Gheorghe

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.....

RIP Saw him with his electric group in 1979, really good funky stuff

thank you brownie !

Thank you so much, page and Big Beat Steve, and thanks for your nice wishes for my recovery.

Thank you all so much ! Danke Euch allen ! Dear page: I had it scheduled, but I had an accident and operation on my left hand so I had to chancel it and another boy had to fill the piano chair for me so the only thing I could do was listenin, but now I started noodlin again on piano and next year we gonna make it with her, I´m lookin forward playing again for her.

Happy Birthday Jim !

One of my favourites from my early youth on. Once I was lucky to talk to him before a concert to tell him how much his music means to me and I have is autograph on the album "Bone and Bari"

Thank you , you really make a point. And some thoughts ocurred to me during the last few weeks. I must admit after dozens of years of awareness of Bud´s music, when I listen to some of the highly praised early recordings, praised by those who permanently write his later efforts a only "a shadow of himself" and so on, they don´t move me as much as some of his later stuff. Those high speed "Get Happy" and "Tea for Two" from July 1950 or the ultra rapid "All Gods Chillun" from Carnegie Hall, it´s incredible, but for my tastes right now it´s too much up in the high register, and I find much more enjoyment in the best recordings he made in later years, like the musical balance you find in his "Bouncing with Bud" 1962, his 1959 solos when he set in as a guest with Art Blakey, and still on his 1964 "Invisible Cage", his best work on the Golden Circle gig . More in the medium register, the chords on ballads much deeper....., it´s more the very inside of the music, not so much showcasing.

Never got infos how it was received then, but it isn´t that weak like the shaky early 1955 Verves. Well, he flubs some breaks (I know that you know) but recovers quickly on solo parts. Peter Pullman states that he plays "The Best Thing for You" as always, and I like the simple but sly lines on "Hallucinations" here at a moderate medium tempo, even if the solo break before the improvisation chorusses throws him..... But I get tired reading that "it should have been distroyed, never released". Some sources say it was recorded in september 64, others say it was recorded on october 22th 1964. Anyway it´s still better than the worse live tracks from Birdland from the period september october......

I always thought its from 1947, but Carl Smith in his book "Wail" mentions that the Roost session was recorded some years later (49,50?). I still believe it was 1947, cause butaround 49,50 sounded else and the recording sound was else. About the right speed: Thats always unnerving if the speed is not right. Especially to me. See, I got perfect pitch and when I was a young kid and heard that Indiana in F sharp (or G flat ) I dind´t know its the wrong speed, I thougt Bud can play that fast in such a difficult key. Then I was sure only in F, Bflat or Eflat and thought wow I might practice, Bud plays all them difficult keys...... but he didn´t. During 1953 almost everything he played he played in F. Mingus who otherwise admired him, critizezed him at that point for sticking on the key of F for almost the entire set......

Indeed very interesting.Imagine there are still enough people who don´t want to hear 60´s avantgarde. How difficult must it have been then in ´66 for audiences to understand that music.

Happy B-Day to that fantastic musician and composer !

one of my all time favorites, love his music

Yes, Miles from 1981 was much more mellow than before. And there are some interviews that he really seemed to enjoy, I think there was a long interview in a Miles documentary film about his career, that had footages from TV performance with Gil Evans and his classic quintet, many footages of 60´s 70´s and a long interview with Miles in good moods, explaining why he wanders on the stage, and why he sometimes turns his back to the audience, and praising Gil Evans, who was still alive

Really a great thing, reminding the world about that great artist. On one of the later records there is also a short tape recording where some friends celebrated Bud´s 40´th Birthday (september 27th 1964) at some friend´s house on Fire Island. Usually many reviews describe Bud´s shaky performances at Birdland during that time, but he still could do trememdous things and as the recordings prove, there were days when he was in top form, exiting versions of Johns Abbey, the hard to play Conception, the ultra rapid Just One of those Things, and fantastic versions of Round Midnite or Monk´s Mood.... Not well recorded, but really interesting.

Somehow the album that I might spin most, when I wanna hear some later period Coltrane is "At the Village Vaguard AGAIN ! " with both Trane and Pharoah and Alice and Rashied Ali. Somehow that´s the album that appeals most to me from that period, it has a kind of balance in it, the kind of 60´s New Thing I like most, this and some Ornette Stuff from that period "Crisis" and "Ornette at 12".......

yeah, soulpope, that´s the Shepp after 2000, saw him. Here he looks like the neatly dressed Grandpa of Jazz. Shepp had many different dressing styles. Free Jazz Meetings in Southers Germani (Donau-Eschingen ?? ) that was kinda African Dressing Style. Then, when Shepp abandoned Free Jazz and returned to standards and acoustic quartets, it seemed to me that he dressed and behaved like the Miles of the early 60´s (pin stripes, sunglasses, and payin no heed to the audience)....., and later he became more mellow, telling stories to the audience, stuff like that....

yes, sometimes, ....... and sometimes (Berliner Jazztage) they were booed out if a singer wore an evening dress (Sarah). Others like Archie Shepp were "overdressed", I remember Archie in a club that was shambles and he was top dressed, pin striped suit, tie, expensive shoes, and it was cool.

Nice photo of the audience from 1960, would have liked to have such a hip audience. In the late 70´s , that´s when people like Herbie Hancock returned for some acoustic projects "VSOP", and old masters like Dex and Griff made it again in the States and became top acts , there was a renewed interest in the kind of jazz that people might have heard in 1960. But then, at least in Europe, the average jazz listener was sloppily dressed. Now, young people, students are better dressed then in the 70´s, but only a few of them dig jazz. And.... nice photo Harry James with Miles, really so nice them both smiling.....

No problem. But thanks for reminding me about "If You...", cause I really should play it again...

I first heard his record Dimensions and Extensions when I was still almost a kid and didn´t know much about the music. Just one of the older boys had got that album and spinned it. I allready had heard one or two Ornette/Don Cherry things and the Mingus/Dolphy stuff, so I might not say it was to heavy for me. Anyway, during that time if you didn´t dig that music and would state you like "oldtime", you where lost, they´d laugh you off..... Sure, later I saw him life. Some occasions, I remember well one from 1980 with his trio. In later years I was quite surprised to see him on stage with Diz. He was wonderful with Diz. Sam Rivers was such a great musician.

Thanks, yeah I can hear it in my head that way. I didn´t play that tune too often, I must admit. If I might play it right now, my fingers would got to Ab, somehow I always heard or played it in Ab. Must admit I never saw it written, just played it from ear, maybe inspired by the Sarah version from the 40´. Should give it more playing, indeed. Did Diz play it once ??? cause I´m supposed to play two sets of Dizzy´s music on some occasions in autumn, and thought one ballad in each set, one might be "Round Midnight", the other " I waited for you."...,so.....did Diz play once "If you could see me now" so I can "explain" why I choose it for one of the sets ?

Horace-Scope is really a lovely album

Not long ago I purchased his 1973 Montreux album, with Hampton Hawes on electric piano, Bob Cranshaw on electric bass and Kenny Clark, with Guests Adderly Brothers and Dexter Gordon. Fantastic ! On of the albums I like to listen after a day of hard work, just to relax and feel happy.