Another Spam from Nessa

[AllenLowe]

18 copies of Jews in Hell?

Edited August 1, 2008 by AllenLowe

[AllenLowe]

16 news stories ripped from the headlines by 7/4?

[AllenLowe]

21 copies of "Hot Dog" (remastered from the original tapes) ?

[7/4]

and a partridge in a pear tree.

[Chuck Nessa]

Nonaah won Record of the Year award in the Down Beat Critics Poll in 1978. More accurately, 5 recordings tied for the top spot: Akiyoshi/Tabackin Insights, Ornette’s Dancing In Your Head, Dexter’s Homecoming and Sophisticated Giant, and Nonaah. Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful “underground” reputation today and is one of the recordings for which I am really proud.

BUT, a warning follows.

This is really tough music. If your primary knowledge of Roscoe’s music is Snurdy McGurdy you may be turned off by the power of these pieces. I have been trying to figure out a way to express this and decided the best way is to post a review written by Rafi Zabor in Musician magazine at the time. Here it is.

This is some of the most uncompromising music I have ever heard. On this recording the Art Ensemble’s tallest altoist obsesses himself with repetition and expansion. On one of the several versions of the title tune he plays a festival audience to a standstill with seven or eight minutes of one thorny phrase. There’s something unnerving about it, like a man blowing up the railroads. There is a variety of music and instrumentation on this double set, though half of it is solo saxophone. Beyond mere anger and modernism, this is flesh.

The only quibble I have with the review is the word anger. Back in the day there was an automatic reaction to forcefulness as anger.

[Chuck Nessa]

Cool, straight from the free zenith. Will DMG sell it here in NYC?

That's up to them.

[Larry Kart]

The saxophone quartet (four altos) version of "Nonaah" is one of the great works of the 20th Century -- by any standard, in any musical genre. Tough you could say it is because it certainly is forceful, but it's also exquisitely efficient, not a moment that doesn't count, and it all adds up, climactically. In this it reminds a bit of Stravinsky's Octet (a work I never tire off). And there's much more here (the opening solo "Nonaah"!), some of which will be new to most everyone but Chuck and Roscoe.

[1009]

This cannot get out soon enough.

[WD45]

...Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful “underground” reputation today and is one of the recordings for which I am really proud.

Why did you wait so long to reissue it?

[AllenLowe]

homeland security -

[J.A.W.]

...Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful "underground" reputation today and is one of the recordings for which I am really proud.

Why did you wait so long to reissue it?

Issuing stuff is not exactly cheap for an independent label like Chuck's.

Edited August 2, 2008 by J.A.W.

[Chuck Nessa]

...Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful “underground” reputation today and is one of the recordings for which I am really proud.

Why did you wait so long to reissue it?

As Hans said - money.

[AllenLowe]

by the way, I talked to an independent record guy yesterday, Chuck, and he's getting his CDs made in Taiwan - for just the CD, regular CDs, no qualilty issues, he's paying .29 cents per disc - there's where I'm doing my next project -

[RDK]

...Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful “underground” reputation today and is one of the recordings for which I am really proud.

Why did you wait so long to reissue it?

It was originally titled "Basra," and then things... well, you know...

[AllenLowe]

Karl Rove likes it -

[AllenLowe]

chuck - you still have not indicated if and when we can order it from you -

[Chuck Nessa]

I had wanted to wait until I had the cds, but unless something has gone wrong they will be here by Wednesday or Thursday.

Interested parties can order directly from me at Nessa Records, PO Box 394, Whitehall, MI 49461 or via PayPal to info@nessarecords.com . The price is $23 post paid in North America – folks living elsewhere should add $4 to cover the extra postage.

Should you be interested in any of my other offerings, including stuff from the Okka Disk catalog, send an email and I will supply lists and prices.

Thanks.

CN

[Chuck Nessa]

FedEx says the shipment will arrive tomorrow. It was shipped "ground" which means some time in the afternoon. For folks already ordering, if I get them early enough they will be mailed tomorrow afternoon.

[Rosco]

Nonaah won Record of the Year award in the Down Beat Critics Poll in 1978. More accurately, 5 recordings tied for the top spot: Akiyoshi/Tabackin Insights, Ornette’s Dancing In Your Head, Dexter’s Homecoming and Sophisticated Giant, and Nonaah. Reviews almost everywhere were more than positive and the recording did very well in the sales dept. The record has a wonderful “underground” reputation today and is one of the recordings for which I am really proud.

BUT, a warning follows.

This is really tough music. If your primary knowledge of Roscoe’s music is Snurdy McGurdy you may be turned off by the power of these pieces. I have been trying to figure out a way to express this and decided the best way is to post a review written by Rafi Zabor in Musician magazine at the time. Here it is.

This is some of the most uncompromising music I have ever heard. On this recording the Art Ensemble’s tallest altoist obsesses himself with repetition and expansion. On one of the several versions of the title tune he plays a festival audience to a standstill with seven or eight minutes of one thorny phrase. There’s something unnerving about it, like a man blowing up the railroads. There is a variety of music and instrumentation on this double set, though half of it is solo saxophone. Beyond mere anger and modernism, this is flesh.

The only quibble I have with the review is the word anger. Back in the day there was an automatic reaction to forcefulness as anger.

As a frame of reference...

This sounds like a description of Roscoe's performance of 'Chant' on the Wildflowers set. In the same ballpark?

Because that is a mesmerising piece. No anger heard here.

[Kalo]

This is some of the most uncompromising music I have ever heard. On this recording the Art Ensemble’s tallest altoist obsesses himself with repetition and expansion. On one of the several versions of the title tune he plays a festival audience to a standstill with seven or eight minutes of one thorny phrase. There’s something unnerving about it, like a man blowing up the railroads. There is a variety of music and instrumentation on this double set, though half of it is solo saxophone. Beyond mere anger and modernism, this is flesh.

The only quibble I have with the review is the word anger. Back in the day there was an automatic reaction to forcefulness as anger.

In Zabor's defense, I read his final sentence "Beyond mere anger and modernism, this is flesh," as arguing against the automatic imputation of anger to forcefulness. But I guess that's debatable.

I'm very much looking forward to this augmented reissue.

[Chuck Nessa]

This is some of the most uncompromising music I have ever heard. On this recording the Art Ensemble’s tallest altoist obsesses himself with repetition and expansion. On one of the several versions of the title tune he plays a festival audience to a standstill with seven or eight minutes of one thorny phrase. There’s something unnerving about it, like a man blowing up the railroads. There is a variety of music and instrumentation on this double set, though half of it is solo saxophone. Beyond mere anger and modernism, this is flesh.

The only quibble I have with the review is the word anger. Back in the day there was an automatic reaction to forcefulness as anger.

In Zabor's defense, I read his final sentence "Beyond mere anger and modernism, this is flesh," as arguing against the automatic imputation of anger to forcefulness. But I guess that's debatable.

I'm very much looking forward to this augmented reissue.

Not sure why Rafi needs a defense.

[Kalo]

A quibble is not an attack, so I guess that "defense" was not quite the right word. But it does seem to me that the estimable Zabor was not exhibiting the automatic response of the day.

[Chuck Nessa]

Stock arrived mid afternoon and most orders got out of here. I'll finish in the morning. Thanks.

[GregK]

Stock arrived mid afternoon and most orders got out of here. I'll finish in the morning. Thanks.

Great news, Chuck. Thank you!

[Chuck Nessa]

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