Gheorghe

his playing on Grimes´ "The Call" is first class. I heard he did some projects with Grimes even much later, in the early 2000´s . He really was a great musician.

Strange, but Dolphy who was much younger and one of the young avantgardists, while Dorham was a bebop veteran, looks older than Dorham on this photo.

This, and Jackie McLean´s One Step Beyond, but I coudln´t post the album cover

One of my favourits from the later period of the second great quintet.

Might spin once again "Una Mas". I had that tune for some months in my own playing repertoire, might play it again on some occasions. I have read a very very moving article about KD in something like "Austin News" or something like that, also focussing on his bitter last years. I love everything he played, maybe most of all "Afro Cuban", "Round Midnite at the Bohemia", "Una Mas" and sometimes "Trompetta Tocatta". And of course all his work as a sideman: With Bird he is at best on the Roost Recordings, I love the 1952 stuff with Monk, the 54/55 Messengers, and of course his later collaboration with Joe Henderson, and the outstanding rare almost-avantgarde excursion with Andrew Hill and Dolphy. And I discovered just recently his very latest stuff for Strata East with Cliff Jordan and Cecil Payne, but have more difficulties to enjoy those, since it sound´s somehow a bit "lost" if you hear more straight ahead as late as in 1969. It sounds to desperate struggeling for survive to me, when all around that was the New Thing and the electric jazz was just beginning, somehow a sad period for straight ahead acoustic players........

Too bad I don´t have that, would be very interesting, though I always try to avoid to buy piano-trio albums, preferring them together with horn players. Great cover ! I think I remember the Steeplechase covers from the inner sleeves of the LPs and Birdtown Birds had another cover. Recently I saw the film based on Albany´s daughters Amy book "Low Down" or something like that. Some piano tracks show a quite interesting piano style, somehow a mixture of bop with more Tristano-like dissonant touches, maybe a bit like a mixture between the late Dick Twardzick and Herbie Nichols. On the only recorded document I have from him with Bird at the Finale Club he sounded a bit stiff, but interesting.

I must admit I don´t have much Duke Pearson, I have him on some Donald Byrd, on the "Idle Moments" where he contributed most, and his own "Sweet Honey Bee". My question is about the title "Wahoo". Do they play that old bebop tune "Wahoo" (Tadd´s riff on Perdido) or is "Wahoo" not related to the old Dameron-composition ?

That´s it. Really strange the tune "Twins" on Grahan Moncur´s album. It sounds like some Roumanian folk dance to me, the kind I know them from Transsilvania and Banat....., and the composer himself admit´s that it has a 4/4 time, but "not necessarly in a jazz rhythm". It would be interesting to know how he got that idea. Maybe, maybe it was via Bela Bartok, who I think lived his last years in the States and who had much of that transsilvanian influence in his compositions........

me too, I think I saw him even later, maybe it was in 2013 or even later ?

Never saw the cover of the King LP, only the CD. The music is interesting, but maybe I´m wrong, but somehow it sounds to me that if Hank already might have some respiratory problems, he sometimes sounds short of breath on that. Anyway, I like Hank´s "round sound" more, the way he sounded until the mid 60´s . I have most of his post 65 albums also, but dont´listen to them as often as I might listen to let´s say "Soulstation" or "Workout" or the early stuff from the 50´s .

When I was a young man, I played in a short-lived jazz combo (as, tb, p, g, b, dr) and the trombone player was a huge guy with an respectable girth, and he was a freckled redhair. He was a funny guy, but concerning the rehearsals he made the most mistakes and we often had to interrupt the music just that he can play the line again. This was not necessarly his fault, the leader had written quite tricky compositions and let´s say the trombone is hard to play. But.....I must admit when he got it nailed he had a beautiful sound and nice ideas, so I called him separatly for other gigs, since he had that nice trombone sound and as I said, nice lines. But once when we had a rehearsal he again was the one who made a mistake, and I got bored and said I´d go upstairs and smoke a cigarette and have a beer until he got the theme. When I came back we played the stuff again and maybe because I wasn´t really concentrated I also made a mistake, my first mistake, and that guy got red at the face like a turkey and pointed to me and went "ha ha ha" ha ha ha " Now YOU made a mistake. His nick was "Specky" which means something like "Fats" in german. I liked him, always a funny guy and a goodenough musician.

I think the uncle of a schoolfried of mine was a bar pianist and had an album with Peter Nero, a jazz trio album with jazz standards. Sounded solid, as you say, a bit like Peterson without overdoing it. Sure a very very good pianist.

First of all I must say, I´m not a Peterson-Fan like many others. My kind of jazz is more advanced, but I must admit I kept 3 albums that I like to listen to , sometimes: Night Train, We Get Requests (I like them because they are not so overplayed, Peterson doesn´t dominate everything like he did later) , and In Tune: I think this was somehow en vogue in the 70´s. It sold well and many people would fredonate "Sesame Street". Everything has that ´70´s touch, Bonnie Herman on the foto looks like the 1970 dream girl, the music is a mixture of ballads , slow bossas like Gentle Rain and Shadow of Your Smile. The Singers Unlimited were great and the had great succes in those days, and Peterson who normally dominates everything, really fits into the whole stuff. I like to listen to this sometimes.

Has some great moments. Not necessarly reprezentative for Mingus´ Music, but an interesting jam session. I remember those Atlantic Mingus LPs sold quite well in the 70s. Much of the older stuff was OOP, but when you looked after Mingus albums in the record stores, it was very possible you might find this one

Same here: My wife did it the same way.

Yes, he sure deserved it. Though as a jazz-only-listener I´m not familiar with most of the stuff that maybe made him famous for broader non-jazz audiences , but I´m very very aware about his jazz-linked achievements. To me, that means his associatins with Dizzy and his great compositions. I also like the later collaboration from 1977 (Free Ride) with the great tune "Unicorn", a tune I love and heard Diz play on several occasions with his great pianoless quartet. It also has a great foto of Diz and Lalo on the cover. Fantastic !

If I remember right, Miles included "Maze" also in his life performances and since most material was also available on then current albums (You are under Arrest, Tutu) those few tunes that didn´t appear on albums, were unknown to us, since "Rubberband" still was in the shelves....

Great, I still remember the exitement in the jazzszene, when this formation was founded and we all had the chance to listen to those guys, who were our idols, especially for those who also preferred electric rock jazz. Hancock and Williams were in the 30´s , the others maybe in their early 40´s so it was still quite young men, we were youngsters of the "70´s generation" and for some of us this music was the link from what they listened "Headhunters" , "Lifetime"....., back to acoustic jazz. And for the older ones it was a great reunion of the men from the "2nd Great Quintet". As Soulpope said, I too prefer the harder to find "Tempest at the Colloseum". Many of us also listened (and still listen) to the very first VSOP from 1976, the one with 3 Hancock bands: 1 set the VSOP Quintet, 2nd set a reunion of the late 60´s early 70´s Hancock Sextet feat. Bennie Maupin. And the 3rd set the electric band with the famous Wah Wah Watson. All of us listend to that music, some preferred the electric band and "accepted" the acoustic because the men behind also played electric, others vice versa (myself). I listened mostly to those electric band where I had a connection to their acoustic past.

A lot about Lockjaw reading stuff you find in Art Taylors great book "Notes and Tones". But it seems, that Jaw´s cryptical comments did not amuse the interviewer Art Taylor. More Lockjaw in Valerie Vilmer´s book in the chapter "Lock the Fox". I´d say he´s one of the tenor players that can be very easy recognized. I don´t think one could be wrong on a blindfold test. It´s said that he stated he never was interested in changing his style. But he earned the deepest respect of his fellow musicians and even Miles, who seldom had kind words for "traditionalists" has only words of respect for Jaws. Don´t forget he played with Jaws and said about the 1951 Birdland recordings that it brought out the best of him, because with someone like Jaws you better don´t fool around.

That´s it. Tootie is such a fantastic drummer . I would have liked to hear him with George Cables. George Cables fascinates me much more than Gulda does.But it speaks much for Tootie that he tried it. Others wouldn´t have been so kind and patient. I think Al Foster might have got annoyed if a pianoplayer couldn´t swing. He refused to play with Milcho Levieff, but Milcho is much more into it than Gulda ever was. So I think it must have been hard work for Tootie to keep the stuff together, and maybe that´s what he remembers about that session......

Hard to find. I purchased it around 1978 and since then I´ve been very impressed by this, Sonny Rollins with Don Cherry, Henry Grimes and Billy Higgins. Then in 1978 I was much into 60´s "new thing" "avantgarde" and purchased it for the participation of Don Cherry and Billy Higgins. Sonny is fantastic on this. An Henry Grimes is one of the true masters on bass.

You got to have time to listen closely to this. The bad weather made it possible. I like Dark Magus even more than Aghartha or Panghea. Especially because of the participation of DAve Liebman, one of my all time favourites. The formation with DAve was in my hometown at STadthalle in 1973. This one of Carnegie Hall 1974

I remember the bass player J.A. Rettenbacher very well. Too bad he died too early. He and his younger brother were great bassists. One of J.A.´s last projects was a band called "So Near So Far". They were, as I was, regulars at the then very popular little jazz club "Spelunke".

Great video ! But I had to laugh when I saw the band members in that "silly" hippie-style shirts. This must have been early 70´s, right ? And an electric bass. Well this was the time when acoustic came out of fashion. I think during that time Woody kind of played a very mixed program, there were super old charts like "Woodchoppers Ball" and then "new" stuff, like Chick Coreas´s "Spain", I think there was also some tunes with a slight rock rhythm. I saw them in 1979 (the Thundering Heard) and it seems it was very similar to that video. Woody was wearing a white suit, and his band members more casually dressed, and they played for example "Caledonia" that very very old stuff, and some Chick Corea compositions. I remember the 1979 band had a very very fine virtuose baritone saxophonist. I liked it very much, but anyway I was on high spirits since just before Sonny Rollins had finished his set and I thought it will be hard for the next to impress me after Sonny Rollins, but they did ! I saw Woody again in 1985 but was quite astonished that he came without his Herd, then he had an allstar small group with both Buddy Tate and Al Cohn, with I think Warren Vaché, with John Bunch on piano I think, Jake Hanna on drums and .....aaah..... a very young kid on bass who played very good. The strange thing was that on bass was scheduled George Duvivier, but I think he was dying then..... I remember that Woody played only clarinet, played his best solo on a slow blues and did a vocal "I got the World on a String"