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One of my favourites from Horace Parlan. It came out the same time I saw him live. Me and my then girlfried set in the front row and at some point Horace Parlan spotted us and said with a sly grin "the next tune is "Like Someone in Love" ..... Very great trio here, I saw Jesper Lundgard first with the Thad Jones/Mel Lewis Bigband..... Danny Richmond of course many many times, he is one of my favourites. I love that trio, since it´s not like other trios, it really works together and you can HEAR the drummer, which is most important for me. When I saw Horace Parlan, his bassist was Isla Eckinger, another very very fine european bassist from Elvetia, and maybe Fritz Ozmec on drums....

I mean, 3 Viennese fans here and as it seems, the same musical tastes, we might meet together some time....

"Black Saint" ? I´m here for several years but can´t remember ..... I got my Mythic Sound set from Claude Schlouch, and after Paudras´ death another set from Carl Smith

And how was it (Free Music Production) ? I wonder what day I might choose to dip into this..... I like some of the Free Jazz, but only thinks like Ornette, Don Cherry, Cecil Taylor Unit (not solo), late Trane, Pharoah and so on, and was already on the scene when Europeans played Free Music. It was a certain clique then in those years 1976-78. Somehow, though I´m European, I can´t really get with it if it´s European "Free Jazz" because I can´t feel the roots. And the guys and girls who did those "free music meetings", I doubt most of them could play something with written chords and a song structure. Sometimes one of them tried to sit in on a session and we played something simple, let´s say "Straight No Chaser" or "Tenor Madness" and when his turn came, he would go completly out and never stopped..... There are still kind of folks like that. Last year (in the few weeks between lock-downs) we played a few gigs with one set and jam session as the second set and there came a girl, I don´t know what stuff she had smoked before and wanted to sit in on piano and when we asked here, what tune she would like to play, she says "let´s improvise". She was not invited on stage....

I also have the Mythic Sound CD "Writin´ for Duke" with the unissued tracks from that session. There is a wonderful version of Duke´s "I Got It Bad", maybe the only time Bud played this. Maybe the choice of drummer Kansas Fields is not the best one. They better would have used Kenny Clarke, who always played with Bud in Paris all the years. The "Bud in Paris" has very fine stuff. "Dear Old Stockholm" sounds great, and I don´t think Bud played it on many other occasions. "Jordu" is great and Bud played it on some occasions in NY after his return to the States.

So I´m not the only person who thinks it´s not the best writing

Great stuff, Larry Young one of my favourites, but I think my very favourite album of his is "Unity". Art Pepper Quartet wonderful, great music and my favourite Quartet with him. But the cover photo is terrible. It looks like they pissin´ and Art Pepper just was not photogenic anyway, I mean you see his face and think about drugs and jail.... and somehow mean. On the other hand , for example Chet Baker: You see he´s a live-long junkie, but he had that nice smile until the very end. When he did not disappear, he was on time, and very very articulate and if you wanted to meet him after the gig for an autograph or a photo, he could be so nice and had that smile. You can see it also on that very late interview in London, which is on video from a concert....

I like this most from all 5 BN albums Rollins did.

As a Mingus fan, a must. But somehow, Santoro´s writing style is a bit strange. He repeats phrases very very often. For example: "He was his father´s son" "He was feeling the zeitgeist again" "He was closing circles everywhere" you can read this and other´s dozens of times......

Yeah, this might have been Walrath, Ricky Ford, Danny Mixon, the band that toured Europe in August/September 1976.

Really ? This must have been quite late in Harry Edison´s career. I saw him with Jaws in 1978. So, in 92 he must have been already 77 years old.

Of course I have this. But for me it is not as fine as Monterey 1964, or the also from 1965 "My Favourite Quintet". Of course there are great moments, but it´s even more chaotic than "Town Hall 1962". And on some pieces Mingus put down his bass and played piano. And otherwise, the wonderful piano of Jakie Byard is missing. And some of it sounds quite abstract like "The Art of Tatum and Freddie Webster"...... sounds a bit strange....

I haven´t seen Buddy Tate with his own group, but saw him with "Woody Herman´s All-Stars" in 1985. This was the only time I saw Woody Herman without his Herd. I think the lineup, besides Buddy Tate was Al Cohn from the older generation, and two youngsters Scott Hamilton and Varren Vaché . Veteran Joe Bunch was on piano, Jake Hanna on drums, and sorry to say that the scheduled George Duvivier on bass was not there. But a very very young bass player was very good. I don´t know who the kid was, but even Woody always looked with admiration to him, when he soloed. Woody himself played much and great clarinet and even sung a song....

I love James Moody and must admit, that my first hearing experience was from the legendary "Miles Davis-Tadd Dameron" in Paris 1949, which came out in 1977. I had not heard about Moody before and was astonished how modern he sounds, and I had heard Dave Liebman live on several occasions before and he was then my favourite Saxophonist, and I was astonished that some "scream" in Moody´s solos almost reminded me of Liebman and other post Coltrane saxophonists..... Later I saw Moody on several occasions, very often with Dizzy. One fantastic live concert was 1999 at the Viennese Jazzland, my wife and me were in the first row. During that time, it was the most normal thing that you smoke in a jazz club. And when Moody was scheduled, we were told NOT to smoke. Art Farmer was there and had a long talk with Moody during intermission. It was the last time I saw him, he died shortly after that. After the concert, Moody shook my wife´s and my hands and said "Thank you for not smoking" and we said "WE MUST THANK YOU, it was WONDERFUL". One year later, my wife and me were in Miami and Moody was in town. I think it was "Van Dyke´s" on Lincoln Road. Before the concert startet, we were allready there and here comes James Moody with his bags and spotted us, came to our table, shook our hands and said "You were in Vienna last year. Art Farmer was there" Yes, we said, it´s so sad he died. But isn´t that incredible ? Mr Moody, who played hunderts of gigs for millions of people, recongnized us two a year later on an other continent.......

Thanks for sharing this !

Yes, and of course I have that album. All God´s Chillun was one of his favourites, he always played it great, like the bop line based on the same chords: "Little Willie Leaps". I read your very very interesting analysis of Bud´s style and appreciate it very much to read from another Bud Powell fan. You mention that in later years his piano execution sometimes becomes "muddy". I try now to remind , which of his sessions I thought that it were somewhat below his peak and the first that come to my mind are those from late 1954 and early 1955, but as early as March 1955 he came back to action. His first tune "Conception" on that Verve album is one of my favourites. I´d say his albums for Victor are not so good, especially "Strictly Powell" becomes a bit boaring, Many people say they don´t like "The Return of Bud Powell" from october 1964, but IMHO the only "fault" is that he flubs a bit on the octaves of "I Know that you Know". But he recovers quickly. Searching "mistakes" reminds me of some event I witnessed when I was about 19,20 years old: Two ladies took me to the opera, I am not really used to classical music but found it sounds good and enjoyed it. But during the break and after the concert those two ladies made jokes on some female singer that she didn´t hit a high note properly and on an other point faultered. I didn´t know what they was talkin about and asked "why you say this ?" They answered "that´s part of the game" and I couldn´t believe it. You go to some opera to enjoy it and then complain that it didn´t sound good and even make jokes out of it. I always remember this incident if I hear people say that Bud didn´t sound good if he "flubs a little on a theme and stuff......" In my opinion Bud was one of the foremost creators of bop, like Bird, like Diz, like Fats, Max Roach etc. And bop means group playing. On the very early recordings of Bud they didn´t really record the drums, even if it was someone as great as Roach. That´s why I like many of his later records, you don´t hear only his piano, you hear what the bass does, and above all, what the drummer does. That´s why I really like those with Kenny Clarke also...

Yes, I also have that small dropout in the beginning of "Rifftide". You say, that Bud was in a generally miserable state in 1959 - 1961. I´m not sure if I can agree to this. His recordings from that time, mostly live show Bud in top form: 1959 Blakey in Paris (Bud replacing Walter Davis on Side One on "Bouncing with Bud" and "Dance of the Infidels". 1960 Hawk in Germany (or: Essen Festival Allstars). This is also Bud at his best. 1961 Tribute to Cannonball (with Byas and Idrees Sulieman). I agree with you that there ar very good performances in 1962 from Switzerland, Denmark and for a lesser amount Sweden Golden Circle. But especially Golden Circle is quite a routine. Blues Themes that run 15 minutes, 18 minutes and even 20 minutes , and on the later published "Budism" there are some performances, that really sound sad and remind me of the shake 1954/55 recordings. But it´s interesting, that Bud didn´t play much in Paris in 1962. He seemed to tour Switzerland and Scandinavia most of the time.

Is this his solo performance from Montreux ? This was very much discussed over here when it came out. It got radio play also. I saw Ray Bryant shortly after this, but with a quintet if I remember right. Very nice, very articulate....

I´d think more, 1 or 2 years too early. It took it´s time for the Adams-Pullen band to find it´s way and sound, Hamiet Bluiett was not so happy in the band and Mingus also was not so happy with him. He was more docile during that time and I read somewhere that he said in an interview "I don´t care how far they get out, as long as they are swingin". But after composing for that new band, without Bluiett, things really started to happen and he was "his old self again", as his wife Sue reported. The years from 1975-77 were the best years after the famous 1964 year. Such a wealth of new compositions like "Sue´s Changes", "Duke Ellington´s Sound of Love", "Three or Four Shades of Blues" and above all "Cumbia and Jazz Fusion".....And even when Adams and Pullen left, Walrath, Ricky Ford and Bob Neloms and the wonderful Danny Richmond were very very good players for that great music. You should have heard them in the years 75-77, that´s the period I can witness that it was really great....

Thats the stuff I allready have. So I don´t think I will buy the Steeplechase now. And as I said, the most interesting things are those with Byas and Brew. But the most stunning trio performances on video I saw, is also from Copenhaga with I think Anthropology played really fast and at it´s best, incredible !!! and one of the greatest versions of "Midnight" I ever heard. And Bud seems to flirt with a young lady from the audience, he always looks at her and smiles and obviously plays especially for her.

Well yeah, Richard Davis would be one of the replacements for Mingus´ missing bass anyway. I never was happy with the two basses Eddie Gomez and George Mraz on "Me Myself an Eye". This fast "exercises" on the high register, with the strings down like a guitar, that sounds more like a parody of "bass". Even Mingus complained bitterly. Both Gomez and Mraz ar fantastic bass players, but I don´t really like such solo passages. They could have choose Al McKibbon, about the same age like Mingus, and really something. His playing and soloing on "Giants of Jazz" is really a highlight, the way I like a bass to sound and to be played. They could have used let´s say Ray Drummond, if they wanted a younger bassist. He was top. But about Mingus Dynasty, maybe because I saw the original live and in action, I´m reluctant in this way. I only saw it, when it was on a festival schedule. I was looking forward since they still had some of Mingus´ original players, like George Adams, John Handy, and Jimmy Knepper, but it was really a dead thing. They all seemed to sleep.

I love Tadd Dameron´s compositions, but I also love his unique piano style. The way how he comps , those broad chords, and also his little solos, not so much virtousity, but little beauties. For me it was a big, big disappointment that he doesn´t play himself on it. I don´t really know the reasons, the only thing I know is that it was toward the end of his live, and in his last years he was very very sick and had a terminal cancer. So maybe it was like Mingus´ on his last record, where he didn´t play bass because he became ill....

I know the stuff and it´s great to hear Bud with horns, which I like most. Brew Moore and Byas are on Rifftide, Byas plays I remember Clifford (Brew out), and so on. It´s very interesting to listen to Bud with Brew after listening to Bud with Zoot. This is two Lester Young influenced players, and Bud has a great ability to adapt his playing to this style, he plays great as ever, but in a ....a bit more relaxed manner. Bud with Byas was quite often, on the CBS CD in Paris (Tribute to Cannonball), on "Americans in Europe" etc etc. Bud, as great as he is, is even greater when he can play with some good horns, like on "Blakey in Paris 1959" "Hawk in Germany 1960", with Barney Wilen, with Clark Terry, and so on. It´s really a pity, that on his last extended gig at Birdland in autumn 64 they didn´t make no effort to add a horn player on some occasions. Bud sometimes seemed to be bored to play so much trio music, carrying the load alone. A good trumpet, sax, trombone , and he becomes really inspired....

@kh1958 Yes, George Adams rollin´his eyes. I also found that really scary. Sorry to say, making grimasses and tensioned face and or angry look is not seldon. Sorry to say I also had such a habit while playing, until my wife said "you play so beautifully and you are lookin good, but closing your eyes or looking up on ceiling is an absolute no go. It looks ridiculous. CUT THAT OUT and play the way you play and look to the other musicians and in the audience and SMILE. And she was damn right. Music even if it is up tempo and "difficult" must not mean that your face expression prooves this. @Enterprise Server I can understand that with the girlfriend. Sometimes it is hard to make compromises. For example: This year, on september 19h Ron Carter will play in town, but this date is our 25 years wedding anniversary and so it is impossible to go there. @sidewinder Well the Mingus Dynastie is not the same as Mingus himself of course. At the beginning, they still had his last band with I think Cameron Brown on bass. Later, hungarian bassist Aladár Pege got one of Mingus´ basses from Sue. There was an extended interview with Mr. Pege about it. I saw the "Mingus Dynastie" conducted by Jimmy Knepper in 1989, but it was zero to me. They had George Adams and John Handy in the band, but it didn´t happen really. And Jimmy Knepper, the way how he "conducted" and looked really bored, was quite a parody. I´m glad I can keep my memories about Mingus alive. For those who wrote pm about sending copies of the tape from Buenos Aires, that an argentinian guy gave me during that time 1977: I´m not going to make copies, never ever. And I invited them to join the discussion HERE. I don´t exchange tapes or set lists on pm, but LOVE to share impressions on the board, and also offered set lists when I started this topic.......

I heard once, that Ralph Towner in the early 60´s had studied classical guitar at the Music Academy in Vienna with a famous classical guitar professor, I think his name was Karl Scheidt. I got to see Mr. Scheidt for a few times. A very very nice and smiling old gentleman. I saw "Oregon" one time in 1983 at Wiesen Jazzfestival. Some things, mostly with percussion sounded good, though this is not exactly my kind of music.