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Maybe my favourite Grant Green album. Really an allstar setting.

Miles was kind of a catalizator (don´t know if I wrote that word correctly). Anyway like most of you have said, he didn´t have to "teach" them new tunes and stuff. But Miles anway gave the directions. Look for example at Herbie Hancock: Miles told him that he does´t have to play all 88 keys at once. And that it was, Miles for his 60´s bands wanted a more spare piano with more abstract lines, like you can hear it on "Miles Smiles". And I think, Miles had encouraged his band to write stuff , and I think the stuff they wrote wouldn´t have happened if they didn´t feel Miles´ presence. I think Marsalis played once with Miles, I think he is on the album "Decoy" (an album I don´t like). I always have thought Wynton was the one who assumed the role of telling us all stuff as if he had been part of it. But like you say, it seems to be the "Marsalis Disease". But I must say I once heard Wynton and Branford together in 1983 with Herbie, Ron and Tony, and it was VSOPII. Well, sure there was nothing new compared with the old 1977,78 VSOP´s with Hub and Wayne, but at least it was a band that cooked and grooved.

A perfect record with allstar setting. My idea of the perfect Hank Mobley albums. If I might keep only one, or if I might take only one Mobley record to an Island, this one would be the choice. No one could play the rare old 1920´ standard "Remember" like Hank does it.

My series of spinning those whom I saw life during the years, continues: Here ´s Horace Parlan, on this occasion with great danish bass spieler Jesper Lundgaard and the fantastic Dannie Richmond (together with Al Foster maybe my favourite drummer) . I saw him live about the same time, and it´s interesting here we have a ballad written by swiss bassist Isla Eckinger, and when I saw him, he played with Isla. And the tunes were about the same like on this record. "Duke Ellington´s Sound of Love" was a favourite of Horace Parlan.

Fantastic choice, the pianoless Mingus Workshop of 1960. I think I noticed a negative audience reaction on "What Love", maybe it was too advanced then. And Bud is in top form with one of his extended solos on "April". I always said Bud in Europe really came into action, if fellow Americans visited Europe and played with him, like Hawk, Blakey, and here Mingus.

It´s Messenger´s time ! I heard the Messengers live on several times and at least the frontline was the same on both occasions. 1) With Valery Ponomarev, Bobby Watson and James Williams on one occasion 2) With Donald Harrison Terence Blanchard on another later occasion.

Always a fun to listen to. I think this was the first encounter of Diz with Sandoval. Fine rhythm section from Finland, but only on one track (First Chance) I think they replaced the bass with some synthi machine. That´s the only downer, because that synthi bass really sounds ugly. If they wanted an electric bass why didn´t they use a fine fender ? Very nice Lee Morgan record, I think the guys from BN wanted to repeat the "hit" of sidewinder with the title tune. Maybe this didn´t become a "hit" like Sidewinder, but I like it even more than Sidewinder.

Actually this, together with the more studiolike produced "Canyon Lady" were my first Henderson LPs. I became a big Henderson Fan after I first saw him on television (a quartet concert from I thin San Francisco 1977) and that it was: I hurried to the next record dealer and purchased what was availabel. And imagine: I was sooooo lucky: The same year in autum (1978) Henderson having a quarted with the superb Joanne Brackeen came in town so I heard him life for the first time. Wonderful memories.

Great band, with guest artist Johnny Griffin, and Philly J.J. always has been one of my favourites.

I think it was hard to purchase for some time. With all those reissues there was soon "Blowin Session" on the RVG, but this one and Griffin´s first "Blowin in from Chicago" were hard to find and eventually I found "Chicago" as a Toshiba, and "Congretation" as a cardboard cover CD. But I never understood why "Congretation" is so short. It runs about 30 minutes only.

Great photo. Almost never saw photos of Hank without smoking a cigarette. He must have been a chain smoker and maybe that caused his later respiratory problems.

A classic, and I bought it also 1978 (those "That´s Jazz" series was easy to purchase and a good way to start a collection for a youngster like me ) when I was heavily into all that "New Stuff", discovering the music of Ornette Coleman and other avantgarde pioneers. This one is particularly intersting, since Trane has worked with other free jazz musicians like Pharoah Sanders, but this one with Don is especially welcome. The even play some Ornette compositions, so Ornette was omnipresent then. And "Bemsha Swing" was a favourite of Don Cherry.

Great, I love that record, and it´s a really nice photo of Chet, maybe one of the few moments in his life when he looks happy and relaxed. Those sandals, I saw him wearing sandals even when it was cold outside. The last time I saw him live (and it was a fantastic evening, he was on time and very articulate and in top form) was late 1987, and I was astonished that he wore those sandals without socks, maybe trumpet playing keeps feet warm

a wonderful record. I think, Chet played "No Problem" quite often, also after that collaboration with Duke Jordan. All his Steeplechase records are treasures. Next spinning would be the lovely "Daybreak".

oh sorry, wrong thread. Thought I was on the "what spinning now".......

oh, one of my favourite Mingus albums. I got this one in april 1978 and still spin it very often. I remember how we all hummed those great tunes. Pepper Adams I think on "Moanin´" (which has nothing to do we Bobby Timmons´ Messengers tune with the same title), the fun of "Jelly Roll", and above all "Wednesday Night Prayer Meeting". Fantastic band with Booker Erwin, Handy, Parlan, Knepper, and above all my favourite Danny Richmond. And Mingus plays some astonishing bass solos on this. I think when spinning Minugs, two get most spinning: "Great Concert" and "Blues & Roots" ........, but I have a whole batch of Mingus albums...... Mingus was my hero of the youth, though I never could meet him, he was my mental "teacher". Through him I learned that there was Bird, through him I could make "the step beyond" to free forms, to Ornette and Cecil Taylor and so on.......

I purchase this around 1981 when it came with a whole batch of new records to my record dealer who knew me well (those were the great times, to buy LPs at your record dealer, where you met other fans, listend to records, discussed the music and spent at least an hour). On this, Ron McClure has replaced Paul Chambers. He is also a very good bass player, I could admire his skill´s when he played with a fantastic group with Dave Liebman. I like this live date with the extended tunes, Jimmy Cobb has some great moments. George Coleman always has been a favourite of mine.

But at least here in Vienna he had that kind of reputation......, you know he was always booked as a single with a local rhythm section but he always had that kind of lecturing the band on stage, much to the embarresment of the solid guys who played with him who had played with a lot of others too. I say, you can check them out on rehearsal and tell them how you want a certain tune, but not on stage ! I don´t know what he wanted, everything sounded fine, but I think you don´t necesarly have to lecture musicians for playing "Bye Bye Blackbird". I´d say he has a fine sound and was really a 100% trumpet player.

What a great record ! Three Giants together ! Fantastic . Really an allstar summit. And the 1954 session I think is the only one that Mingus did for BN as a sideman. One of the most important bop sessions of 1946, this and "Dexter Rides Again".......

This must be interesting. I saw Joe Newman on several occasions, and Eddie Chamblee once. Hamp one time in 1983.

A very nice record and some of the tunes from "My Fair Lady", "Paint my wagon" and so on cannot be heard often by a jazz combo. Great line of the 57 edition of the Messengers with Griff and Bill Hardman. I bought this RCA "Black and White" Series in spring 1978 and still have it in good shape. A beautiful thing. Once I met Bill Hardman and told him that the first time I heard his trumpet was on this "Messengers play Lerner and Lowe" and he said "yeah, I remember that date" .

I´ve seen Benny Golson, Art Farmer, Art Blakey, Johnny Griffin, Sonny Rollins, Dizzy Gillespie

I remember Paul Zauner very well, since it seems that in the late 80´s he was settled in Vienna and we jammed together on the one or other occasion......., and it is true he is a genial jazz impressario and could get the best US avantgarde musicians..... Yes, I think it was my third Mingus album, after the 3 LP set "The Great Concert" and "Blues and Roots". But when I ordered it (during those days you were lucky if the albums from the Jazz Cataloge were not OOP) I had expected a more advanced thing, I mean the Mingus Quintet PLUS Max Roach, that means TWO DRUMMERS together, like let´s say Billy Higgins and Ed Blackwell on Ornette´s "Free Jazz", and was quite astonished when I listend to it with very conventional standards "Foggy Day", "April" "Lady Bird" with only a slight touch of what might the Mingus of the next 10 or 20 years. The only track of completly free jazz (even more advanced than Mingus with Dolphy) is "Drums" which is super free jazz, where you definitly cannot hum a melody or tap your feet..... But usually I listen to it together with it´s twin album "Chazz", sometimes also called "At Bohemia" which also features one Roach title "Percussion Discussion".

Since a few days "Redd´s Blues" was posted, where I must admit and wrote, that it´s not quite a favourite of mine (mostly due to the drummer ), this one is top. Here the superb front line McLean Brooks get´s great support from the great Louis Hayes, and the compositions are beautiful. It´s just mention "The Thespian" which is sheer beauty and let´s me think about green hills and horses (actually Freddie Redd once stated he´d wish to have a farm with horses), and the wonderful "Just a Ballad for my Baby" and "Swift" ultra fast, but the theme almost sounding like a broadway dance show, and not to forget Freddy Redd´s piano style, very individual, really .

One of my alltime favourites as soon as it came out in the late 70´s on CBS. That was the time, when I discoverd "Bird" due to my first few albums of Miles and Mingus, where Bird as influence and mentor was mentioned. After my first purchase (Savoy Master Takes) this one was my second purchase but at first listening I was kind of shocked and puzzeld by the "terrible sound quality". On this , the treble was so up it had an outright piercing sound. I had to pull up the bass level and completly down the treble and still it sounded "shrill". But after a few starts I noticed the high quality of that exiting live music. It was the first time I heard about Fats and Bud and fell in love with Blakey´s powerful drumming. I can´t listen to this every day, but sometimes I pick it just for the memory of those days when I was thrilled by all that powerful music though badly recorded, and I remember I loved Dan Morgensterns most interesting liner notes so that I could "imagine" how Birdland was in 1950.....