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It’s a great record Gheorghe. Highly recommended. The band with Harper, Bridgewater and Workman captured live in a very powerful performance.

I dig. 😁 NP: 'cause Christmas ain't over here yet.

I had no idea he recorded that much for the Peanuts gang.

1 – “Ordinary Joe” by Terry Callier, from the album ‘Occasional Rain’, Cadet Records, 1972. Callier and this song became legends on the British Northern soul circuit, and were widely championed by Beth Orton when she had her breakthrough in the late 90’s. Great production by Charles Stepney. For years I’ve wanted to start one of my BFT’s with this cut’s opening lyrics, and 2025 seemed utterly appropriate for that: “And for my opening line I might try to indicate my state of mind”. 2 – “Sunrise Sunset” by the Bob Thiele Collective, from the album “Sunrise Sunset”, Red Baron Records, 1991. I run hot and cold on Murray, who does too many ill-conceived projects, but he shines when in a quartet setting with John Hicks, and Cecil McBee and Andrew Cyrille are a great way to finish out the ensemble. And I’ve always loved the song, from ‘Fiddler on the Roof’ one of the two best musical scores IMO (the other is West Side Story). 3 – “Prayer for Peace” by Stanley Cowell, from the album ‘Musa: Ancestral Streams’, Strata-East Records, 1974. One of the greatest solo piano albums, reissued in 2025 by Mack Avenue. And be sure to buy the downloads of the excellent outtakes (not available on the physical releases, which in the case of the CD is egregious). 4 – “Make No Mistake” by John Martyn, from the album ‘Live at Leeds’, Island Records, 1975. Amazing bass playing by Danny Thompson. Martyn is an acquired taste, but at his best is stunning if you “get” him. 5 – “Singing Winds, Crying Beasts” by Santana, from the album ‘Abraxas’, 1970, Columbia records. This is the opening cut to the album, leads beautifully into the classic “Black Magic Womam/Gypsy Queen”. This album topped the USA pop album charts for six weeks - we lived in a different musical world then. Cut shows the group’s instrumental chops, and that Carlos was far from being the whole show. 6 – “Bumpin’ on Sunset” by Brian Auger’s Oblivion Express, from the album ‘Live at the Baked Potato’, 2005, Ghostown Records. Brian Auger on keyboards (it’s a live album, only one keyboard player), Auger’s daughter Savannah Grace on vocals and his son Karma on drums and vocals. This track was generally not well-received on the BFT, but I listen to it frequently while cleaning up the kitchen, it sets a mood for me. 7 – “Strauss” by the Arpeggio Jazz Ensemble, from the album “Le-Le”. 1987, Silk Skin Records. Long-running local Philadelphia group (I saw them live post-Covid) led by bassist Warren Oree. They are authentic, honest musicians spreading the love. 8 – “Little Sunflower” by Johnny Lyte, from the album ‘Happy Ground’, Muse Records, 1991. A nice take on the beautiful Freddie Hubbard composition. Houston Person and Melvin Sparks are along for the ride. 9 – “Soul Brother” by Hannibal Marvin Peterson from the album ‘Hannibal’. MPS Records, 1975. Amazing energy by Peterson, with Diedre Murray on cello and a fabulous rhythm section of Michael Cochrane, Stafford James, and Michael Carvin. Many people really enjoyed this cut. 10 – “Goodbye Pork Pie Hat” by Horace Parlan, from the album ‘Blue Parlan’, Steeplechase Records, 1979. Lovely take on the Mingus classic, with Dannie Richmond on drums and the undersung Wilbur Little on bass. Parlan was the pianist and Richmond the drummer on the original recording of this on 1959’s incredible ‘Mingus Ah Um’, so Parlan had lived with the composition for two decades when this was recorded, and you can hear that intimacy. 11 – “Someday We’ll All Be Free” by Alicia Keys, from the album “America: A Tribute to Heroes’, 2001, Interscope Records. The beloved Donny Hathaway song. Keys was 20 when she recorded this, fresh off her first album, just her alone at the piano in a sequestered studio, in a concert being broadcast to 50,000,000+ people, ten days after 9/11, reaching out to a still-stunned nation. It was an amazing, healing night in many ways. In an event that included Bruce Springsteen, Stevie Wonder, Tom Petty, and Neil Young among many others, the artists who shockingly moved me the most were Keys, Faith Hill, and Bon Jovi, and I would tell you that otherwise I don’t care for any of those three, but they were somehow transcendent that night. https://www.youtube.com/watch?v=p8l2OO6xxIc&list=RDp8l2OO6xxIc&start_radio=1 https://www.youtube.com/watch?v=-Xp6ZrilmNk&list=RD-Xp6ZrilmNk&start_radio=1 https://www.youtube.com/watch?v=r5Xyl3lxJv0&list=RDr5Xyl3lxJv0&start_radio=1 Thanks to all who participated in BFT 261, and have a blessed 2026.

This is excellent. This is weirder but I like it.

Usually I don´t buy straight ahead jazz any more, I mean the old bop stuff I´m thru with that, BUT one exception was Dizzy´s Sonny Side Up" since I saw a Deluxe Edition of it at the only record shop we have left in my neighbourhood, and since someone had said once that it sounds good, I bought it.

Me too 🤣Freedom Jazz Dance and Gingerbread Boy *lol* But I think I can remember I once played in a funk band and they did "Freedom Jazz Dance" in their way. I loved to play with them and loved to play this tune.

Gee that´s a good idea THANK YOU FOR MENTIONING IT !!! My sister has a small jazz club, and always needs some records that is good, when there is not live music. And for late nights those ole hard bop records are good. I recommended to her "Mobley Soul Station", and Jimmy Smith "Sermon" .....so this Kenny Burrell at Five Spot might fit in that club, what´s your opinion ? Interesting, I never saw that record. I think I have only one record from Keystone Korner and it is a Blakey record. I love Monk with Rouse but it´s hard to identify the records I think there was a lot of live records but some I think was bootleg. I don´´t know what label he was under contract, but it´s strange there are Monk records from almost every European Country and all of then in that narrow interval of the 60´s . Same with Mingus. I think there are dozens of records of the same tunes, but one let´s say in Germany, one lets say in Italy or France.....that´s hard to choose any of them

I never did see that thread. Someone mentioned "Willisau" I remember that Festival ! Did this label or any other label record Mingus´ performance in Willisau ? It might have been in the second half of the 70´s, I still didn´t have a driving licence, was maybe 16 years old and some older hippies took me there that´s how I went to see foreign festivals. Now, did that Label Hat Hut record that ? I think it would be a milestone in jazz history

yeah, great music, though I am not super excited by the ezz-thetics PD action.

Well, I don´t remember I ever bought "Chrismas music". The funny thing is now my actual girlfriend is a christian.....romanian ortodox, while I believe in polytheism, that means many godnesses and so on, but now she told me to buy a tree and stuff, and imagine I DID, cause she gave me this sweet smile and said "but Gh..., CHRISMAS is for EVERYBODY"..... But I wouldn´t say I BUY Chrismas Music, I started to play the 2 songs I know "Chrismas Song" and "White Chrismas", usually I do "Chrismas Song" in Eb, and "White Chrismas" in Db.....you follow ?

+1

I like "Canyon Lady" I think it was the first Joe Henderson album I had.

this sure is good. Cindy Blackman was a great jazz drummer.

Mine to. That´s what I have. But if there is any "Blues for Bud"......Hampton Hawes states in this book that his style is so close to Bud´s and that he is only one or two grooves different than Bud, but I disagree, Hampton Hawes never sounded like Bud, never phrased like Bud, he is a great piano player and I love what he does, but I think I would not do any good for him if I´d say he comes from Bud. I love Bud, but I love any good piano players and Hamton Hawes may have been underrated, maybe because he was not on the East Coast, but he was a very fine piano player.

Thank you so much ! I´m better now 😀

I think after Miles had gone to retire for 5 or 6 years, I began to be increasingly interested in Ornette Coleman´s PrimeTime. Sure I had heard the "Free Jazz" with the Double Quartet at older friends when I was less than 14, and loved it, but like Miles, who played other music than "Nefertiti" or "All Blues" when I heard him, the same was with Ornette Coleman. But it was great, so much rhythm. This album seems to be much later than what I had heard in the 70´s since it sounds much more "polished" but very very fine. And there is one ballad on which Ornette plays some incredible fine trumpet. Up into the highest register, and maybe if Miles would have lived longer and heard that, he would have changed his opinion that Ornette can´t play trumpet. Well, I like his violin playing also very much, but it seems he does not play violin on that record. My younger son loves "Opening at Caravan of Dreams" for it´s "Punk Rock Sound", and me too, I love especially "dark punk" I mean the style, the fashion and sure, the music, so there we have somethin in common...... I´ve never heard the "Loadstar". Can you recommend it. I saw Max Roach around 1978, and have heard it´s around that time it was made, is it a good record ?

All of this info is also in the John Coltrane Reference, to which Wild is a contributor. One thing, though: the last “Impressions” (7/4 in the Wild table quoted below) is actually thought to be from the Berlin show (see JC Ref, pp 696-698). As best I can tell, the only “new” piece of music on this release is the 1962 show’s “I want to talk about you”. It has been known of (see JC Ref) but this may be the first hearing. Everything else has been made available by various releases through the years, for both 61 and 62 Helsinki shows.

From Hat's website: The legendary Swiss music label Hat Hut Records, renowned for its groundbreaking releases in contemporary and improvised music, is entering a new era after half a century. Musician Marco von Orelli and communications specialist Melanie Imhof have taken the helm and aim to carry forward the remarkable legacy of founder Werner X. Uehlinger, infusing it with fresh ideas and renewed energy. They are joined in this endeavor by Swiss saxophone pioneer Co Streiff, and by long-time companion of the label Christian C. Dalucas. “I was immediately captivated by the innovative spirit of the catalogue, combined with WXU’s outstanding contributions to the avant-garde scene since 1975. I was also deeply impressed by the clear, almost austere visual language of the cover art. Each release is a collector’s item,” explains Marco von Orelli. And he adds: “Hat Hut stands for independent music and visionary artists – and that’s how it should stay.” “The music market is changing rapidly, and the way music is consumed today presents an exciting challenge,” von Orelli continues. The story of one of the most influential independent labels continues—with respect for the past and a clear vision for the future. I contacted the label recently, and Imhof got back to me (polite and professional) the very next day.