Gheorghe

Our Delight is a nice tune, most play it in Ab but since I heard the Billy Eckstine band doin´ it in Db that´s how I like it most. Tadd Dameron could it make sound like a larger band even if they did it only with quintet. But I love most the versions from Dizzy Big Band and Billy Eckstine Big Band. Sonny Stitt recorded it on the album 12! James Moody I got to know him, better said because of my wife because she is the person you memory easily stunning girl as she is. That´s why James Moody recognized us after a year. We had seen him in 1999 in Viena, and one year later in Miami, that´s where he came to our table to greet us and tell us that he remembers us !!!!!

I´m still waiting for it, it was pre-ordered by Serena and will be listenable for me on 14 decembrie when there is my birthday. About sound quality: As long as I hear the tenor and Jack deJohnette´s drums well, the world is in ordine for me.

ITALY...... is a wonderful country with a lot of jazz fans. For me before I became a musician (as a kid, when I collected records), Italy was the "Mekka" of Jazz-LPs. I bought mostly those from that striped series "Lineatre" or from the "Kings of Jazz" Series. Especially those "bootlegs" or "rare broadcasts" were my greatest love. I´l never forget how helpful for me was those two Miles Davis albums from 1950-51 of strict bop sessions at Birdland, when I found out, that Bebop is the basis of what I wanted to start. If you can play all that fast shit, you can go into further directions..... It was not possible for me to travel, but my parents got the possibility to visit Roma and I gave them a list of what they should buy for me (Italian pressings of jazz records). And last not least there was the best of all: "HORO" records !!!!! MINGUS..... first time with Jack Walrath, Ricky Ford, Danny Mixon, Danny Richmond (tunes played: Fables of Faubus, Sues Changes, Remember Rockefeller at Atica), and the second time same personnel but Bob Neloms replacing Danny Mixon (Summer 1977: Tunes: For Harry Carney, Cumbia and Jazz Fusion, Three or Four Shades of the Blues). MUSICIAN.......me, yes ! I had thought this is common knowledge here in the Forum Organissimo..... look at the homepage from my profile, (www.bop-explosion.com) that´s an all Leader´s formation that I formed after so much time as a sideman....., and listen to the CD we recorded this year !

I don´t have the album but had a gig and Porgy´s with an US-Altosaxophonist who had "Fire Waltz" on the set list, and it sounded wonderful. About Mingus, he did often play in your wonderful country Italia. I remember very well the two times I saw Mingus live, it was one time in Viena, and the other time it was in Franța, but I think that was his last tour...

Monk solo is the one pianist I like most to listen to solo. He has a fantastic left hands and can combine stride tehnique, and old tunes back into the 20´s (Dinah) with then "modern" solo lines and chords.

I don´t know so many details like lengths of tracks and record labels. The only thing I know is, that the 3 LP set on the French America label was my second LP anyway, when I was just in my early teens. I allready "had" a Miles Davis album and almost wore it out, until I discovered that legendary Mingus Great Concert in Paris. For me it was one of my most important key experiences in my live. What wealth of music, those fantastic changes of tempos and the "further out" parts.....and that hard driving swing on "Parkeriana". As I said, I don´t know which length and how many minutes and even seconds it lasts, and what is the cataloge number😄..... but to spead seriously spoken it was THAT album and MINGUS with DOLPHY, Byard, Clifford Jordan, and the wonderful Danny Richmond that made me THINK more about music, to HEAR SOUNDS and start to open my eyes for more advanced Free Jazz and on the other hand to Bird and Bop, about whom I never had heard then at 13, 14 years. I just was a milestone in becoming a musician.....

Great foto of one of my favourites

Somehow in my youth Verve records most of them were japanese reissues, very expensive, but I didn´t buy so many of them since Norman Granz´ tastes where some very very straight ahead jazz, and very little originals of the recording artists. So it was mostly a mainstream label, very good recordings sound, but sometimes too straight ahead rhythm sections for my taste. I was quite astonished to have later a Jackie McLean Birdsongs recording on Verve. Verve at the time when Jackie McLean was most creative and active, would not have recorded him......

I have all of them since I like all live albums of my favourite artists. Even the early fifties thing with Clifford Brown and Lou Donaldson has a good sound. I also like that "room sound" on the 1959 album, and maybe the other one "Meet You..." has a bit of a scrambled eggs sound, I am not so much receptive to problems like that. My hearing is not so trained for all them details, I had to deal with so much in my live. Lousy club pianos, bad PA systems and still cooked. I have been thru all them off the air recorded Boris Rose and so on, and enjoyed the exitement of that music, studied it and all, so I am not really an audiophile. But all the albums have some of the most exiting live music of that era. If I remember right, on the "Meet You" it´s already Wayne Shorter on ts. But still not Freddie Hubbard on trumpet. By the way, after the departure of Shorter and Hubbard as the 60´s went on I somehow lost trace of who was the next Messengers. It´s somehow a mess, it became a steady line again in the late 70´s with that then brand new group with Bobby Watson, Valery Ponomarev and James Williams..... and all that followed, Donald Harrison, Mulgrew Miller and so.....

I love that record, it´s exactly the style I love most. That´s really powerful music. This and "Schizofrenia" are my favourite Shorter albums. Sad to say when I saw him live in 2005 or so, the music didn´t have any fire, it was one of the few concerts where I was sometimes bored.....

Yes ! Same experience here !

CRAZY !!!!! Never saw it on foto. THAT´s where I spent my youth. it is just 10 minutes up on the hill from my place. Now, There is the ORF - Center. When I was invited to ORF this summer for the Ö1 Jazz Night, doin´an interview the DJ who did the interview said that he had heard I am one of the few people , who saw and felt what was there before the ORF came, and I stated that during that time, when there was no I-Pods or headphones for listening away from home, I had the music runnin in my head, and at THAT eerie place I went during night and looked up to the stars and heard Sun Ra´s "Nothing Is". I also associate the original BN recording of Monk´s "Round about Midnight" with THAT PLACE !!!!!!!

oh thanks. Okay, for me the original Bitches Brew sessions is complete enough. Same with On the Corner, I have the original since it came out and enjoy it as a kind of return to my youth but I don´t have the "Complete", same with the Cellar Club Sessions.....I have "Live Evil" and that´s it.

Scary place I would say. That building reminds me of some of those old abandoned fabrics or collectives that were. Such an ugly but fascinating place was visavis de my house on Kuniglberg on the "Gipfel" there was some grass and the old Flak-Caserne....... which the older people just named the "Fabrik" to not talk about the real purpose it had. It was a place the attracted me as a teenager, since so many music came to my mind there, especially during night time.

Pharoah Sanders live at the East was my first Pharoah Sanders LP and sure among my first 10-15 LPs I ever had. Mine must be about 50 years old and looks like that. It´s my favourite, and one of my favourite albums of so called "Free Jazz". And I still am angry at me that I didn´t have the courage in 2013 to go backstage to ask Mr. Sanders to sign it for me. but if there is not mentioned WHO is playing ? ? It looks a bit like the cofer art of "Bitches Brew" but it is not the Bitches Brew. But it might be Miles, isn´t it ?

I rarely listened to strictly straight ahead jazz lately, more some more advanced stuff, but this one is a real beauty. They all play so great stuff, so exiting. Each of them has fantastic solos. But if I had to pick out only one, it´s my favourite Jackie McLean. His sound and his phrasing always was the stuff that appealed most to me, almost since I listen to Jazz. But it is beautiful to hear Griff and Cecil Payne in such a great playing mood. With the exception of Don Sickler, who plays some very fine trumpet, I saw each of those musicians leading their own groups. Ron Carter is great on bass, Roy Haynes just wonderful like always, and the surprise is Duke Jordan. His version of Don´t Blame me is just a beauty, and it get´s a rousing round of applause..... Some of Duke Jordan´s classic intros to some Bird tunes became very popular and it is great to hear it played by the horns for example on "Dewey Square".......

Great posting ! Yes that´s a very good description of Moncur´s ability as a composer. I didn´t know he was a junkie but it´s strange that even after Bird´s death so many musicians in the 60´s who started to play only after Bird was dead, became junkies. I never in live would have thought that Woody Shaw was a junkey. From the way he looked and he was presented by Columbia he seemed to me as the perfect musican who also is a model citizen, highly intelectual, loving husband and father and stuff, and when I saw him the last time in 1987 I couldn´t believe THIS is THE Woody Shaw..... About organ players. Well I must admit that on "Let Em Roll" though the John Patton is the leader, it seems that I played all attention to what Hutcherson and Green do, I think I remember I found the organ solos quite repetive. My acces to organ in jazz or in general is very very limited. I love the very very early Jimmy Smith, the more rough way from his first two albums and the great session with Hank, Morgan, Donaldson, and so on.... /Date with Jimmy Smith. And the only other organ player who thrills me is Larry Young. And how he thrills me, he is fantastic. And believe it or not. In the 70´s one organ player who actually is NOT considered an organ player fascinates me: MILES DAVIS. I loved his interludes on organ in his fantastic band with Liebman, Foster, Mtume which I heard live and loved what Miles does on organ with Lieb soloing on Ife or on Dave´s tune......

Yes, I was aware about this, when I posted my thing. But somehow, if a musician does not play anymore and there is no hope of a comeback, it´s hard for me to think about him. I practically "lived" 5 years with the hope, that Miles would have a comeback, and he had, and I lived with the hope that Monk will perform again, and he did not ...... There was more people who had played with Bud than many imagine. For example there is a very fine set of Bud with Zoot Sims..... I must admit I have not heard the name Gene di Novi yet..... My Shining Hour, what kind of tempo ? I always play it in super up tempo with the Coltrane Changes, I can imagine that Roy Haynes also played it very very fast......

Very very fine stuff, but I doubt it sold well when it was issued. I fear Graham Moncur III did not get the recognition he should have earned . He seems to have been a musicians musician, but he was so great, as a composer too. I think I saw him once with a "Paris All Star" collection and was hurted because he got less applause than the others.... (Woody Shaw, Joe Henderson I think ) If I remember, on this record is a tune in such a strange 4/4 rhythm, completly else than the usual swing. After a few seconds I said it sounds exactly like the older folk music in România, especially in Transsilvania" We both my wife and me thought that way...... fantastic records. All more demanding stuff of BN in the 60´s is good. I´m glad that they made records like that, while on the other hand I don´t listen to them hundreds of Jimmy Smith followers organ boogaloo records (maybe the one with Hutch Grant Green and an organ player of all of them after Smith, that was an interesting frontline and a good version of "The Turnaraound".......

I think I have one of those Pepper records, I must have it for very very long time. I think I bought it mostly for the rhythm section because I´m not the biggest fan of Art Pepper. I mean if I like an alto sound sharp like a knife I prefer Jackie McLean I mean nothing against Art Pepper, but I just think Jacie McLean was a better musician. Some of Pepper´s I like, I heard a fast Donna Lee, or Cherokee or his own composition "Take a Wish", but on this here if I am right is a tune that is titled "My friend Stan", and it is just toooo long ! I mean the theme is almost as long as a whole track. you have difficulties to solo on a tune that has already "felt" 600 bars 😃 The Flanagan Trio might be good ! I heard Tommy Flanagan live with George Mraz and Art Taylor and it was one of the very very few horn-less sets of music that I really liked and that really thrilled me !

One of my favourites, I loved everything he did with Bird, Diz, Bud and with Trane and with his own group. Saw him live I think about 2005 or so....., but the others where unknown to me. He must be the last one, who stil lived recently and had played with Bird and with Bud. His recordings with Bird on St. Nick, on Summit Meeting at Birdland (the best) and on "Happy Bird" , all of them live recordings are treat. Especially I like that set at Birdland with Bird and Diz and Bud (those great "genullmen" of modern music ---quote from Symphony Sid) , that´s some of the greatest bop ever. And on recordings with Bud Powell in Quintet and Trio he is much better recorded than others. The best one again are the quintet recordings like those with Bird and Diz or the one with Fats and Rollins, and listen to "Winter Session" from the Birdland recordings and you know why it sounds better than other trio recordings: Because of Roy Haynes!!!!! And on that strange and late discovered "Kavakos Club Washington", same here, listen to Roy playing on "Woodyn You" and "Salt Peanuts"....

such a coincidence. Yesterday I read the chapter about the film in Maxine Gregg-Gordon´s book about Dex. How Freddie Hubbard was flown to Paris without anybody tellin him he´s gonna make a film, and then just play a blues, and oh yeah, also on a fine "Rhythm a Ning". But I think the tracks on this BlueNote album also were on the film, especially As Time Goes Bye, which I missed on the Columbia LP. But Blue Note should have made an album of some of Dexters post film performances as the "Round Midnight All Stars". I saw some on video and it is much better than the short film tracks. He had slowed down but still had something to say.

Really cute the way she has the "Zopferlkranz" . Would look ideal in combination with an Ausseer Dirndl. Der Altbauer im Ausgedingehäuschen ?

this might be interesting, I never heard about it. Dave Liebman is one of my earliest heroes in music. Adam Nussbaum I think was his drummer in a band in the late 70´s with the blood young John Scofield and Ron McLure and most of all Terumaso Hino who played a Don Cherry like pocket trumpet. Steve Swallow does not much appear in my discography but what I had heard sounded great. I think I have him only on acoustic, let´s say with Paul Bley, or with Jimmy Giuffree. In any case this might be exactly what I am lookin for.... Is there a tune "Moonglow" on it ? I think I had heard that somewhere. As much as I like Lou Donaldson I find he should have made more records with good contemporanious fellow musicians like Art Taylor, Paul Chambers, Wynton Kelly or something like that. I never really liked the 3 sounds. It´s fantastic trio that is sure, but too much in that Oscar Peterson way of trios....... Oh , this is one of the strangest records I have. The Descent sounds like Cecil Taylor. I bought that very early I think right when it came out in 1976 and still was not really ready for quality. That´s why I liked mostly the tracks that is trio, because I liked the loud drumming, but now I have heard again to it and the drumming of this Nick Stabulas or what is his name is terrible. I don´t know what Tristano thought about it, but the stuff should have had a better bass player and drummer. The faster track is actually "You stepped out of a dream" . But Tristano never had the patience to play a them clearly. He just starts with 2 or 4 bars of it and than starts to improvise. But jazz is first of all music, not exercises and I fear with all the genious Tristano had, in later years he lost the trace and became only a bitter and unpleasant teacher, too far away from musicianship..... The two tracks solo in Paris in the mid sixties sound good but once again it is not wholly played the ballad which should be "Darn that dream" a tune I love , I really love that tune.....

I saw him several times. I must admit, since my early years when I heard his contributions on a Monk-Session for Blue Note (I think the one with "Carolina Moon", with Max Roach) I didn´t know nothing about him until there appeared an album "Forgotten Man", since that it is what it seemed at that time. We of my generation didn´t know nothing about all his BN recordings, since the only BN reissue, those ugly paper bag design covers of double albums it seems did not have a Lou Donaldson reissue, and it was almost impossible to find individual BN records on the record shops, they seemed to be OOP. So the first time I heard him was in 1985 and since he still was not better known by the young generation, he played in a smaller hall of that huge festival, and worst still, on the same time was Jackie McLean in the middle sized hall, and Pharoah Sanders in the big hall. So I had to skip them, heard the first few tunes of McLean at Hall B, took a stroll to Hall C where Lou Donaldson played (I remember a very fast Cheek to Cheek and "Wee") and first heard his eternal commentary "not recommended to fusion and confusion players". Then I finally caught the second set of Pharoah at Hall A. Later the years I heard him often, first still with the eternal Herman Foster (I would have preferred a more sensible player), and the last time with some nice japoneze girl on organ, but more or less monotonous drumming..... One thing about him, like about Eddy Lockjaw Davis. They seemed to keep the groove they started and were masters in it. They never created something new but it was not necesary for them. You could identify them on a blindfold test within 2 seconds, and went to there concerts or gigs because you liked it and wanted to have some time of just feelin´ good. Not to figure nothin out, just to have a nice time, it was always the occasions where I´d take a chick to the show than other gigs I prefered to hear alone..... I think he was one of the very very few guys who never touched all those drugs but played with all those who very heavy users......, if not drugs then booze. Lou was steady and maybe very near to the end still playing....