Gheorghe

well at that concert I think it was at Viena Concert House there was a "Programmheft" with pictures and short bio of all members. Some of them became famous: Steve Coleman and Dick Oatts on alto, Jim McNeely on piano, Jesper Lundgaard on bass...... They also sold an LP from the band from the same year, recorded in Polonia. So they had a lot of .....how is that new word "merchandizing" ? I mean go to concert, buy an info with fotos and descriptions, and an LP..... Lolly Bienenfeld I think I remember was a shorter and bigger young women who was a very technical trombonist, maybe somehow like Tommy Turk....., so I think as much as I remember after almost 50 years, she was quite a crowd pleaser in that sense.

just wonderful. One of my favourite vocal records. So beautiful !

Though I had never read the name, I got intested seeing that long line of best of best players (Brackin, Berg, Reid, Hart). On wikipedia infos is not much, almost nothing about him, but I see he had played with Thad Jones - Mel Lewis Big band, and read that his live long lady was Lolly Bienenfeld. Now, that means I must have heard and seen him with Thad Jones-Mel Lewis. I saw them probably in the last year of there activities. After Thad Jones had left, it was not anymore the fantastic band. Lolly Bienenfeld was a solo trombonist in that band. I never had heard here name before or later, but it´s such a bizarre name you just don´t forget it.

What a great writing, and by the way I had forgotten that thread and now realize I was the last who had written on it, but no one payin attention. So at least, I am pleased to read here something of substance about my favourite man on alto ! O think I saw some of those Mount Fujii stuff on youtube and it is great, but I always complaint that it is not on CD since I don´t really like to look at music from my PC than sittin back, closin my eyes and hear the stuff, every detail of it. I would love to have all that Mount Fuji material on CD. I saw a kind of BN reunion that is very similar, in 1983 (McLean with Hutch, Herbie Lewis, Billy Higgins), but they played bop (the finest bop I ever had heard). About Ron-Tony: Well I think I grew up with that VSOP sound, it was the first acoustic that went around after years where you never would see an upright bass or hear a piano that is not an artificial keyboard....., and it has it thing, it has power and it really can push the soloists. Your theory about guys who came from bop and tried to get into free, as you say "slump into it", is very very interesting. Well, Rollins also tried it, but even less than Jackie McLean. It´s the same when the most famous Austrian Free-Jazzer wanted me in his band, but I had to say no, even if I hated to do it, but I just can´t find myself it in. He might tell me "just don´t figure out too much, just be yourself" (but hard to be myself if I don´t know very much about it.........what´s me myself----huh ? .... I don´t know.....). Those European Free Jazz-Elite was more "philosophical people" and I just like good music, fun and that´s it....

Prestige was one of the main labels I bought records of, when I was at the beginning. Other than BN (which was very hard to achive in Europe or each second LP was OOP and no more in the "Bielefeld Jazz-Cataloque" , Prestige hat a lot of records, and those that was OOP was at least on the Double Albums. So double Albums was the most looked after thing. More music for relative less money..... But that was the "golden 50´s", where all them hard boppers went weekly to RVG to record... But I´m always kinda depressed if I hear a Prestige stuff from later, let´s say the 60s or the 70´s since I´m sure musicians like former BN artists (Dexter Gordon) were better paid by Alfred Lion than by Prestige (wasn´t Prestige the half mafiot Richard Carpenter ? ).

Thank you my friend ! I also have heard about some Parker Memorial, but somehow Parker Memorials have something bitter-sweet in them. Let´s say 1965 when they somehow put a completly drunk Bud Powell alone on stage to stumble at some "Round Midnight", although even in that very last moments of his live, drowned with alcool, he still had his "touch" !!! And maybe that 1970 stuff was similar, with an almost dead Kenny Dorham on stage. I had heard he died of kidney failure. Kidney ailments are often very long stories with dializă or if you are lucky with transplant. I feel so sorry with all people who suffer from that thing, it´s harder to repair than a weak heart or somethin.....

Oh thank you, now it´s clear why I never had heard that name. It seems that in my hometown there was not much organ fans, at least among the musicians of my time. Everybody was tenor and drums, I think those where the favourite instruments of all of em. I personally liked the bass mostly, so seein and hearin Mingus was heaven on earth, but it is possible that the hammond fans where not so much hangin´ around. What sometimes was spinned very late in the night might be some long track like Jimmy Smith´s "The Sermon" or that kind of "organ with horns"....., it was them fine after hours joints. When I was 18 or not yeat 18, I´d do quickly my school lessons there in some back room, than havin a short nap of sleep, a strong coffee and goin to high school......, sometimes directly from the after hour joints.....

Thank you for that help, since I had totally forgotten about this. But I think in comparation to Blue Note Strata East was relativly low profile. By the way, I have the Strata East stuff as a Mozaic box, but if I´m honest I bought it only because of "Rhythm X", which was quite of favourite music in my early teens, when an older guy had it, and I had it then on cassetofon, until finally thru those mozaic sets I could purchase it. I fear my impression on the other CDs of that box was not very big. I heard some tunes with strange titles like "Viena" and "Uagadugu" , it sounds nice but somehow depressed me, since for 1969 it has such an air of mortality in it. Even the liner photos show obviously cats who had seen better times....., 1969 was not a good year for acoustic music and the interest of jazz got smaller......

It seems that I had a wrong start with Dollar Brand. It was in 1979 at an international Jazz Festival (greats like Elvin Jones, Alphonse Mouzon Electric band, Larry Coryell, Sonny Rollins, Joe Henderson, Chet Baker, Woody Herman) and on one of the 3 days that program had started with Dollar Brand Orchestra, but after 5 minutes I left and went out to wait for the next band, since there was nothing happening, at least of what could reach me , it was him standing in front of an Orchestra and it was some thing that always repeated itself, no stuff of big band what I might like (Sun Ra for example)......

I´ve never heard of Charles Earland, but Freddie Hubbard and Joe Henderson are my favourites..... Maybe the to me completly unknown leader her was not well known in Europe ?

One of the best albums of that great time, one of my first idols as a musician, so it is one of my alltime favourite albums. I have heard Liebman when he was with Miles, and then with "Lookout" Farm, then during his World Tour with Chick Corea, at the same time for some days "off" during that time (1978) at Jazzland with Fritz Pauer Trio, and one year later or so with the first "Quest"-band, when Dave Liebman signed me my "Drum Ode" copy. It was John Scofiel, who had led me to the Master, to get my album signed (with my name !) .

Time flies. There were still dozens of them alive, when I was a teenager. But now I regret I didn´t listen to those, whom I had considered "oldies" in those days (Basie, Ellington, Goodman, Buddy Rich..... and so on). I had started only with what was THEN called "modern jazz" including free jazz and rock jazz, that means from Bird to the then super nova electric Miles....

Didn´t know that Kenny Dorham still played so late in his career. I had thought he had stopped after "Trompeta Tocata".

Oh yeah ! My wife says it sounds like that kind of music as key theme for an old police thriller series of the 60´s or early 70´s and it sure has something of it. I live that album and I love the Coltrane stuff from 1965 on most of all, like the great "At Village Vanguard Again", the sheer impact of that music. Here I was super fascinated by the sound of the two basses and the great drumming of Elvin.

Very interesting story ! But didn´t they have a phone in the club where somebody from the staff could have called a cab for you ? Or is this not usual in NY? Here if I wanna cab I let the joint call it for me, and from home to someplace I call the cab by phone myself. We are drivin´ a lotta cab because especially for a woman who look´s too attractive it has become dangerous in Viena to go by metrou, even at daytime you are not safe !

I remember that Johnny Coles is on it, but as much as I like Johnny Coles own album for BN, I think I remember I didn´t likee it so much on that Tina Brooks album. And maybe I had my things with never before issued contemporanous CDs under the BN label name. Like I don´t really like Jackie McLeans Tippin´ the Scales, and prefer the more far out goin albums he did at that time. Or Lee Morgan´s "Rajah" somehow is not up to what I used to hear from Lee Morgan, Let´s say, maybe because BN made too many records and then also issued originally rejected material. I like one good album, no alternative tracks and so, just the music that was recorded and put out then.... But it´s mostly possible I have this listening habit, since I don´t have much time left to listen once a while to a record, that means I mostly listen to what is a regular album or even better a live recording...

Strange, so much as I liked "Back to the Track", I didn´t find much stuff for me on the "Waitin´ game". Somehow like I don´t like the before unissued album they made with Freddie Redd. I love his compositions, his playing and his choice of musicians so much and was so disappointed by I think it´s titled "Redd´s Blues", with an obscure drummer, who doesn´t fit in, and the ensemble playing and the horn solos are also a mess.....

Thanks for advertising this ! Sounds like a dream team for me, four of my favourites on their instruments, and recorded live. Even if maybe sound quality is not up to date, it´s still better than let´s say some studio records where I am almost unable to hear the full drum set if I don´t have headphones. Blessed are those live recordings where you HEAR them snares, them rim-shots, them cymbals, everything...... and I "feel" that it would be almost "invented" for me. 😀

Music should be played from the heart, feelings, emotions, everything. I don´t know how music might sound, thats done as a mathematican´s work.....as I said, take it out in different direction, like Free Jazz was, but you have to feel the soul, the pulsation even if it is not a straight ahead. About me living in Vienna. Sure, my hometown but it´s always amusing how guys from overseas might ask me what kind of churchs, muzeums and stuff I could recomand to visit and I´m quite embarrassed by it. I live there, I know places that is groovy where I feel good, but let´s say, if I go to another country I also don´t do the typical cultural touristic hotspots.....I´d look how is the scene, have a look at peoples on street, might look if they have some cool fashion stores or malls, just discover it by myself with my priorities. Let´s say, doin´ sightseein by bus with a tourist guide would be a nightmare for me. That´s like a lotta sheep beein´ led by the shepherd......, not for me......

Well, I read the book because I didn´t know nothing about Bud´s live other than all the things Paudras wrote which are not always the truth, since Paudras didn´t mention that he knew Bud personally only for maybe 2 years. So Mr. Pullman´s book gave me more infos about what I didn´t know, if there is more to know for a man who is interested almost exclusivly in the music itself.... So I never had known anything before Mr. Pullman did his researches. Maybe, all them hospital records is a bit too much for me and my English is not that good to read much non-musical stuff..... But you know, I have been mostly interested in what Bud played, and to learn something about his marvelous touch, and that stuff you can´t read in books. I know about that discussion whether Buds first record was in ´47 or ´49´ but personally I don´t care.... it sounds good, though I prefer the periods when drummers where better recorded, I mean to have Max Roach on record and can´t hear him.....that´s almost zero to me. No drums heard, no real musical thrill and pleasure for me.... This lack of recording tehnique would have been in 1947 as well as in 1949, so if the stuff was done 2 years earlier or 2 years later is not important to me. What sounded interesting is that it is more possible that Bud was the one who really had the idea of "Conception" and that Shearing had stolen that idea from Bud. As Mr. Pullman told me personally this was what no one less than Al McKibbon had told him, and Al McKibbon had played with Shearing when he altered sets with Bud at Birdland or where it was...., and McKibbon has played with Bud as well.

I have that CD, but the very very best of it seems to be that Royal Roost session with stars like J.J. Johnson, Lee Konitz, Max Roach and so on, and the tracks with Dizzy.

Well very interesting. About the erratic performances towards the end of the Birdland Gig in late 1964 I think one thing must have frustrated Bud: The lack of recognition, the disappointment that they didn´t book form him congenial partners like let´s say Max Roach and Charles Mingus or so (would have costed a fortune), and the disappointment that he couldn´t "handle his own dough" since nobody seems to have explained to him that his was booked only to cover the expenses of his more than half year stay at the Paris Sanatorium....., and the bills and taxes and lawyers for gettin back his carbaret card and and and and ...... Would anybody even with a better state of mental health carry that kind of indignity ???????

Well, my music is jazz and my mentor was the great Austrian pianist, composer and teacher , the one and only Fritz Pauer ! You can read it in my short bio on my homepage I think..... It could happen when I was younger if some Engish speaking tourists asked me as a "local" about this or that about monuments from some classical composers and I´d answer "why not come to the Club so and so and listen to what´s happening NOW in terms of music in my town ?" We can´t denie some European influences in our "jazz" but it´s stuff that you can listen to. And words like "strict method" sounds funny in my ears. I have heard some early Schoenberg stuff once and it sounded quite good..... But I tell you what: In the late 60´s early 70´s there was Avantgarde snobs in the people of upper class, like Bankers who might "admire" "modern art", and "12 tone music° and say it´s fantastic and go to all them events to be seen and so, but I am sure they couldn´t even understand a 12 bar blues..... It was just to be "in". Now it´s else: Bankers go to clubbings and so......

There is a special tune on it, in minor, and I heard it also on a live CD and some club, with his then quinted with Pepper Adams, where it is the first tune of the first set..... I love that tune, it´s the best Donald Byrd composition I ever heard...... and the best Donald Byrd I ever heard play.... I think it is even my favourite Horace Silver. Interesting is the choice of Teddy Kotick, who I think became quite obscure after his long stint with Bird. Kotick, Tommy Potter, Curley Russell, who all had played much with Bird, rarely recorded again after that. Well, Curley Russel re-appears on "Blowin In from Chicago" (also with Cliff Jordan, and John Gilmore).... Ah ! This is what I was talkin about. The first tune on that album !

Very similar to me, I can "read" only a tune I already have heard. And about writing I was stuck in a very very rudimentary kind of it. I can laborously write a sheet and when I show it my "cats", especially the youngest will say "I understand what you mean, but no no, I must re-write it. Or I play it on piano thru the phone, and he records it and sends me the sheet worked out on computer for Bb, Eb, and C-instruments so they have the sheets for the next gig.... Twelve tone music....... and bein forced to write or play it......, I mean don´t play only diatonic, as Monk said "There is no wrong notes" , so even on piano with the flat finger position and different force for the keys you hit, you can make it sound a bit like that, or let´s say I hear Dolphy play solos. That´s not only diatonic and it is with heart, not worked down on paper. So for me "twelfe tone" is just a question of more emotion in the playing, let´s get far out if you want and can do it with sense. That´s why I also like good kind of 60´s avantgarde so called "Free Jazz". But European 12 tone.....oh no !!!!! About string quartet: I really think that maybe if I have the money or someone may do some musical event for me when I´ll be older, let´s say 70 or 75, they will do somethin´for me and my musical wish would be to play the more "pretty tunes" I rote, (for example "Waltz for Serena") to have some dudes play it on strings. I think some of the musicians I know, know how to get some classical kids from some classic school and may write out the theme and solo and then do it on fiddle..... just soft played. Might sound pretty....