Gheorghe

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.....

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