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About Gheorghe

  • Birthday 12/14/1959

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    1) Playing music. 2) Freshwater-Fishing

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  1. I have listened to it once and one think I remember, that my wife liked the first tune. She said it sounds like a movie score for some nostalgic "film polițist"........in black white or so......
  2. R.I.P. Like @sidewindersaid, the Black Lion LP´s were a main thing for jazz listeners in my youth. We had the Don Byas at Montmatre, the Dexter Gordon "Montmatre Collection", "Hawk in Germany" (with Bud !), Philly Joe Jones "Mo Jo" with some fantastic british musicians, "Illinois Jacquet" with Milt Buckner and the great Tony Crobie from UK, Monk´s "Nice Work in London" , and at least three Bud Powell albums (Invisible Cage, Strictly Confidential" and "Hot House". That´s what I had bought then. It seems that Alan Bates was eager to record Bud Powell and even visited him in N.Y. in late 1965 at some hospital, hoping to bring Bud back to Europe and to further recordings....
  3. I was already a big Miles Davis fan, when Aghartha came out. It sold very well and we all listened to it. I had the record and others would come and make cassette tapes of it. That´s how it went then. First encounter with electric Miles late 1973. I have the impression that not all of his albums were so well advertised as this one. The "Get Up with It" was lesser known. I think the most common album just then in 1973/74 was "Big Fun" albeit it didn´t really represent the Miles of 1973-75 which was really a great, steady working unit. After Agharta, and I think it was when Miles was into his 5 years of hiatus from recording and performing, the hardcore fans said something about "Pangheea" and it was very very expensive, but I got a copy but I think this was 2 years after Aghartha, though it was from the same day .
  4. Oh this is the 3 LP set that came out shortly after Mingus had died. A young fan had bought it, but I had most of the material anyway as full albums, at least from 1975 on I bought all the new albums that came out on Atlantic. It was that wonderful feeling that every year there would be a new record of your favourites that you saw live: Every year a new Mingus album on Atlantic , a new Miles Davis album, a new Dexter Gordon album on CBS, new albums of all them Milestone Artists Rolliins, Tyner, Henderson etc etc...... Is this another album than the Montreux 1969 with Eddie Harris ?
  5. In jazz circles Max´s Quartet really DID make a big splash at my time. At least we, the modern-jazz oriented community, with fans born mostly in the 40´s and 50´s, and there were many many in the 70´s , well Max Roach was almost a God for us, and yes he WAS acknowledged as a bebop pioneer. All drummers, and all modern players of post bop, modal, avantgarde had that range of musical preferences from Bird to post Trane, post Ornette (with "holes" like most West Coast Jazz, Third Stream, Easy Listening Jazz), and I´ll never forget the exitement and enthuasm in town when it was announced that Roach will play. The day before, Art Farmer was booked and his drummer, a drum professor from the Graz-University of course idolized Max Roach. And during intermission before the second set started, Max Roach came in to listen and holding "court" and we hoped he might sit in with Art, but it´s sure, that for contractual reasons this was not possible. But the next night, when Max Roach played his wonderful concert, Art was in the Audience and was announced and greeted by Max Roach. See, for us, and we were a lot of guys, established musicians, budding musicians and most of all a big audience, this was a dream coming true. I mean, our musical tastes spread from the "Massey Hall Concert" to "Clifford Brown-Max Roach" to Miles, Rollins, Trane, Ornette and again electric Miles, so Max was "one of our fathers". During a time a bemoaned the death of Bird ... and Bud who had died only few years before, we all heard 3 out of 5 of the masters from "Massey": Diz, Mingus, Max....". And about the records. There were not as many as let´s say Mingus, but I could find "Speak Brother Speak" and "Clifford Brown-Max Roach on Basin Street". What I did not know then was that there was a special record shop in Viena that had all them Japan Imports, they had the Denon albums of Archie Shepp, of Max Roach and all, but terrible expensive for a teenager. But what I can say for sure: Almost every week there was a big US-Star of Jazz visiting our town and the houses (mostly Audimax of Universities) were PACKED with fans !!!! That´s the surroundings I grew up..... oh I´m jealous, how much would I like to hear and see Michael Weiss again. Such a wonderful musician, my idea of a perfect pianist.
  6. I must have this. I have looked for it for 45 years !!! Because I heard THIS Band and THEIR version of Round Midnight, as much as I remember it starts in 3/4 time and then gets into a very fast and powerful proceeding. Since it was 45 years ago I don´t remember on which bar it changed from 3/4 to fast 4/4. But it was the highlight of the evening and that first live experience with Roach remained one of my most impressive moments of listening to live jazz, and of Max Roach anyway (everything that came after that, didn´t give me the same fascination like the Bridgewater-Harper-Workman band.... It was mentioned in the liner notes of one of his early Verve LPs, which was strange because almost never an other label is mentioned in liner notes for one certain label. But I think I remember he cited "Xanadu". During that time I never had heard the word "Xanadu" and had thought that it means "Canada" in another to me unknown language 🤣 I finally got that album in Basel (then in the 70´s the Orient-Express went Bucharest-Paris and stopped in Basel. I got the Bud Powell Xanadu at a record shop in the fancy historic center of Basel, AND in a book store the book "Ira Gitler-Jazz Masters of the 40´s ". It was like heaven on earth to have those to treasures as a young boy. The Xanadu LP is a sampler of different recordings. I think it started with Johnny Griffin -Bud Powell as a duet without bass or drums, but later I discovered, that the recorrding date is completly wrong, because Griff never had been in Paris in 1960. The other sides , I like especially those with Barney Wilen since Bud always sounded greatest when he played with a topnotch horn player. Especially "Autumn in Paris" really moved me. On Side B I think there is a set that features "Crossin the Channel" (from "The Scene Changes"), and a fantastic "Sweet and Lovely" and the best "Johns Abbey I ever heard. This is the best I remember from that "Xanadu" (in my case aka "Canada") album😀
  7. I think I also saw an "Atlantic Years" compilation, but I think it was after Mingus´ death. My next entrance into Mingus-Atlantic was the one with the brown cover and a lot of Mingus Alumnis, I think from Carnegie Hall and then the contemporanious "Changes One/Two". But I didn´t have the chance to hear him with Adams/Pullen, I heard the next band after Adams/Pullen, but they also did "Sue´s Changes" and stuff. Yeah, the "That´s Jazz Series". But I must admit I don´t know who is Fat Albert Rotonda ...... The Hancock Album "The Prisoner" was the one that fascinated me most from all BN - Hancock albums. I was a big fan of Joe Henderson and his solos on that album are some of his best. This, and his contributions on "The Real McCoy". I had quite advanced musical tastes in my transition from boy to man, so albums like Mingus with Dolphy, Ornette Coleman Double Quartet, Trane with Cherry and the more advanced "Prisoner" in comparation to "Water Melon Man" were my favourites, stuff like "WaterMelon" sounded more boring to me then. But that was the times then......., anyway I head Water Melon first on "Headhunters" which didn´t exite me the same like contemporanous electric Miles from 73-75, but was "ok" for me.......
  8. Blues and Roots actually was the second Mingus album I owned, after the America label 3 LP set "The Great Concert of Charles Mingus". That was those silver cover Atlantic series, I also had others from them, Ornette Coleman´s "Free Jazz", John Coltrane - Don Cherry "The Avantgarde" and for easy listening "Les McCann-Eddie Harris "Montreux 1969", and "Art Blakey-Thelonious Monk".
  9. Yeah, the real dancing came a bit later. My wife was delighted with it, I mean with all aspects of seeing and hearing Monk. The dance in special .... she said "look how cute, like a bear dancing..." Monk and cigarettes, yeah the passing the cigarette to a fan is new to me. What I saw very often is placing the cigarette between two keys of the piano, with the burning end into the opposite direction. Me myself I don´t like smoking while playing even when it was very common of musicians smoking on stage. I like the cigarette after a set in front of the club, and you relax. Even as a smoker for the last 50 years I never really understood how you can enjoy a cigarette if you smoke it while playing (early fotos of Miles, of Fats Navarro).....
  10. You are right. And Jackie McLean was my life long favourite on his instrument. I mean I was born after Bird had died, but had enough decades to admire Jackie McLean when he was alive......
  11. 1972, piano-bass-drums: Is this less ECM-ish than most of the ECM records ? Since the only ECM I have is the two Dave Liebman records and in Lieb´s autobiography "What I Say" he mentions that Manfred Eicher didn´t like them since they didn´t sound enogh ECM-like. And it´s significant that those 2 albums are the only I have and listen to from that label. So, what kind of music is that interesting personnel ?
  12. I never paid much attention to the story of the Miles-Monk hassle on that recordings sessions . Musically it´s very interesting and anyway, Monk used to lay out when a horn player soloed, it´s just a typical Monkish effekt. When his saxophonist, let´s say Charlie Rouse did a long solo on let´s say "'''Bemsha Swing" or "Evidence", Monk would lay out and make his dance steps and as soon as Rouse ended, Monk would literally jump back to the piano and start his solo right there. If you just here it on record, you really can imagine it happens right now. And Miles also liked the idea of soloing withouth the piano comping. It started when they made that big tour as "Symphony Sid´s All Stars", where they didn´t have a piano. It´s a shame that nothing from that is on records. And on "Sid´s Ahead" (former "Weirdo") , the tune where Garland had left the studio, it´s the same feeling, And on some tunes from the mid sixties quintet , mostly on "Miles Smiles" it´s the same, not much piano comping. So I might say, the only "thing" that interested me in context with Monk´s not comping on some of the tunes of the "Bags Groove"/"Miles and the Modern Jazz Giants" stuff is the musical aspect. About Miles loosing his voice of course it was due to surgery, but many musicians loose their original voice thru playing the music. Some are hollerin´ along the drum solos and that´s what Art Blakey had, just as an example.....
  13. Thank you Niko. Yes North Sea Jazz is legendary. In my youth we had the luck that most stars who did North Sea also did "Wiesen Jazzfestival" here in Eastern Austria. It seems it was from the same booking maybe Wim Wigt that we got all those stars, Diz, Blakey, Herbie, Dexter, Jackie McLean, Woody Shaw, Miles Davis, Joe Henderson, Archie Shepp, Max Roach, all those wonderful guys.....
  14. Can you tell me an answer he gave ? I remember Monk´s statements were very hip. When Valery Vilmer who seemed to say that she is "worried about politics" Monk answered: If you are worried about politics stop what you are doing now and become a politician". And when Valery insisted to get an answer, Monk said "it´s not my job, let them politicians do it, they get paid for it".
  15. Shades of Redd is beautiful. I love those compositions like "The Tespian" , and there is a very catchy latin tune also on it, I think the title is "Olé". I love this and the "Connection", but didn´t like the previously rejected session, that came out on Conn I think. While the originally issued albums are top class, the third is quite erratic, a lost chance. Oh I see, that means my old LP is a different session. I might seek the "Live at Birdland 1949". Tristano had a thin discography. I have another strange album "Descent into the Maelstrom" which is just a mixture. Stuff from the early fifties is forgetable for me since it´s a lot of overdubbing. Two short ballad tracks from Paris are fine. But two trio tracks (I think one is "You Stepped out of a dream" has terrible drumming. What I love most from Tristano are his voicings on those standard ballads like "I surrender Dear" and "I can´t get started" which is very very fine on the "Bands for Bonds", also his piano solos on the tracks with Bird and Diz..... Interesting, I must admit that during my upbringing as a jazz musician I can´t remember he would have been mentioned by my mentors. On piano there was that line Bud-Horace Silver-Wynton Kelly-McCoy Tyner, Herbie Hancock, Cecil Taylor, and at least in the surroundings of the audiences I knew and know now, I can´t remember his name was mentioned. So I was quite astonished when I saw his name scheduled on a jazz festival here, where other big stars like Diz, Miles, Hancock, Mingus Dynasty and so on played and of course I listened to the Ramsey Lewis set too since I never had heard about him. Well it sounded very nice from piano, I think it was a quartet with guitar, drums and a very strange double neck electric bass, something I never had seen in my live. There was a piece with a bit of latin rhythm, but more classical approach and that double-neck-bass player played an endless solo, which for many folks was the highlight. That´s all I remember....
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