Gheorghe

Fantastic ! I think I got to listen to Dolphy from Mingus, and the Berlin Concerts was my first Dolphy album under his own name. I think when I first heard Dolphy he seemed to me a free jazz player but he is not and never was. His lines are the next step after Charlie Parker, I think.

Heads of State-Search for Peace: Gary Bartz-Larry Willis-Buster Williams-Al Foster, really an allstar group. Can´t post the cover. Anyone ? I also have the second output "Four in One" . Too bad there is only those two records, a third might be welcome. They are so great.

One of my favourites. Great compositions by Andrew Hill. And some of the greatest musicians from that period. To have Sam Rivers in the group is fantastic. My favourite tune is "Catta".

Is this the legendary 1973 Trio with Hamp on Fender, Bob Cranshaw and Kenny Clark ? I heard there is a trio recording of Montreux of them, they played as their own unit and accopanied Dex and Jug.

I´ve listened to it recently, together with another one from about the same period "Breaking Point". I´d recommand for further listening especially "The Night of the Cookers" Vol. II, since they have the live versions of "Breaking Point" and "Jodo"

I have not listened to those (VOL 1-5) for many years. I enjoy it now, especially like others here I like much of Bud´s later playing. The very early stuff, especially the early Verves tend to be too much high register runs. The latterday performances have astute quotes from other songs, the playing is a bit more laid back, and it´s not such a speed race like earlier achievements. The drummer is okay, the bass is a bit reluctant. When Bud stops for him to do a bass solo, he just keeps walking on, not soloing. On my CD, it starts with 2 before unussued tracks , a very fast "Swedish Pastry" and a nice "There will Never be another You". But no reference to it in the liner notes. IMHO this is Bud in very good form and a very pleasant listening experience. one of my all time favourites

I this London 1971 ? The stuff with Mc.Kibbon and Blakey ? Sure that´s good stuff , the last Monk in studio I think. But a most annoying thing is cover photos of artists from other periods. I think this might be a young Monk douring the time he played at Minton´s , far away from the time he would travel the world, play in London. I noticed this very often, also vice versa: Early recordings of an artists, but the cover photo the aged artist.....

A classic and a must have for all bop fans. Fantastic choice of classic ballads and the superb baritone voice of Mr. B, and the band featuring Fats, Kenny, Miles, Dex, Ammons, Blakey etc. also cooks on bop classics like "Cool Breeze" and "Oo bop Sh bam" etc. .....

Such a great musician, composer ! Saw him on several occasions, most of them at Jazzland in Vienna where it seems he enjoyed to perform mostly during the late 90´s early 2000´s ......

Same with me, have most of the 1964 "Dexter in Radioland" albums, the 3 "Swiss Nights", and the last one "Bitin´the Apple" but also think that I can´t have everything.

Very interesting thoughts and a lot of truth in it. In my case I think that maybe the first "jazz" I may have heard through radio may have been some old styled Dixieland and it didn´t appeal to my tastes , and somehow I heard Miles Davis´ "Milestones" on a sampler that was titled "The Story of Jazz". and something happened and I had to say to myself, if this is also "jazz" I must get more of it, and so I bought Miles´ "Steaming" and that´s how it started. And reading that Bird was Miles´ first idol and so on I had to dig back to Bird and Bop and it appealed the same way to me as the midfifties "hardbop", and paying attention to Trane´s solos it became searching after Trane´s stuff into the 60, and from Trane to Ornette, and then (it was the mid 70´s ). Somehow everything from Midforties Bop to late 60´s "New Thing" seemed to appeal to me, and it is much harder for me to dig more into the past. I heard, that japanese fans have Similar tastes. They collect everything starting from bop to hardbop to post bop and so on and there seems to be a lesser audience for earlier styles.

I love this, and I think when I was very young it helped me to "dig" Ornette Coleman, maybe because it has a more straight ahead swing done by Scott La Faro and Ed Blackwell. So it was easier to get into so called "Free Jazz" than with the other album I also had then "Crisis" , where they avoid straight ahead. Is it possible that "Ornette" is a lesser known or lesser popular Ornette Coleman album, since it´s not so much mentioned in jazz books.

It´s strange but maybe typical for my generation, that I only heard Yeah Man ! and other Fletcher Henderson stuff played by Sun Ra Arkestra. I know this is the wrong way to get in touch with it (like I only heard "Tiger Rag" on that 1947 Bands for Bonds with Bird and Diz and Lennie) . It´s only so that whenever I say I should try some traditional jazz listening, I say later baby not today.....,

I can understand this, I also like much of his later stuff, but in my case I like it more if I hear a bit more interaction with the drummer, like let´s say "Time Waits" from 1958 with Philly Joe Jones, like the european performances with Kenny Clarke. On "Strictly" it seems like if it´s overdubbed over a rhythm machine, very little movement in the group....... it´s not that I "need" Bud in technical top form, but I need to hear things happening in between the musicians, and this doesn´t happen on that album.......

I have not listened to Bud Powell for quite a long time but I remember I have this one on LP with another cover, of Bud much later and much fatter, probably in Paris. It´s a strange album. If I remember, it was done somewhere in autumn 1956, that must have been before he went on the Birdland ´56 package tour. His recordings from 54-56 somehow make me feel depressed. In general, this is better than some of the worst ´54, ´55 stuff, but still disappointing. I remember it is almost only medium tempos, with very heavy chord playing which sounds nice, but on improvisations the lines sound like they are blurred. The best track might be "There will never be another You" . Bud used this intro and this block chord treatment very much on his later live recordings of that tune, but here the greatest disappointment comes in the moment when he starts soloing. Some years later, especially in Europe he found back to much of his former brilliance and especially on encounters with other Americans he could be great (Hawk in Germany, Blakey in Paris).

Wow, all those bass fiddles on the thread about JackieMcLean. I´d like to go back to one of his albums that was mentioned here: ´Bout Soul. I should give " ´Bout Soul" another chance. If I remember I didn´t spin it often. I think Jackie McLean in the 60´s was eager to reach other areas of sound , that´s why his music became more and more open and just as a cross between the old hardbop and the new free jazz. He just tried to check out how much he can get "out" of the traditional changes and rhythm patterns (Destination Out) without loosing the boundaries of modern jazz. The next step was New and Old Gospels with Ornette on trumpet, but this still had the swing that maybe Alfred Lion and Francis Wolfff demanded (it must schwing). And maybe after that he wanted to try something totally free, completly out like let´s say the New York Contemporary Five or all those ESP albums that came out. And that´s what it seems to be, a complete free jazz album where you avoid changes and avoid a traditional beat. So it´s even farer out than much of Ornette Coleman´s stuff, because even with Ornette you have sections where the bass just walks . Ornette´s two last albums for BN from 1968 sound much more traditional than Jackie´s 1967 Bout Soul. But it seems that even JackieMc Lean thought that it´s a bit too much of atonal a-rhythmic stuff on Bout Soul, because after this , his recordings were much more conventional, starting with "Demon´s Dance", and so on through the 70´s and the next 3 decades.

IMHO "New Land" is one of Morgan´s best albums from the later period.

I saw this group live in the same year. I hadn´t known Jimmy Ford , only from a foto in Ira Gitler´s book Jazz Masters of the Forties, where he is seen with the Dameron group. Too bad no broadcasts exist from his playing with Dameron. With Arnett Cobb together, I must say I was very impressed by Jimmy Ford. I didn´t know the trumpet player Calvin Owen, he was okay but not the greatest.....

Today I choose to listen to Sam Rivers´ earliest sessions for BN. And Larry Young is great, though I like his next album "Unity" even more. But here especially for his collaboration with Sam Rivers.

Yes, I love this record also, IMHO one of the best. I like all the stuff on BN from the 60´s that´s a bit more between post bop and avantgarde, for example this one: Though Bobby Hutcherson is the leader of the date, there´s no originals written by him, but a fantastic group with Freddie Hubbard, and I admire Sam Rivers, he always fascinated me. And Andrew Hill, especially his compositon "Catta" and the bonus track "Jasper" , Richard Davis is very strong, and Joe Chambers is a great drummer The strange cover, untypical for BN always reminded me of the covers on Miles DAvis albums from the early 70´s, like "Live Evil". But I´m not discussing album covers, the music is great, Jack DeJohnette is fantastic , and it´s one of my favourite Jackie McLean albums also, together with "One Step Beyond", "Destination Out", "Let´s Freedom Ring"....... all of them.....

very good analysis of Sun Ra´s piano style. Yes, somehow as he is into it all, from stride to post bop to free a la Cecil Taylor he almost could be seen as similar to Jakie Byard, who also could play all stiles from old stride to free, sometimes in one solo.....

Oh, I didn´t know about that book, I think this is something I need to have.

I just have finished the book about Sun Ra "Space is the Place".

I purchased all 8 volumes of Parker on Verve in the 70´s as japanese editions, I think "Temptation" "Bird with Strings" "Now´s the Time" , "Bird and Diz", "Cole Porter Songbook", "South of the border", "Jazz Perennial" and "Swedish Schnapps". "South of the Border" was Vol. 6 I think. It had both the 1951 and 1952 stuff. I think the 1951 stuff is better. On the 1952 stuff it´s a rare occasion to hear Little Benny Harris, he did not record often, but sounds a bit like he didn´t have very good chops then. And I think there was some late 40´s stuff with Machito and Flip Phillips added, "Mambo" and "No Noise" or something like that...... haven´t spinned it for quite some time.

Though Jackie McLean recorded much more originals during that time, it´s welcome to hear him play standards on this. It is much better than the many Prestige records he did in the mid fifties. I also enjoy this very much. "Let´s face the music and dance" I think was not often recorded by jazz artists. A strange tune, and not too easy running thru the changes..... quite a challenge for improvisers......