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Very fine vintage Bud Powell on Vol. 2. Very fine mixture of ballads and faster tunes. The "Blues in the Closet" is a little masterpiece, almost like Parker´s "Cool Blues". So much music in only a few minutes studio time.

Two years later there was another live at Montreux "Blues a la Suisse" with Hampton Hawes, Bob Cranshaw and Kenny Clarke. Acoustic purists critizized it because Hampton Hawes playes Electric piano, but IMHO it sound´s good and groovy, same as the Gene Ammons Album from the same date with Dexter and Cannonball sittin in, with the same Rhythm section.

Though I´m a product of the 70´s and sure did listen a lot to the Electric Miles stuff, my entry in the Donald Byrd discopgraphy was an acoustic one. On the Radio Show "Jazz Shop" the Disc Jockey played two items from the 1955 Savoy Album "Long Green" and as I liked what I heard, I purchased the Album (with a red cover). and on the liner notes there was "a warning: this Music has Nothing to do with the Kind of Music that made Donald Byrd so popluar during the last few years….."

sorry , belated Happy Birthday !

The last from the Roadshows. Some very good Music, though "Don´t Stop the Carneval" here doesn´t have the same good Sound Quality like the Shorter Version on vol.3. The most stuff is from Boston 2001. One track is as early as 1979 which brings memories back since that was the year when I saw Sonny Rollins live. One track "Professor Paul" is not so good, it sounds quite weak and boring…..

Much too early, I think he was born in 1946, wasn´t he ? I also heard him on later versions of Dizzy with larger formations, where he added Arturo Sandoval and Claudio Roditi. I´ll never Forget the Long cadenzas of "Tunisa" they played.

RIP ! I heard him for the first time on the now quite obscure Red Garland Album from the early 70´s "The Quota". It´s strange I knew about "Tootie" and Percy earlier.

What can I else say than .....a perfect album ! Great !

As there was a discussion James Moody dissing Ornette Coleman and so on, I´d state here: Ornette Coleman sits in on "Sonny Moon" but if this would be the only music I knew of Ornette Coleman, I´d also say it´s not what I´d like to hear. I´m a big fan of Ornette Coleman, from the first quartet to Prime Time and all, but here he sounds quite "under the weather" and cannot contribute even to that single tune, and Sonny Moon for Two is almost as simple as "C Jam Blues". Anyway I think OC didn´t WANT to participate. He takes much time to get on stage , several minutes after he is announced.

of Course I know and own the legendary Art Pepper + Rhythm Section, but I don´t even know About the names from the second Album. Maybe it´s another Kind of Music than that I´m focussed on.

Influenced by the James Moody discussion on the thread "Reflections on the 70´s" : Listen how Moody sounds really ahead of his time. At some moments he is almost into some post Coltrane stuff ! Anyway that´s a fantastic Music. Miles is almost as sharp as Fats on this, and you have a good chance to hear some really strong Tadd Dameron solo piano. that´s not just "arranger´s style". His ballad solos on Don´t Blame Me and Embraceable you are beauties…...

James Moody could do those things as early as 1949. On the CBS Album "Miles Davis-Tadd Dameron" (Paris Mai 1949) at some Points he get´s that scream that almost sounds like some post Coltrane Players did. When I bought that Album I was still quite a Newcomer in jazz, and until that time I had heard only 2 saxophonists "live": Johnny Griffin , and Dave Liebman. With all due respect to Griff and he was great, greatest ! , what really knocked me out probably because I wasn´t "prepared", was Dave Liebman. And a few days after Hearing "Lieb" live, I bought that Paris 1949 with Moody on it, and my first Impression was that at some Point he does some Things Liebman did almost 30 years later. So, if I got that impression that Moody can get "into avantgarde" even at a time when I still didn´t know much about the music, that prooves the fact that he really can get into the more "far out" playing.

I have it on CD with this cover and on LP with another covor (Color). I remember I was a bit disappointed when I heard it first since I had thought if Max Roach is the special guest, there will be two Drummers !!! Maybe I was influenced by the Mingus Dolphy Thing "The Great Concert of Charles Mingus" and thought that everything else might be even more far out. This was my first Mingus Album. Still one of my favourites. In my case this was one of the first jazz Albums I had, anyway…….so let´s say I had a good start.

Great ! Just viewed the Maps and the photos comparing how it looked like, and how it is now.

Great ! I have all the 4 Roadshows. Here I like most the ballads "More than you know", "Easy living" and the stunning version of "Tenor Madness" The quartet on "Easy living" is exactly what I saw live in 1979, with Marc Soskin, Jerome Harris and Al Foster.

Actually I bought it for the tracks I heard on the Saturday Radioshow "Jazzshop" when they were spinned around 1977. I had recorded them on tape but decades later I wanted to have them to listen again to them. It was two or three tracks with McGhee and one with the larger band, the title was "Cookie" or "Cutie" or something like that. And somehow from the way the hair is on that Cartoon I actually think or thought until now that´s a Flip Phillips Cartoon.

@Big Beat Steve The Version I have really seems to be a Cartoon, isn´t it ? Look here.

I think I have this with another cover. A CD with a Cartoon pic of Flips and I think all his Verve Recordings from the late 40´s into the early 50´s . And there are some more boppish sounding sides with Howard McGhee on it. Some very fine Flip Phillips is also on that old America label LP "Saturday Night Jazz Session" with Roy Eldrige-Flips Phillips on the first side, and a mixed all star band featuring Fats Navarro on the other side. Flips Phillips really strong on the title "Flip and Jazz".

Another nice LP from the Messengers from my Collection is "Dr. Jekyll". I wanted to post the pic, but get the message "you are only allowed to….." and even when I made it smaller I got the same damn message. Anyway: It´s a live date of the mid 80´s Messengers with Terence Blanchard and Donald Harrison. And because we discussing our live experiences, I saw the Messengers again in 1983 with that Blanchard-Harrison Tandem plus Jean Toussaint, only it still wasn´t Mulgrew Miller on piano, it was a fine piano player named "O´Neill" if I remember right, and had a nice piano feature on a Ballad Medley also, I think he did a very original Version of the otherwise rather overplayed "Summertime".

I think it was THIS band that made Blakey and the Messengers popular again. His early- and mid seventies Discography was quite thin and with Valery Ponomarev, Dave Schnitter, Bobby Watson, James Williams and Dennis Irwin he really had a band that was together and every one was a top soloist. I saw the band with Ponomarev, Watson, Williams still in the Group, but another Tenor Player (Billy Pierce) and another bass Player (Charles Fambrough).

I think this was the only Studio Recordings of the great band. I think, there was two really great Mingus bands, first the one with Dolphy and Byard, and second the one with Adams and Pullen. This together with the complete RCA Recordings is the best of Dizzy´s big bands.

Happy Birthday !

Here a lesser known Mingus album: Recorded after the European tour of spring 1964. Byard had left the group temporarly, replaced by female pianist Jane Getz. Some backgroud info about her playing for a short period with Mingus see Gene Santoro´s Mingus bio "Myself when I´m real". Here this is really a very far out playing. Even more into "free" than with Dolphy in Europe. Fanscinating those tempo changes. Interesting also the changed names of the tunes: Faubles of Faubus is here "New Fables" (with the great John Handy sittin in), and Meditations on Integration is here "Meditations for a Pair of Wire Cutters". Here we have also Jane Getz soloing, very fine.

Indeed. I saw the George Coleman Quartet live shortly after they had recorded this. Only that instead of Sam Jones, Ray Drummond was on bass.