but if you don't mind my asking, why did they ban you? Was it due to publicizing your sales?

Nothing to do with my business. Everything to do with Mike Ricci's business. I criticized recordings he praised and it turned out they were paying customers. He warned me and it happened again. Ever notice how many posts on that site are by "administrators"? I know Jim Alfredson wants good relations with AAJ, so I hope he feels free to delete this post.

[Chuck Nessa]

Welcome bigbandrecord.

[Chalupa]

My copy arrived today. Thanks for the fast shipping Chuck.

[Hoppy T. Frog]

My copy arrived today. Thanks for the fast shipping Chuck.

So did mine! Thanks!

[Larry Kart]

Arrived today -- many thanks, Chuck, for doing it in the first place and for doing all this now. Began by playing the saxophone quartet "Nonaah" because I know it well. The gain in clarity is startling, but that prompts a question, which you probably can answer unless there's a reason not to: In the final section, there is almost certainly a fair amount of room for individual embellishment by each player within the bounds of what's given (the details of these embellishments/variations being significantly more audible now). So I'm wondering, who is who from left to right? Assuming that the recording set-up reproduced the seating arrangement as indicted on the title page of the score, it would be Alto III, left; Altos I and II, center; and Alto IV, right. I could take a reasonable guess (Roscoe himself being readily identifiable, I think; he's the most rhythmically abrupt, prominent, lower-register protagonist in section one of the whole work, no?) but would rather know for sure.

[Chuck Nessa]

Don't remember for sure which player is playing which part. The audio image, left to right is: Jarman, Threadgill, McMillan, Mitchell.

[Larry Kart]

Don't remember for sure which player is playing which part. The audio image, left to right is: Jarman, Threadgill, McMillan, Mitchell.

Thanks. Will listen again with that in mind. What an incredible performance. Can't imagine the sense of satisfaction that everyone must have felt, though I can just see Roscoe being very take-care-of business afterwards, packing up the parts, saying "Thank you," etc. BTW, Roscoe's musical notation (reproduced in the booklet) is very beautiful/expressive -- the ink strokes seems to wriggle with energy, everything clear but urgent.

[Chuck Nessa]

BTW, Roscoe's musical notation (reproduced in the booklet) is very beautiful/expressive -- the ink strokes seems to wriggle with energy, everything clear but urgent.

I thought the reproductions of the score were important and (at the time) asked Roscoe for the samples. He agreed and you see the results. I still have the sheets.

[Larry Kart]

I'm glad I asked. Just listened again while trying to sort out who's who, and I recommend it as in interim step because it naturally leads to hearing the four parts both individually and as a whole. For instance, in Section One I had a bit of trouble finding Threadgill at first (his part is often near-chalemeau-ish and the calmest), but when I did find him it was like I was hearing a third more of everything than I had before -- e.g. it's now clear that parts of Section One that I thought were all Roscoe actually are Roscoe and Wallace McMillian tightly interweaving. Also, finding Threadgill and then reconnecting with the whole made Section One seem surprisingly unhectic, almost lyrical, which was quite a switch. The music just opens up when you "see" the four players.

[Larry Kart]

Re-acquainted myself with "Improvisation 1." Roscoe says of it, "That was a very structured improvisation." Yes, indeed. I can't imagine what this will sound like if one hasn't heard it before. Ardor plus order at a level of intensity that is almost shocking, except that it's also (you might say) happy because it's so coherent. Right afterwards, I thought, "I wish Coltrane could have lived to hear this."

[Chuck Nessa]

Next, I suggest you compare the two versions of Off Five Dark Six. But then my favorite piece is A1 Tal 2La. I tear up almost every time.

[Hot Ptah]

I received my copy today. Thanks Chuck.

I have only had time to play the first cut in my car. It brings back such great memories of the late 1970s!

[papsrus]

I received my copy today. Thanks Chuck.

I have only had time to play the first cut in my car. It brings back such great memories of the late 1970s!

If this CD is successful in triggering memories from the '70s, I'm definitely in!

[Uncle Skid]

I received my copy today. Thanks Chuck.

I have only had time to play the first cut in my car. It brings back such great memories of the late 1970s!

If this CD is successful in triggering memories from the '70s, I'm definitely in!

Memories from the 70's? I assume this means this it will remind me of the Saturday Night Fever soundtrack, Boston's Don't Look Back, and the release of the solo records from each member of KISS???

Awesome, I'm in, too!!

[Chuck Nessa]

[paul secor]

Got my copy yesterday. Hope to find the time to start my listening today.

[Head Man]

My copy arrived today. Many thanks for the great service, Chuck!

Mmmm... I was expecting it to be by Anthony Braxton

Edited August 13, 2008 by Head Man

[Joe G]

BTW, Roscoe's musical notation (reproduced in the booklet) is very beautiful/expressive -- the ink strokes seems to wriggle with energy, everything clear but urgent.

I thought the reproductions of the score were important and (at the time) asked Roscoe for the samples. He agreed and you see the results. I still have the sheets.

I was impressed by that as well.

[Chalupa]

Some props from this weeks DMG newsletter.....

Another "we been waitin' for it" reissue [of the year!]

ROSCOE MITCHELL With ANTHONY BRAXTON/HENRY THREADGILL/JOSEPH JARMAN/GEORGE E LEWIS/MALACHI FAVORS/MUHAL RICHARD ABRAMS/WALLACE McMILLAN - Nonaah [2 CD set] (Nessa 09/10; USA) [pronounced No Nay Ah] This is one of Mitchell's best solo statements - it's tough, so many of his records are amazing - and it's never been on CD! It includes a full-side [old-school LP lingo] treatment of the title cut, solo works, duos with Anthony Braxton (sopranino sax) & Malachi Favors (bass), a trio with George Lewis (trombone) & Muhal Richard Abrams (piano), and an incredible sax quartet with Mitchell, Henry Threadgill (as), Joseph Jarman (reeds), and the undervalued/underrecorded Wallace McMillan (bass). Whew! This truly historic double album was released in 1977 and has long been out-of-print. Don't even bother to vacillate - this BELONGS at your home, in your player. Period!

[Hot Ptah]

Next, I suggest you compare the two versions of Off Five Dark Six. But then my favorite piece is A1 Tal 2La. I tear up almost every time.

Chuck, I listened to "A1 Tal 2La" several times in the past few days, based on your post.

I like "A1 Tal 2La", and find it very interesting and a fine piece of music.

However, if this is what brings tears to your eyes, it is an example of the diversity of the human species--which I am all in favor of celebrating.

[Larry Kart]

Next, I suggest you compare the two versions of Off Five Dark Six. But then my favorite piece is A1 Tal 2La. I tear up almost every time.

Chuck, I listened to "A1 Tal 2La" several times in the past few days, based on your post.

I like "A1 Tal 2La", and find it very interesting and a fine piece of music.

However, if this is what brings tears to your eyes, it is an example of the diversity of the human species--which I am all in favor of celebrating.

Can't speak for Chuck, but I get a great feeling of delicate, practical, in-the-moment tenderness from the piece/performance -- it's like tracing the contours of someone's face with your fingertips. Specifically, the passage around 4:30 when Roscoe is in the upper register and Malachi is playing harp-like figures; and the one that begins around 7:50 when Roscoe's line begins to descend in pitch and become a bit shadowy in tone -- I'd call that melancholic and farewell-like except there's no mood-painting here in the sense of depiction of emotion from a vantage point. It's all almost unbelievably specific, note to note, and that a rare thing, especially when you don't have the advantage of getting excited or "energetic."

[danasgoodstuff]

was at my fav record store (Music Millennium in Puddletown) this noon and forgot to even look! Must remember....

[reg]

My copy of Nonaah arrived last week along with Air - Air Time, Roscoe Mitchell - Snurdy McGurdy and Her Dancin' Shoes and LRG/The Maze/S II Examples. Very quick delivery, thanks Chuck.

Been listening to these 4 CDs on and off all week. A lot to listen too. I think I'm liking Snurdy McGurdy and Her Dancin' Shoes the best so far. Maybe easier to get into then the others.

All good stuff, happy me

Edited August 21, 2008 by reg

[Bright Moments]

i just started to listen to disc one. i had no preconcieved notions on what to expect - i just sat back on the couch, closed my eyes and listened. half-way through nonaah (track 1 disc 1) i was shaken by my 10 year old - "dad, dad!!!! what is that!!! why is he playing that over and ovar again!!! i can't get it out of my head!! make it STOP!!!!!"

oh well - i will try to spin it again when i am alone in the house.

thanks chuck for getting it to me!