Gheorghe

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.

on faster rhythm tunes in Bb (Wee, Anthropology, Rhythm a Ning, Shaw Nuff etc) sometimes the movement Gb B (natural)/ E A / D G/ C F/ , thats nice on solos, the first 4 bars of the A section.....

Oh yes, the album covers of the 70´s , I remember once I purchased a twofer Miles Davis with Prestige Dates before the first quintet (1953-54) mostly stuff from Blue Haze, Modern Jazz Giants and Walkin´, with Miles from around 1971/72 in a boxing outfit. First thought it might be some after Bitches Brew music and then found out it was older Miles. Another fine label, easy to purchase in Europe and low price was the french "America", they had a lot of Mingus and some Bop (Bird on 52´nd Street, Saturday Night Jazz Session with Fats Navarro and Roy Eldridge). Also remember the legendary "Bird is Free" with that white Bird on a blue sky. We all bought that. Bird was the man, even for those who really dug free jazz. So it was the title of the album maybe...... Once I found "The Happy Bird" and "Bird at St. Nicks" at some record store. I think this was the Bellaphone label.....

yeah that´s how I felt it.

Yeah I remember those strange LPs , got the 002, it´s a mixture of different live dates. The Waldorf Astoria track and the Cool Blues was reissued on one of the Bird CDs some years ago, and the Stuff with Bud and Candido is on "Summer Sessions" from the ESP discs under Bud´s Name. The strangest stuff is the Bandbox from March 53, because Bird sounds weak or tired. Usually he played great on all 1953 stuff. Here he even seems to have difficulties to speak as he explains the history of "Diggin´ Diz". But Walter Bishop is the star on that set, he plays great. The track with Milt Buckner Trio was on the CBS "Summit Meeting at Birdland" . Even if those were the old times I was astonished or amused by the typewritten page on the back cover, the whole thing looked really unprofessional, like a private made record.I had another LP titled "Hooray for the Bud Powell Trio" , also from 1953 with stuff from the ESP disk, the "Spring Sessions". Those strange Italian LPs of "rare" Bop material were something quite important for me when I was a bebop-mad youngster. There was another, I don´t remember the label, but it was called "Here is (Name of the Artist) at his rare of all rarest performances" that was Miles Davis 1951 at Birdland (later reissued on BN) and the "Miles Davis-Stan Getz" from Birdland 1950..... Those cheap European pressings were easy to purchase and cheap, there were bunchs of them in the record stores. Musidisc was another, mostly with wrong personnel, wrong record dates (I remember "Bud Powell "From Birdland 1956 with Paul Chambers and Art Taylor, while this was 1953 and Oscar Pettiford and Roy Haynes). They couldn´t or wouldn´t write the correct dates and personnel and first of all, Bud NEVER performed with Chambers in 1956 !!!

Shame on me, but somehow the stuff with the Mel Lewis BB after Thad had left didn´t reach me. Had heard the original ThadJones/Mel Lewis and was disappointed with the 1980 edition with much of Bob Brookmeyer´s originals.....

Great, JSngry !

Oh yeah, remember that overalls. Well I think that was the late 70´s. The Messengers became a main attraction again, because there was a renewed interest in acoustic jazz. But as much as I remember you were supposed to look casually. It was said that young audiences wouldn´t "buy" artists that wear tuxedos (smile). So that was the fashion. About Valery: I remember him well, saw him with the late 70´s until 1980 edition of the Messengers, great group, and some great little records like the japanese Philips "Night in Tunisia", and the Cocord "In this Korner", and some on the Timeless label, but I think the "hit" of us youngsters was "Moanin" and Blues March" from the Philips LP. Everybody was into that. And Valery contributed a nice blues original to the "In the Korner" album "Blues for Two". Boy, what we spinned those records. Still spin them if I want to remember that beautiful days....

oh yeah, as a bop lover I´ve played all those rhythm changes tunes so many times. But I also like tunes with the rhythm changes only in the A section with a different bridge, or in other keys than the usual B-flat. Love to play them in D-flat, A-flat, E-flat, but have difficulties to play them in strange keys like A natural, B-natural, D-natural.

Thank you Fasstrack and JSngry ! As for a break tune I really thought about "Don´t stop the Carneval". That´s a catchy thing, and you can go down with the volume while making the announcements. And it can fit to the speech, anyway I think there´s no need to "hurry". You can let some space like first you thank the audience and start to present the musicians, leaving space for the applause for each one and for some bars for a short "showcase", lets say a drum pattern, a bass riff, some piano runs, and a closing announce (we´ll be back after intermission) and than give some heat with that simple tune for some moments and stop.... Or maybe the A section of Night in Tunisia in the manner Diz played it in the later periods from the late 70´s on, I think he did the A section in 6/8 time that gives space for some catchy bass vamps and for the last 2 bars of the A section he switches to a swift 4/4 ....., you can keept that groove while making the announcements. maybe that, or maybe better "Dont Stop the Carneval".

Yeah, Wiesen 1983, still remember the tunes they played: Blue´n Boogie, Salt Peanuts, What´s New, Star Eyes. They came on stage, cooked and that it was. One of the best live performances I ever heard.

Got all the Prestige records on individual CDs or LPs with one exception "Blues a la Suisse". It´s hard to decide to buy a box only for the one missing link.....

Love everything he played, he was a genius. And I was lucky to see him once with Jackie McLean, Billy Higgins and his long time friend Herbie Lewis. That was a hell of a group and to bad they didn´t make a record. Only saw parts of it on Italian RAI.

Was also scared now. Never heard about another John McLaughlin or a McLaughlin-Group ????

thanks fasstrack. Yeah that helps much. I don´t have the intention to talk and talk and talk, but just want to let people feel I´m glad they came to hear us and we are glad to play some music for them. What I really want to do on the next occasions is to have a "theme" song, something you can play at the end of each set, something that grooves where you can make short announcments , presenting the musicians, sayin thanks for the kind applause and something "we´ll be back after a short intermission". I like that on live records. But it must not be 52´nd street theme that´s too fast to talk over it, though I love to play it but as a tune of it´s own....

Wow, didn´t know he played in 68. Somehow I had thought that was one of the periods when he was off the scene, took a break and studied something, some philosophy some religion something like that. Late 60´s anyway was a rough period for jazz and I think many clubs had closed (even Europe wasn´t easy then). But Sonny was the greatest all time. But it seemes the period after the Don Cherry Collaboration (63 tour) until the first Milestone stuff (Next Album) was unknown to me. Somehow like Mingus. Not much after the Dolphy collaboration until 1971 (Let my children hear music).......