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Maybe I´ve forgotten where I read it. It could have been also on a Prestige twofer that had the "Dig" session on it. But good idea, Miles Davis: This was brandnew in 1977 when I became interested in late forties bop (odd enough, I got to listen to Parker through Eric Dolphy, via "Parkeriana" (Mingus 1964). My third Bop LP (after Parker´s "Savoy Mastertakes" and the Bellaphone "Jazztracks" also Parker) was THIS ONE. This is really a treasure: Miles playing fast and in high register equal to Diz or Fats, and interesting the very modern stuff of James Moody, almost ahead of his time. My favourite tenor player during that time was Dave Liebman and when I heard some really freakish phrases by James Moody I said "almost like Dave !". The first moment of listening was a shock Moment for me !!!!!! I began to spin the LP and heard a voice in french tellin´ something about gothic cathedrals, Bach and Mozard and thought they have packed the wrong LP in the cover !!!!!!!! This three LPs with those covers were my "ticket" to late 40´s bop. I must say I love and listen much to the styles that came after that , Hardbop, Free, Electric Jazz, but Always had some Point where I returned to vintage bop…..

The Incredible Thing About a then semi obscure Don Lanphere I read on some liner notes from a Miles Davis Album, that one fan was lucky to meet a quite talkative Miles Davis for some nice informal conversation at the bar of a club. Miles was not rude as usual and they talked About Sports, cars, women and so on and when Miles asked the fan from where he is and he said "Wenatchee" (the town where Don Lanphere lived and run a record store or something like that) , Miles , who had an Incredible Memory just said "Say hello to Don Lanphere" ! But the last Studio session was just the end of the Story. Fats together with Don Lanphere played on a 1948 Dial session with Earl Coleman, which is just Wonderful. Besides the fact that I love the voice of Coleman and like very much the Instrumentation behind him, it was that Incredible "Move" in two takes. It was told that Fats and Max Roach just wanted to test the bloodyoung and white Don Lanphere who really hold his own on it. Here, on this Xanadu LP is the whole session: Move in two takes, and the Earl Coleman tunes "As Time Goes By", "Guilty" etc. ….., just Wonderful !

Influenced by the thread About Bird (the Whitney Balliet article from 1976) , here is the second record of Bird I bought. The first was the Savoy double Album in White with that small canvas picture in the middle. The second record I found was this. A strange brown cover, and the Music is quite a Collection. An almost complete "Bird and Diz at Carnegie Hall 1947", a lot of sides from the later Dial Recordings Bird made in late 1947 in NY, some also adding J.J. Johnson on trombone to the regular quintet. And the last three tracks is Maybe the latest live recording Bird ever made: Autumn 1954 , at Carnegie Hall with John Lewis, Percy Heath and Kenny Clark, playing "Cool Blues", "My Funny Valentine" (I never heard another Version of it done by Bird), and "The Song is You". Maybe Bird is not as brilliant on those sides as he was 7 years before, but they have an outright moving quality.

Great to read ! And the time it was written I was starting to dig jazz and one of my first efforts was to find as much as I can About Charlie Parker. But my start of a life Long admiration for Bird was a strange one: I read the Name for the first time on the Mingus 1964 3 fer LP "The Great Concert of Mingus" and there is a tune called "Parkeriana" which is formed out of many themes Bird wrote or played. And after Hearing that "Parkeriana" something happened with me: I read that "Parker was one of Mingus´ teachers" and I thought, if that´s the man who "invented all that great stuff on Parkeriana" I must hear him ! My first double LP of Parker was exactly, what is discussed in this Essay: The Savoy Sides . I still have this double LP Charlie Parker Savoy Master Takes . And Maybe some of the fans of my Generation will remember that LP with the White Bird on the Cover "Bird is Free". This sold very well among the more radical Avantgarde fans. Don´t Forget the early 70´s was such a time, many dug Ornette Coleman and the late stuff Trane did, and "free" was en vogue. So that title "Bird is Free" attracted a lot of modernists. And Bird was a hero for all those People. As it´s written in this Essay, you still hear him, and you could hear his message in all the Avantgarde stuff too ! That was and still is Bird for me .

I also have this. But I know the Broadcasts still from the LP era, they were presented on Musidisc and Spotlite. Really fine Allstar Setting and yes, their comping behind the soloists is very interesting. And also behind Sarah Vaughan on that one track "Everything I have is yours".

Me too !

Now I came to the CD Nr. 4, the last one. Oh, all that Music, and the great Thing is you hear the whole tunes, not only Bird, but all the fine solos done by Kenny Dorham, Al Haig, and two guests Lucky Thompson and Milt Jackson. Maybe that´s why I hadn´t purchased the Dean Benedetti stuff, because I prefer to hear the whole tunes, starting with Bird and than with the great musicians who played with him. So this is among the very best Bird live stuff I ever heard…….,

Great ! I bought this in 1978 with another cover and it became a "hit" among my Friends. We all hummed those catchy tunes "The Squirrel" "Good Bait", "Our Delight", and don´t forget Allen Eager, he is great on those sides. But we were mis-lead by the wrong cover notes of our Musidisc LP, it said it was done in 1949 at Birdland. Later I found out it was made at the Roost.

So great ! Sometimes I can´t get enough of Red Garlands light and happy approach to the piano and above all his chord voicings. Actually Red Garland was about the first pianists I noticed since about my first jazz Album was Miles Davis´ "Steamin´". I had it on cassete only and after those piano solos on "Fringe on Top" and "Diane" and his chordings on "When I fall in Love" I´d run the tape back to the start of the solo, until I knew them. If I spin that CD mostly for nostalgical reasons I still hum along with Garland´s lines……. I admire those who can listen to old style jazz as much as to so called "modern". In my case, I have difficulties with pre 1940 styles, somehow it´s the Approach to the Instruments that puzzles me. Let´s take trombone for example. It´s very hard for me to listen to old styled trombone, it sound´s funny to me, when I heard Bill Harris on that WNEW Saturday Nightsession along with some modernits, I Always had to laugh it sounded so funny to me. Once I read somewhere, that most fans in Japan have the same "Problem". They dig the stuff from bop beyond, but have difficulties with let´s say Dixieland..... But I borrowed one thing from Eddie Condon: Once he played a poorly attended concert and greeted his audience with "Lady and Gentleman". I used that on my own gigs: As a local you always struggle to get a full house and if I get at least some guys who come down and listen, then I´d say "that even more famous musicians greeted their audience with Lady and Gentleman and I´m pleased that I this night I can say "Ladies and Gentlemen"...……..

Really interesting, thank´s for Posting.

The "Let´s Freedom Ring" is really one of my favourites of Jackie McLean. I remember, that around 1980 I had a lot of musical discussions with Austrian free jazz pioneer the late Fritz Novotny (Reform Art Unit) and he pulled my coat to more advanced Things, and recommended as a startet this Album and the next one "One Step Beyond". He was pleased that I dig Ornette Coleman also and later played for me his own stuff which was great. I saw Jackie McLean with Herbie Lewis and Billy Higgins who are on this record, but without Water Davis, but with Bobby Hutcherson, who would have been on "One Step Beyond". So I saw a live Group which was a combination of "Freedom Ring" and "Step Beyond".....

I remember Mombasa went quite well , I think Lou Blackburn also had a booking at Jazzland in Viena, but I don´t know what they have to do with Hank Mobley, who obviously was at one ore two occasions scheduled for North Sea but didn´t make it. I think the last recorded Mobley was with Tete Montoliu, and there was a you tube of one tune at Angry Squire where he really had difficulties to Play, it was a mircacle that he even tried to do it, sad to listen but I admire him that with that terrible health he even tried to play a gig. Such a tragedy….

This together with "The Incredible Guitar" was my ticket to the Wonderful sounds of Wes Montgomery. I also have the great "Full House" live at Tsubo .

I remember once I read a book written by Ronnie Scott, but I don´t remember the title and think it´s OOP. It has a Cartoon like Picture of Ronnie on the book cover. I remember mostly his stories About visiting stars, how he had difficulties to find a proper piano for Bill Evans, how Stan Tracey had to suffer from the behaviour of mean Artists like Lucky Thompson, something About Coleman Hawkins in his very last and very self destructive year, and so on...…..

I remember how "Donna Lee" played by Jaco Pastorius influenced a lot of bass players here. Mostly Fender bass Players. So guys who first were deeply into rock-jazz/funk got an interest in some be bop too. Both styles are great Music and it´s great how Jaco Pastorius could Play anything and could dig anything. About his collaboration with Joni Mitchell, well it seems Joni Mitchell was not so much on my Focus, Maybe because she could not be called a typical jazz singer, and that makes things very very hard for me. As everybody around here, all of us who bemoaned Mingus´ prematury death after there was Nothing new left from Mingus bought that Joni Mitchell LP "Mingus" since we hoped to hear something Mingus still had composed and had somehow contributed to, at least mentally. This "Mingus" Album also has Jaco Pastorius on it, I think he even arranged one of the tunes, very fine. But Joni Mitchell, she just didn´t have the voice to sing "Mingus" , that´s my opinion, Maybe I´m wrong since many People dig her. It´s just not my Kind of Music, not the voice I "need" to hear…..

Those 5 CDs or LPs are the best to hear really Extended work of Bud Powell in a Nightclub. This, together with "So much Guitar" also for the Riverside label was a 2-fer LP set when I was beginning to listen to jazz. It was my first Wes Montgomery and I liked it from the first note on. I still love it very much .

Well that´s a bit too much.

Very fine Album !

One of my favourite live albums from about my start, I mean the first year when I discovered all that great music of the 40´s. I must admit I bought it mostly for Fats Navarro , but listen also to the great Roy Eldrigde organization, with the wonderful Flip Phillips. And dig how Eldridge on "How High the Moon" in the outing "Ornithology". Roy was so much ahead of his time. He was the natural link from swing to bop, wasn´t he ? And talking about jazz of the forties, that´s what I´m listening to right now. A lot of great music, vintage bop.

A Wonderful thing . And it has a special meaning to me since my wife bought it for me.

A very good choice. I remember about the time when I purchased it too, also during high School I coudn´t read the title Right, I thought it means "Neferetti" and thought that it might be an italian Name and that maybe it´s a movie score done by Miles for some italian film producer. Maybe that was just the times we lived in then, it seems with my suggestions I was influenced by the other album I had "Cumbia and Jazz Fusion" since I had noticed it was done by Mingus as a movie score for an italian film Producer, I think for Elio Petri...... Yes, ESP is a very good Album, but Maybe from the mid 60´s Albums with the great second quintet I like most "Miles Smiles", that really cooks.

A wonderful treasure , purchased in the 70´s when I was just discovering that wonderful music done by Bird, Dizzy, Bud Powell...... The first half of the record is this three great "gennulmen of modern music" (sic: Symphony Sid). When Sid asks Bird what they´ll do first and Bird says "Blue´n Boogie", Symphony Sid makes the odd remark "you say you WILL! Wasn´t it made with Dexter some years ago ?". That was typical jive talk of that period. Great also the one track "Groovin´High" with the Milt Buckner Trio, probably the only time when Bird recorded with an organ trio. And not to forget the nice set from 1953 Bird on plastic alto with John Lewis, Curley Russell and Kenny Clark plus Candido on the last tune "Broadway". A wonderful journey into the past......

I didn´t know about that thread. Well, a few years ago I met @bichos. He was visiting Vienna and we spent an afternoon together at my place. Very very nice man and he knows so much about the music. He is an absolute expert of Charlie Parker and all the boppers, seems to know everything that was recorded. Great ! But I have not seen him here on the board for some time, hope he´s well !

Thank you @HutchFan ! Well I Always found it very annoying if they used cover photos that were not from the period when the Music was made. Early Music with later photos (I have the old Ornette Coleman with Paul Bley, Don Cherry from 1958 with a photo of Ornette in the 80´s ), or the 1971 Monk Studio Dates with a photo of Monk from 1941, very very annoying.

From the cover photo this might be a later Album (late 70´s early 80´s) but I doubt he made records for Black Lion during that time when he was with CBS. I have only one Black Lion Album by Dexter, and it is from 1967 at Montmatre with Kenny Drew, NHOP and Tootie Heath. I think the tunes are "Like Someone in Love", "Blues Walk", "Body ´n Soul" and "There will never be another you". Maybe, your Album is from the same period (Black Lion was mostly recording Americans in Europe in the mid/late sixties) and did they try to let it look more contemporanous, with a later photo and a title which is related to the 1985 Tavenier film ?