Gheorghe

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About Gheorghe

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    Groove Merchant
  • Birthday 12/14/1959

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  • Gender Male
  • Location Austria

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  1. Woody Shaw "Tokyo 1981" (Elemental Music)

    Thank you soulpope and Sidewinder. So some of us still heard the complete group early in 1983. In my case it was quite strange, because it was not a festival, it was just an evening with 3 groups playing: First the Johnny Griffin quartet, second the Woody Shaw Quintet and third the Dexter Gordon quartet. If I understood it right, it was planned that the three leaders would get together after the separate performances for a kind of jam, but it didn´t happen. I think, Woody Shaw, together with Dexter Gordon didn´t have their CBS contracts renewed and had to switch to the short lived Elektra Musician label. That was Bruce Lundvall´s label i think. If I remember right, Woody Shaw made 2 albums, the second was called "Night Music", and Dexter made only one album "American Classic" I think......, I think the intention was a good one, but it was only for a short time.......
  2. Woody Shaw "Tokyo 1981" (Elemental Music)

    I haven´t heard about Bremen 1983 but I saw Woody in Vienna in 1983 I think it was in january february. But he had his quintet with Steve Turre, Mulgrew Miller, Stafford James and Tony Reedus, the same like Uncle Po, or an old "Elektra Musician" LP from 1982 I have. So, if Bremen 83 is a quartet, who is missing. Until when that steady group (Turrre, Mulgrew Miller, Stafford James Tony Reedus) did exist and when or why did Woody disband ?
  3. Songs We Should Retire

    I don´t really like too slow versions of "Blue Monk". Monk himself played it in a moderate mid tempo and I like it with it´s Monkish chords how he plays those tunes, like the slower Misterioso. But the way how most dudes play "Blue Monk" here in Viena on jam sessions gets on my nerves, it sounds.... it sounds... somehow like the music they sing and play at them Viennese wine taverns (Heurige), if you can follow.... Too sentimental, the way people feel and act after drinkin a bit too much wine and all become brothers and sisters and shit... That´s the feeling I get if some start to play Blue Monk in that mourning manner. So I still can listen to it if it´s played like Monk played it (one exception is the 1971 Giants of Jazz version, were they made a silly shuffle out of it, but that was not Monk´s fault, he was there but was busy not to be too envolved in it......) . Don´t missunderstand me, I really like some really slow blues, but not the way they make a slow blues out of the tricky "Blue Monk".......
  4. I´ve forgotten about Monk´s Epistrophy, since I think it was recorded, first with Milt Jackson in 1948 and later on serveral live recordings . That´s why I thought about 52´nd Street Theme since it was a set break tune used by many other musicians (we used it too for some time) but at least as I know , no recording evidence with Monk.
  5. You are thinking about 52´nd Street Theme ? Yes really, I always wondered if it was composed by Monk. It often happens that it´s hard to check out who originally composed those bop tunes. It´s possible that 52`nd Street Theme originally was at a slower pace. Usually it´s played very fast, like "Salt Peanuts" or "Dizzy Atmosphere".....at a speed that wouldn´t have fitted to Monk.....
  6. early Blue Note titles recorded in Paris

    Right, because Hamp never would have been a BN artist. I think the few BN albums that were recorded in Europe were on occasions when Francis Wolff went back to Europe. I´ve forgotten how many were done in Europe, one might have been Dizzy Reece´s "Blues in Trinity" (with Donald Byrd,Tubby Hayes) , others the Dexter "Our Man in Paris" and one year later "One Flight Up" (the one with Byrd´s "Tanya"), then the two Ornette "Golden Circle" and quite strange the Clark-Boland "Golden Eight". I say "strange" because I never saw the connection of this one to BN.
  7. Maybe my affinity to Sonny Rollins´ work of the 70´s is just a generation thing. I was born in 1959 and it´s natural I got to see all those giants "live" during the 70´s . That means, as teenager jazz lover of course you were aware of the outputs of those musicians in the 50´s and 60´s or even back to the 40´s, but you accepted in a natural manner what those giants created 1, 2 or even 3 decades later. Let´s say: As a boy probably you first heard a Prestige Miles or Rollins album, and then you went to your first concert and saw Miles with Pete Cosey, Reggie Lucas, James Mtume and had to switch to that and say "look that´s how he played in the past and thats how he plays now and you are here and witness what happens. And see.... decades later they wrote books about stuff like On the Corner or Aghartha...... With Rollins it was less radical: He started to use electric bass, maybe electric piano, maybe he would use a percussion player and would play some more rock-based stuff, but still he would pick up some old ballad. So maybe we just grew up knowing there was the past, the historical part of it.... all those Prestige and BN stuff (if it was not OOP which happened very easy during that time, you had to relie to some compilations) , and the present time , the heydays of the Milestone Label (I noticed that many festivals had artists on schedule that were Milestone Artists - Rollins, McCoy Tyner, Joe Henderson, Ron Carter etc. ). So maybe I have a special affinity to 70´s outputs of Miles, Mingus, Rollins, and all those, since this was the time we lived in, they were the musicians who had written jazz history, but they still were not really old (Rollins was maybe 40 and some years old, but had played with Bird, with Bud which had been a long time ago ) and in their prime, and as a youngster you looked at them as those who allready have written jazz history and go on writing jazz history.
  8. Reminds me of an encounter that my wife and I had around 2000 in Miami Beach, standing in front of a jazz club (intermission between 2 sets of James Moody). A fan started to talk to us about the Miami Scene and I mentioned that just a few days before Sonny Rollins was in town. That guy gave me that kind of look, said something like "I don´t like what Sonny Rollins has done since 1975...." and walked away. Even my wife (not a jazz fan really ) laughed and said "well that means he doesn´t like half of what Sonny Rollins did. I´d say from 1975 to 2012 (or when did he stop performing?) he still had a lot to say and had wonderful rhythm sections. I heard him in the late 70´s with Mark Soskin, Jerome Harris and Al Foster and if this is not a good rhythm section I don´t know what a good rhythm section is.....
  9. As much as I like to read books about musicians and the music, I think I wouldn´t purchase this one. Maybe my fault , but I think spirituality is not really my thing. Maybe it is linked to the music, maybe not....... at least I love Mr. Rollins music, all of it , but as I said it´s strictly mucic bound....
  10. Really enjoyed it, and it´s still like that. One of the greatest experiences for a young unknown musician is to be called up on stand and manage to keep up with great musicians. Wonderful thing. I almost can imagine how it happened for DeArrango.
  11. Birks/Birk's/Birks'

    Wasn´t Birks Works composed a bit later than all the dozens of compositions he wrote during the 40´s for his combos and big band? Like: Salt Peanuts, Shaw Nuff, I Waited for You, Bebop, Emanon, Groovin High, Blue n Boogie, all were written during the 40´s. Birks Works in comparation sounds "easier". It´s the type of tune you play on jams just to be sure that everybody can blow it.....
  12. Question from Laurie Pepper

    I think that thread would deserve a better title, since the original question was asked more than 8 years ago. How about a title about fans sharing their impressions on live events where they heard and saw Art Pepper. This would be helpful also with other musicians of that caliber. About the question if someone has newspaper infos about Art Pepper from Velden 1981 I only remember that Jazz Podium reviewed the festival and wrote something about how Art Pepper tried to make his references to the austrian audience by choosing Lehar´s "Your´s my heart only". I think there wasn´t much more written about it, really sad. But at that time I almost coulde memorize everything written in Jazz Podium about (US) Musicians. I don´t know why but most Podium critics were very busy accentuating the negative: From the same year about Dizzy at Nice for example "In 1979 Diz was the flop of the evening with his rock and funk orientated electric bass and drummer, in 1980 he sounded a bit more straight and in 1981 he returned to his 1979 type of performing...
  13. Jazz Vocalists

    I don´t really know who is Cleo Laine, I can´t read all the answers since the thread is 15 (!) years old, but it seems that nothing has changed. I know so many jazz vocalists I don´t want to list them here, but many names that I can´t associate directly with jazz, I wouldn´t even know...., jazz is the only music I listen to....
  14. Question from Laurie Pepper

    Yeah, those 1981 concerts were a highlight of all European festivals. In the summer of 1981 Art Pepper played in Austria (Velden) with a different rhythm section (with Lou Levy on piano), actually Stan Getz´ rhythm section who was also scheduled. Since we don´t have recorded documents of that event, those Stuttgart and Croydon releases are very very welcome. I´m glad I have them and have listened to them many many times. I think my personal highlights are the extended versions of "Make a List, make a wish" (or something like that), and above all "Your´s my heart only".
  15. Artist's Lack of Fashion Sense Interfering with the Music

    Socks and sandals......a no go..... well at least Chet Baker wore sandals but no socks. Great remark "'Geography teacher socks"..... never heard that, but it fit´s . Reminds me of the way teachers dressed when I went to high school.....