Gheorghe

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.....

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.