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I remember he played around the early 80s with Austrian Avantgard-Jazz Pioneer Fritz Novotny (Reform Art Unit). Burton played one of Novotny´s compositions "Pannonian Flower" and then called Monk´s "Crepuscule with Nelly". I didn´t know he was of romanian descendance, I could have talked to him in his language......

Thank you so much !!!!!! I just preordered it. That´s a must for me.

but I have not seen it yet on CD on Amazon. I would like to purchase it on CD, much easier to handle.

Sorry to hear this: I saw him with Horace Parlan and have the Steeplechase LP with Parlan, Eckinger and Danny Richmond. such a great bass player. RIP

Yes, really exiting with all those musicians, an interesting jam and I remember the 70´s when this came out and I purchased it. For me as a beginner, I was used to the more expanded forms of Mingus like Faubus and Meditations...... that´s how I started to become a big Mingus fan...... I would like some time to start another thread about Mingus, about the period after Adams and Pullen, which for many of our generation was the band we saw live in different places all over the world. I saw Art Farmer on so many many nights here in Vienna, It was usually Art Farmer, Fritz Pauer, Harry Sokal on tenor, and very fine bassists and drummers (in later years very often Johannes Strasser and Mario Gonzi)

Such a great edition. I first had bought the Fats Navarro BN double album in the 70´s (that brown paper bag cover series), and than in the CD Era I bought this one.

I think I have this as a Prestige Cliff Brown Memorial Cd. The first half is in Sweden with Art Farmer, and the second half is the Atlantic City Band Tadd Dameron had in 1953.

Don´t forget Sonny Rollins "Road Shows Vol. 2) where Ornette has a guest performance on "Sonny Moon For Two". This was on Sonny´s 80th Birthday and I think Ornette was also an octogenar.

I have this also. That´s about how they sounded when I heard them. Fantastic live album.

I think shortly after I heard them, Workman was replaced by Calvin Hill. Somehow I had liked Workman´s bass sound more then Calvin´s . And even a year later, Billy Harper was replaced by Odean Pope. Many like Odean Pope, sure he is great, but I liked Billy Harper more. Pope has a strange tenor sound, it sounded more like some strange instrument, maybe a bassoon or something like that.

Well, I have Jutta Hipp´s two trio recordings from the Hickory House and the one with Zoot Sims, very nice, she could play, but nothing revolutionary. I read an interview with her in the 80´s when she wasn´t active anymore and when she was asked about her time in Europ with Hans Koller she said she doesn´t like that kind of music anymore. I have read those rumours with Leonard Feather. But you mention there were other reasons for the demise of Hipp´s musical career. What reasons was it. Why did she disappear from the scene. I heard, she was quite struggling for living. She could have returned to Europe to continue her career. Really a mistery to me.

The first recordings were with drummer James Zitro on the ESP label in NY 1967. I think, Allen was only 19 years old then. About the age I had when I played with him for the first time. Later in the 80´s, when we had a gig, he brought the album "Zig Zag" where he is featured. Such a great musician !

I saw them in the late 70´s and it was FANTASTIC. I was so exited before the concert, I mean, THE GREAT MAX ROACH. As much as I remember, one of the tunes was "It´s Time", and there was "Peaceful heart" and a very very interesting version of "Round Midnight", were I think they played the A-parts in 3/4 and changed into 4/4 in the brigde, very fast. This was one of the craziest versions of "Midnight" I ever heard. And there was some Roach drum solo: "The drum waltzes" and "Mr. Hi Hat". The next day I hurried to the record dealer to ask for Max Roach LPs. The above mentioned LPs were not available, he gave me "Speak Brother Speak" because the "America" Label was very present then and easy to purchase. On "Speak Brother Speak", the drum solo of Roach really reminded me of the solo he played the night before at "Kongresshaus". That´s was the place were they played.

I love it !

Allen Praskin "Just Friends - Just Jazz" from 1979 live at a Jazzclub in Mannheim Germany. I had the honour to play several dates with the great Allen Praskin, when I just was a beginner. It started around 1978, after the great late Austrian Jazzpianist and composer Fritz Pauer asked me during intermission, if I would like to sit in for one number. It was fast company: Praskin, Karl Ratzer, Fritz Pauer, Paolo Cardoso and Fritz Ozmec.

This was in the record shops in the late 70´s. I really don´t know why I didn´t purchase it. There would have been a lot of Galaxy albums that I would have liked. Ron Carter: Well I can understand your point of view. Ron Carter usually was recorded quite loud and he had a very modern sound, very "electric" due to the pickup, I think I remember we used "Underwood Pickups" then. Ron Carter also had a lot of gimmicks with glissando, with double grips and so on. I can imagine that this maybe didn´t fit to Red Garland´s music. But during that time, we loved Ron Carter very much for the more modern sounding so called "acoustic" jazz, like let´s say the "Milestone Allstars" and above all "VSOP". Anyway I was much more a Ron Carter fan than let´s say all that super fast high note stuff that Eddie Gomez did on solos. You can compare it on McCoy Tyner´s "Super Trios" from 1977.

One of the best hard bop albums of all time. I heard sometimes, that it was almost a signature theme in japanese tea houses where they played jazz. "Cool Struttin" and Lou Donaldson´s "Blues Walk". And last not least: One of the best album covers ever.

Yes, the later band with Turre, Mulgrew Miller, Stafford James and Tony Reedus was the one I saw. Fantastic ! Years later I saw Woody Shaw as a single with some picked up rhythm section and it was a very embarrassing and disappointing performance. All those great originals like "Moon Train" "To kill a brick" etc. had disappeared and he played stuff like "Tea for Two". Now, nothing wrong with "Tea for Two" but I had expected something else....., Woody Shaw was very thin and skinny then.

Yeah, that´s how we kids looked around 1965,66 Most boys looked the same, and that terrible haircut all boys had. I have many memories about my childhood, but everything seems to be a black-white film or black white fotos. Ugly kids and ugly adults

Another post war german artist might be Freddy Quinn. Also very very teutonic voice, Maybe you know this one: "Junge, komm bald wieder " or even "better" "Seemann, lass das träumen"

Time flies. I saw Steve Coleman when he was with the Thad Jones-Mel Lewis Big Band and he was so young, he still had almost a baby face, but was a major soloist in that great band.

I purchased "At Monterey" after "Great Concert" and especially liked that Duke Ellington Medley, but found that "Orange was the Color" can´t match with the Paris version with Dolphy, and on "Great Concert", Mingus plays one of his best solos, on "Monterey" he does not solo and "Orange" is played more in a kind of rubato at the beginning. "Meditations": I like it more with the small group than that group augmented with studio musicians. Most Mingus LPs during my youth were on the french "America" label. There were so much, that I thought this is a label especially dedicated to Mingus. On the back cover there were always advertised "Other Mingus LPs of interest" and there was a list of them: Mingus with Max Roach (1955 Bohemia) Chazz (same date 1955 Bohemia) Town Hall concert (1964 before the European tour started) Great Concert (Paris, 3 LPs) Right Now (with Cliff Jordan, Jane Getz and Danny) Mingus at Monterey which you mentioned (Then in the 70´s I thought its Montreux and I thought "Monterey" is the english translation of "Montreux". My Favourite Quintet (Minneapolis 1965). Especially about "My Favourite Quintet": This was for long time OOP, until it was reissued on the Mosaic Box "Workshops 64/65). It´s fine with Mc Pherson, Lonnie Hillyer, especially Byard, and Danny) but of course it is not as strong as the things with Dolphy. But "So long Eric" is very fine with many tempo changes, some stride piano by Jakie Byard and so. The ballad Medley is fine, Mingus great as always when it comes to play bass solos on ballads. "Cocktails for Two" seems to be some pre-swing stuff from the 20´s . The best thing is Jakie Byards stride piano, he is always great on that. One strange thing: If Mingus chose to play some funny oldtime stuff, it reminds me of Sun Ra when he does some oldtime between his usual avantgarde program. It sounds like "Oldtime Jazz with a Space-Sound". Same with Mingus. I have difficulties hearing old time jazz in general, can´t get with that funny duck like sound of the alto and that screaming trumpets and that simple beat of old time drummers, but if someone like Mingus or Sun Ra gives some parody aspect to it, I can have a little fun with it.

The "Hot House" is a funny thing. Bird and Diz are in top form, the piano player Dick Hyman is ok, but doesn´t really sound as if he was used to play that style. It sounds more like a classical trained musician, who plays "jazz". And you only see his hands, which is annoying, why don´t you see him play. And the bass and drums is just terrible. That bass player jumping up and down while playing and that drummer with that silly grin, who plays more like a kind of Gene Krupa style.

The very first time I saw him live was in maybe 1978 and the group was: Shepp on tenor and soprano, the great Siegfried Kessler on piano (born in Germany, lived in Paris), Bob Cunningham on bass, and Clifford Jarvis on drums. I´ll never forget that concert, though the performance hall was a very very ugly hall in a very ugly district. It was called "Kongresshaus", now there´s a food market (Billa) in the building. And about the same time, Shepp recorded "Bird Fire" with the same group for a french label . But they had a completely unkown trumpet player added on it and it would have been better without that trumpet, who anyway didn´t get much space.

Agreed: I love those two extended tracks above all. This is Bud Powell at his best, no one could say that Bud was in decline after 1953 or so, if he listen to this. This is top Bud Powell even within his own high demands. And I always said there are too many trio performances of Bud recorded. Maybe the usual trio settings started to bore him, since it is known, that Bud came to his old form, if he could play with fellow Americans, especially with horn players. This one was originally "Blakey in Paris". There are other interesting recordings of Bud with horn players like "Our Man in Paris" with Dex, "Dizzy with the Double Six of Paris", "Americans in Europe" (Impulse), "Hawk in Germany", and I also have some unissued stuff of Bud with Don Byas and Brew Moore from 1962 in Denmark.