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Thanks mikeweil, that really answers my question. That´it. Blakey would have talked Alfred Lion into giving Sabu a record date of his own. Many BN records happened that way. And thank you for reminding me of the Blakey-Sabu Duo from 1953. Should listen to that again. I think I have it with the original cover titled "Horace Silver Trio + Spotlite on the Drums". That always amused me, as the using of the same cover foto on that album and on the album "H.S. and the Jazz Messengers". One is red, one is blue I think....

Anyway a good choice, especially if someone is not a collector and doesn´t feel the need to have all his BN recordings. They are all fine albums . About the Prestige albums: I really like "Tangerine" and "Ca Purange" with the very young Stanley Clark, its a nice idea to add a new face to the older stuff.

I also wondered about how "Palo Congo" came out, since it´s not a typical BN album, it´s more strictly latin roots without jazz connection, so it´s different even to the Blakey "Orgy in Rhythm" or "Holidays on Skin"

R.I.P. He was really a great stylist on the piano. Was really aware of how he sounds even before I knew he had a semi paralised right hand. Always wondered how he got that sound and bluesy touch. I think he was the natural pianist for Mingus. Even after he had left the states, he would play some Mingus. Like "Duke Ellington´s Sound of Love". This was written in 1974, right ? And Parlan played it in Europe on several occasions. And his version is the deepest, the best. If I listen to "Duke Ellington´s Sound of Love", I have Horace Parlan in my mind. And he was such a nice person. One of the albums I like most is one little thing he did for Steeplechase around the time I saw him live, with the really really great Jesper Lundgaard on bass and my favourite Dannie Richmond on drums. Oh, I love that album. Strange, though I´m really a BN-man, I can´t find the same inspiration in his BN stuff, that I find in the earlier Mingus stuff and the later work. I think it´s cause Harewood might not be my very first choice as a drummer......

Same here ! Herbie, Chick, Gary, Tony Williams was youngsters, Sonny Rollins was in his late forties, so really in his prime, McCoy was just 40, Tony Williams in his early 30´s was a baby, that´s how I felt it even if I was a teenager. I must admit I wasn´t so much aware of Gary Burton, thought that´s more kinda ECM music, maybe that´s how I didn´t get so much involved with it as I would have with Sonny Rollins, McCoy, Dex, Diz, Freddie Hubbard etc etc etc.......

Great story ! I think, the group with Cecil Bridgewater, Billy Harper and Reggie Workman was really a steady unit for a long time. I also saw them in the late 70´s maybe 1978. Fantastic and IMHO the best band he had. It was at a concert hall, but the day before the concert Art Farmer played in a small club and in walked Max ! We coudn´t believe it. Too bad I was to shy than (18 years old), see those people were living legends, my heroes and I would have been scared to death to try to greet them. Heard the next edition with Bridgewater still on trumpet, and Odean Pope and Calvin Hill replacing Harper and Workman. Also a great group, but I didn´t like Pope´s sound so much, he sometimes sounded more like a bassoon than a tenor, at least that´s how I felt it. And Calvin Hill though he played an acoustic bass, it was maybe the way how it was amplified, the acoustic bass and a more ugly plastic sound than the warm sound Reggie Workman had......

Time flies. Dexter was some kind of hero of our youth, me and a fried of me we would make long trips just to catch him live, and played his records and even tried to imitate his stage annoncements, which we considered super cool. The last time I saw him on stage was round about his 60th birthday, that was in february 83......

The funny thing is, Oscar was one of the first jazz musicians I heard, cause it seems a lot of people who usually didn´t listen to jazz, would eventually buy the one or the other OP album. OP or Garner, so maybe that´s how I got to know him, when I was a kid. I think the two albums I heard then was the above mentioned "Night Train" and "We Get Requests". Those albums are not so "overplayed" like later stuff would be. I like some OP if he doesn´t exagerate the pianistic thing. I like the more subdued stuff, a nice thing if the often critized "In Tune" with the Singers Unlimited, that was in fashion then , and I recently got the CD as a Chrismas present from my wife. That´s nice stuff, not so overplayed. And lesser known, there´s a nice Pablo album Eddy Lockjaw Davis with the Oscar Peterson Trio at Montreux......

I remember I heard both Sonny and Larry in the summer of 1979, just 2 months after they had recorded together. The Album wasn´t out yet, so I was not aware of it, but thought much about it afterwards. On that festival they didn´t perform together, maybe they were not scheduled on the same day or it was for contractual reasons, but it was a beautiful period, when all those masters were in action and you were eager awaiting the next time they´d record.....

Really depressing, and as Hardbopjazz said, all these musicians who died in the last 10 years are the musicians of our youth. We had all those greats still alive and active on scene, the established masters , and people like Larry Coryell were the "young lions", the musicians who were in their early 30´s and played more "wild". Like Larry Corryell , Alphonse Mouzon. And I think besides their fans they got a lot of young people to listen to the older masters, like the big selling Mingus had when he decided to get Larry Corryell involved. And I loved it, the way he does it on "Three or Four Shades of the Blues". Because Larry didn´t have to make commitments to adapt his style to the older master. He really could play the way he felt and what he was famous for. I liked his solos much more than the somehow half hearted efforts of Phillipe Caterine or John Scofield on that record. Anyway it seemed that Corryell was the man who would have stayed of Mingus had lived more. A tour with him was allready announced in Europe in late 77, and he was on the last sessions in 1978 (Me myself an Eye etc.).

yeah I have this book but I was a bit disappointed. Same about the book about Jackie McLean. Somehow I think another author would have gathered much more informations about the artists and their music.....

well it´s the music that counts, but IMHO it´s strange to see classic BN recordings, Hank and Dex with Bud with non BN album covers. Though I´m first interested in the music, listening to BN-records in my case is a philosophy of it´s own, it´s the whole thing, the original liner notes, the Frank Wolff fotografies , the cover art......, I listen to BN record when I´m in that special mood to sit down, have time and "study" the whole thing, each record an artistic workout....

RIP. Imagine my first listening experience, to hear her playin piano was a track on that late 1948 all star session (Benny Harris, J.J Johnson, Budd Johnson, Lee Konitz, Chuck Wayne, Bud, Max. And I think Barbara did some All the Things You are with the rhythm section, really nice. And if I remember right, it was some session organized by Leonard Feather...... I´d would have liked to hear that 1977 stuff she did with Ron Carter and Steve Gadd I think, must be something worth listening to.

It´s okay Dan. The problem is, I think it´s not well received if somebody starts a new thread while there exists an old thread about the same topic. So it happens that you don´t notice it was just updated, as in may case cause it came to my mind that to book still hasn´t been published. I´d also prefer new threads so the answers might be "fresh" , but that´s it, you got to check out wether there´s some old stuff about it..... Okay, from the point of view of a musician it´s a natural thing. When you tell your fellow guys on stage "let´s play some "All the Things You Are", you don´t have to compose it again, it´s old stuff and you just jam on it......

Thank you Niko, really very interesting to read. Seems to be much more than just a bio. I´ve seen Dexter live on many occasions, once I had to make a long trip with a really shabby old car and was glad I could catch the last 2 tunes of his set, just to have to drive back home all night long.....oh boy what memories....

@Dan Gould Thank you @Niko Yes, I also visited that website but couldn´t find no info about the forthcoming book. Maybe it takes more time to publish it ? I´m sure there are a lot of fans worldwide who are eager awaiting the book.

What is not very nice ? I just asked kindly if somebody knows more about the forthcoming book.......? "accusations"....." refuse to elaborate"........????????. I´m a big fan of Dexter and just hope the book will be published someday......that´s all, and I hoped maybe some insider knows more about it.

Any news about the book ? Thought about it recently but couldn´t find no sources of informations.

Yeah, great stuff and I love it. It´s interesting that Sarah also did some tracks with Miles around 1950 so that was before the date with Brownie. I´s great to hear lyrical trumpet players with great singers.

when was it recorded ? Must be great, fantastic musicians and I´d love to hear Philly J.J. with Diz.

oh yes, that discussion whether Rollins was better when he did his BlueNotes, Prestige and the last achievement that would be worth listenin to might be "the Bridge".....I know that. Heard it so often. But one nice aspect about it: It was about 2000 and I was together with my wife and someone involved me into a discussion about music and musicians, I mentioned something about Rollins who just at that time was "in town"....., and that guy gives me that kind of look and says "I don´t like what Rollins has done since 1975" and turned away like if I had some disease and gone he was. My wife who didn´t know much about jazz thought "1975" well thats so long ago, that´s really history, that´s when the wheel was invented...... and she asked me "what ????? from 1975 on ???? She thought if you say you don´t like what somebody has done from ´75 on, you might better say you don´t like it at all cause who knows what was b e f o r e 1975 (smile) Today, when I mention "Sonny Rollins" she still laughs and says "oh yeah, I know, the guy who lost it after .....what was the year........ 1 9 7 5 .....

I love all of it, from Vol. 4 especially the long version of "Don´t Stop the Carnival" and the live version of "Disco Monk", since I remember that 1979 working group very well (Mark Soskin, Jerome Harris and the great Al Foster). From the earlier volumes I like an extended version of "Why Was I Born" and of course the "Rollins Coleman Encounter". When I was young, my favourite Rollins Group was the one with Don Cherry, Henry Grimes and Billy Higgins, so anyway I wondered why it didn´t happen earlier. But Rollins really digs into Coleman´s harmolodic concepts when he returns for one more solo after Ornette...... I also love that short and slower version of "St. Thomas" and the way it´s done it sounds so good I would like to hear a long version of it. Maybe on Vol. 5......

Strange that this was never released on a label like SteepleChase. See, for me that label always was the one to get a lot of live performances from US Masters with the best Danish/European/US-Expatriate musicians, like all those Dex in Radioland, those Brew Moore , all the Bud Powell stuff, so it seems strange to me that wasn´t released on SteepleChase.

yeah I have heard about it before. I think he was not the only one, who had hard times. The 60´s was a rough period, many clubs closed and avant garde players had very few opportunities to perform, so the situation must have been tough especially for young unknown guys. Even the then best known artists of that genre spent times in semi retirement (Ornette Coleman)

Thank you so much ! Really the kind of infos I love. As i said I saw Joe Henderson live in 78 and 79, seems I missed the 81 gig with Tete Montoliu. Yeah, I missed it and remember my then bass player told me Joe and Tete was great, but he kinda complained about the bass and the drums, told me something like if they didn´t groove or didn´t appeal to him, and I remember he said Tete "recued" the situation, wavin off the poor (sic!) bassist and drummer and doin it alone, with the bass line played by the left hand, and that guy told me Tete showed em how it goes......, as I tell you, it´s not my words , its what he told me.....