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Really ? Never thought it might be in the Cliff Jordan Box, since it´s quite far from Jordan´s musical directions. But live is full of surprises.

It was a good idea during that time, late 70´s if I remember right, there where two different groups of fans, those who preferred acoustic and those who preferred electric, and since Ornette was deeply into electrics with Prime Time, there were attempts of his former bandmates to please those who only dug the classic Ornette Coleman Trio/Quartet. It was very similar to the VSOP, Miles classic quintet with Hubbard replacing Miles who was into electrics (or was taking a break). I think it was mainly Charlie Hadens idea to form that Old and New Dreams. He was an acoustic purist, which was not the case with Ornette and Don Cherry, they were interested in electrics. Anyway, there was a great little record of "Ornette Coleman without Ornette Coleman" in the late 60´s, I think it was called Charles Brackeen Quartet. The man of Joanne Brackeen, who seems to be much better known. But it has Don Cherry, Charly Haden and I think Blackwell, or Higgins I´m not sure. This record sounds very much like an Ornette Coleman record. I´d like to have it , but it seems to have disappeard and was not in the reissue circle.

I heard the Rikers Island only on tape once. Remember a very far out Night in Tunisia, but I think bad recorded. Well I don´t care for bad sound quality as a stone bebopper and used to rusty sound of Birdland Tapes etc , . Remember also 2 great vocals "It shouldn´t happen to a dream" with Earl Coleman. Hope is just fantastic comping the singer, he should have done that more often. And a funny "Groovin High" with I don´t know who doin some really funny scat. But can someone tell me the story behind that Rikers Island. I always knew that this was a jail, and I read somewhere that Philly J J was incarcerated there in 63. Was that record made in jail ?

I didn´t even know Spaulding made 45 rpm record. As much as I know his music a 45rpm would not offer enough space of time for his outbursts. As for "the East" yes I remember it as the place where Pharoah made his album "Life at the East". Imho one of the best albums he ever did. It was my first then in the 70´s and I still have it. Mtume? The great percussionist who later played with Miles ?

Really sad news. Saw him live with Ron Carter

I´ll have to purchase this. Really great company. I saw McCoy Tyner with Joe Ford and Ran Blake in March 1980 and I still remember the first tune they played that I liked much, and couldn´t find the title of the tune until someone from here said me it´s "The Seeker" , which is on "Quartets" which I purchased as soon as I heard about it. I also like Horizon very much, and the double album with the two trios. And of course, the "Milestone Allstars" .

Great memories ! Lee with Barry Harris, Jimmy Merritt and Philly Joe Jones together , something like that might be on record. On my God, that must have been great. And it´s really interesting sometimes to hear a more laid back and subtle hornplayer with a so called strong rhythm section. If the vibrations are right, something fantastic might happen.....

That might be the 4 albums "Winter, Spring, Summer, Autumnsession" ? No there is no overlap, and for the similar repertoire, it´s interesting that on the Wintersessions from february 53 Bud plays a more varied set including other tunes like a fast Tea For Two, a wonderful "It Could Happen to You", "Ornithology" etc, and not just stickin to the many "I Want to be Happy´s" and "I´ve Got You Under My Skin´s " in the same key. Something must have happend to Bud during that busy year 1953, when he played so much at Birdland but always had "someone to watch over him". Maybe he lost interest in what he was doing, because some of the recordings from autumn really let the impressions that Bud was on "auto pilot".....

yes, this one. Lee´s really good, doing his thing.

I don´t know the 3 CD Box and right in this moment I´m not sure if I heard Moonchild, but I remember "Wellcome to love" is one of the later albums I purchased from Pharoah. Here he is a great ballad player. Most of us might have heard Pharoah for the first time when he started to play more conventional material, like classic quartet settings. Pharoah and Shepp did that about in the same time. But I also love that more religios stuff, things like "Healing Song" , I´m not a religios person, we didn´t grow up with those things, but to me Pharoah is like a church event and I love it.

Really, for those listening more to the mainstream of sax playing, it´s possible for some he is not first choice, but you have to listen between the lines. As early as his 1948 encounter with Miles (when he obviously replaced Bird for a night, since it was Miles with Bird´s rhyhthm section and Lee on alto, he has his thing and there are some tricky things in his solos that nobody else did until then.

Yeah, THAT´S IT, the one with Rollins and Stitt has exactly that short interlude. It sounds so good, it´s much better than just starting to solo after the theme. A wonderful version. Anyway, I have noticed one thing: Most of Dizzy´s tunes, Diz kept the intros , where they are the interludes almost for his entire live. Tunes like "Be Bop", "Shaw Nuff", "Dizzy Atmosphere", "Blue´n Boogie" , "Tin Tin Deo", "Manteca" would be similar in the playing form, even if he played it in combo or big band, and it seems the "Con Alma" changed: First he did it without an interlude, than he kept the interlude, then he added a rock vamp and played it with a rock feeling (Montreux 1981 and Northsea 1988), then I witnessed once late 1983 in an allstar quintet setting that he suddenly played it straight ahead. Anyway, the most important thing will be to first see what the trumpet player wants. I know from woodshedding with him that he´s very familiar with Dizzy´s tunes and really wants to dig into them for a gig and it´s a great honour for me that he will do it with me. So I´ll see want he wants to do on that tune.

Thank you for posting the other "Lionel Hampton presents.....". Yeah, I think that´s how it sounded, just as if there was a hurry up, and not much studio time. But I have listened more intensly to the Mingus album yesterday and once again I must say I couldn´t believe how Hampton, a tough businessman and besides that from another generation, found the time and the effort to solo on all those Mingus compositions. Well, "So long Eric" is just a blues in F, but "Remember Rockefeller", "Fables", "Slop" and others, you can´t just take your mallets and play a chorus on it, it takes time to know the form, and I never was aware of that musical side of Hampton. I never heard the others, I would purchase the Dexter, the Mulligan, the Woody Herman and so. I´ve read somewhere it´s not really the best of Dexters albums. On the other hand, like Mingus, Dexter had started to become better known when playing with Hamp. Saw Dexter once on a kind of Hampton Alumni set, something with Arnett Cobb, a more old fashioned drummer and a very very old Gene Ramey on bass. Yes, make a wishlist for Mosaic, would be a nice idea.

I´t not an album I´d recommend since it´s far from being Mingu´s best one, but remember, Mingus made his last studio recordings on November 6th 1977, so that´s forty years ago. The title is "Lionel Hampton presents Charles Mingus" or sometimes it´s titled "Last Date" or "Just for Laughs". Man, time flies, remember he was part of all the festival schedules in the 70´s and was scheduled for a promoting tour with Larry Coryell for late 77 but had to chancle it. This album, I don´t know how they persuaded Mingus to do it, he was much more into large format stuff as Cumbia, Three or Four Shades, Three Worlds of Drums. It´s his touring band with Walrath, Ford, Neloms and Danny , but too many others and not really fine arrangements. You can say about Hampton what you want and that his vibe doesn´t really fit into Mingus´ music, but it´s astonishing that he, quite an old and very busy man found the time to learn the quite unusual structures of Mingus´ compositions and could solo on them. But just today it´s worth to be listened. Anyway it has the first versions of Mingus´ last ballads "Farewell Farwell" and "Keki Mingus", he would record him a few months later but at that time he didn´t play the bass anymore.....

Thanks mikeweil, yeah he plays the intro the way it´s supposed and comfortable to play. But again, he does not play an interlude between the theme and the improvisation. And it´s interesting, that he plays the first 4 bars of the channel with a Tango rhythm, and while improvising, in each chorus he repeats his idea from the first A section in the second A section and then again in the last 8 bars after the channel. An interesting way to build it up in a very relaxed and unhurried manner. I would like to do the Dizzy interlude too, : Intro, Theme, Interlude, improvisations, theme (with the shout chorus they do) , and then you can end the tune again with the interlude...

Yeah, the setting would be a "standard setting" , that means that great trumpet player I had the honour to get to know, and me with my bassplayer and drummer. From what I heard, the trumpet player really knows his Dizzy stuff, from what we jammed and woodshedded just humming the parts, he got it all, the Diz-intros for let´s say Blue´n Boogie, the right intro of "Shaw Nuff", the shout chorus at the end of Dizzy Atmosphere, the change from Eflat to Dflat on Groovin´ High, all of it. I just listend to the Stan Getz version. It´s nice and interesting, but it doesn´t have the interlude, it just goes from the theme into the impro, but it´s done in 3/4 time. I can do that and did that, but even if people liked it I´m not happy with it. It got to have the intro, I think it´s a vamp done on C and Dflat, 8 bar´s . than the theme, and that the interlude, ..... 8 bar´s ? and some descending chords .

I love that tune with those fine chords and all and love to solo on it, but I would like to know more about the correct intro and interlude. I heard different versions how Diz played it, but don´t know exactly how many bars is the interlude, between the theme and the impro chorusses. Diz played it in different kinds of rhythm, some of them are more a rock beat which is also cool, with a kind of rock vamp, others have more conventional latin time, the earlier versions, but I like them both, the acoustic version and the one with the quartet with just guitar, fenderbass and drums. I know most bop tunes from my youth and must admit I never saw written versions, anyway reading sheet is much more difficult for me than hearing and playing. But I even looked for some useful sheet on google, found several versions of the theme, but nothing really useful for the intro and the interlude. I think the interlude might also be the coda. I did the tune in public with a trio and everybody liked it, but me myself I´m not really pleased with what I do if I did just the theme, solos and nothing else. Met and jammed with a fantastic trumpet player who is interested in making a gig with me, he knows all those tunes all those licks. During intermission we hummed all that fast stuff "Dizzy Atmosphere" "Shaw Nuff", "Salt Peanuts" and laughed and said oh yeah we gonna play all those....... but I would like to be prepared with the exact version of Con Alma, not just comping behind him and doing a few chorusses after his solo.....

You are lucky, I think Mingus also played there. It seems that the years when it operated where exactly those years when the public became again interested in "acoustic jazz", It was as it is written in the liner notes of one of Dexters albums after his return to the States ......" he makes people believe that art still can be done with a saxophone, a piano, a double-bass and a set of drums....." And it was Art Blakey who found a new audiece with his first group that made much touring, the one with Ponomarev, Pierce, Watson, James Williams, Dennis Irving, the group that also appeared at Keynote. And by the way, didn´t Red Garland also play and record there ?

Keystone Korner must have been great. Many fantastic musicians played there. I remember when I was still a teenager,one of the first Blakey LP I had purchased was "In this Korner".

Really a moving story about the fatally ill Mingus trying to keep in touch with the music. It always almost makes me cry because he must have suffered so much having that terrible desease, not being able to play music, not even piano. I have heard that Mingus was a regular at Bradley, I think even is short collaboration with Jimmy Rowles just for a few bars on "Three or Four" shades comes from that place. And I think Bradley Cunningham himself plays some percussion on Cumbia. So in the last years of his life, Bradleys was quite an important place for him.

Yeah good idea, give the drummer some, give the good drummers all the stars you have. I love Tony William he was fantastic. And a composer on a high level also .

I´m quite astonished why some have named classical composers here. I thought it´s about jazz. It´s hard to say who is a genius. Many like Lester, Bird and Bud and even Monk had a relative short period of creativity and then started to repeat themselves. Anyway they are geniusses for what they did and for what they left for the past. And you might add Lennie ! All say Bird, but don´t take Diz for granted only because he wasn´t just such an enfant terrible like Bird. Diz had it all, his contribution to modern jazz is at least as much as Bird´s . And Diz´ compositions, I love them most. Mingus, Miles, Trane, Ornette.

Thank you Soulpope ! That´s the covers, they are really fine, and the music speaks for itself.

I haven´t heard him in the past years, but I remember his group with his brother Branford, with the young giants Kirkland, Watts etc. and the band was a gas, it was the hope of the early 80´s. And very good with VSOP II, so I think he is a blessed trumpet player. Maybe people expected from him more, that he will become the next logic step in trumpet styles after Roy, Diz, Brownie, Miles, Don Cherry etc. I think it was his right to choose a pace that´s safer , to keep the tradition, to lecture people about what´s jazz and what´s not (in his opinion), and I don´t think that´s negative. He choose this, others who were pioneers on trumpet or on any other instrument died early or had to struggle for gigs......

I was thinking about the album covers from the two CDs Head of State.......