Gheorghe

yeah, I remember a Book on Chet Baker, written by a Dutch jazz expert with lot of Infos about the later part of Chet´s live. Chet never had his own place and used to stay in small Hotels and at friends, or better said "Connections". One of them, if I remember right, was a "Dr. Bob" or "Dr. Rob", a supposed MD who hosted and maybe provided with Methadone some of the junkey (or former junkey) jazzmen like Chet, Frank Morgan and Woody Shaw......

Such a great musician. I think this might have been before he came to Europe. I remember he once showed that album someboy in the club, he had another album then with some young musicians from Germany, "Just Friends" I think was the title, more in the bop groove. I love his sound, the way he improvises , the creativity, all of it. And he's a great composer I used to play some gigs with him when I was still very young.

well about the mistery about how the Newport audience "discovered" Miles in 1955, that´s just how Business went. Those Prestige records maybe didn´t sell to a broader audience. I don´t think all the crowds that went to Newport where hip to insider´s Labels, not collectors like most of us here are. They just heard Miles´ trumpet, it appealed to them, they thought about it as something "new", and that´s when Miles became a big name . About Bitches Brew. It was recorded in August 1969 I think, and Miles "did" Europe in July , all those big spots, and that´s where he played some of the later recorded Bitches Brew Stuff. Bitches Brew and other "new" stuff , I mean "new" to the record buyer wasn´t necessarly "new" to the Musicians. I´ve often heard Musicians tell "we go record what we now do live".

hi, I dont exactly know about the lenght of the tunes. I remember, I bought them in the midseventies or something like that, and maybe later Editions even on LP had more space. One thing about Steeplechase is clear. A lot of those live recordings where broadcasts, and sometimes not only lack of space is the reason, it maybe also just the end of the Radio program. Sometimes, the last track just fades out. On one Occasion (Brew Moore) you hear a danish Radio Speaker announcing the end of the program while the piano solo fades out. I love all those Steeplechase classics, it was the best time for going to a jazz Club and hear some of the giants.

I don´t know exactly which Album it might be. I got the 1972 album with the Long Version of Parkers Mood, and there´s a Bonus track on the CD which is not on the LP, and same with the "Ghetto Lullaby" from 1973. Also the to CD´s (The Meeting and The Source, feat. Dex) got Bonus tracks on the CD. I think it was the lack of space during the LP era. Many Steeplechase CDs from the "Classic Series" live have Bonus tracks. Same with Bud at the Golden Circle,

@‌hardbopjazz: thanks for sharing the fotos with Freddie Redd. He still looks sharp an sure must sound great

I remember Herman Foster very well, because it was during the mid 80´s that Lou Donaldson toured with him quite often. So it must have been a lifelong friendship, because everybody knows him from Lou ´recordings during the late 50´s early 60´. Well, I might say he was great with his heavy chords, but he played just one style. But that might have been part of the show I think. About Albert Dailey, I like his playing , I think he also did a record with Art Blakey in the mid 70´s

I just can´t rate them, I love them all. But I´d like to mention "Garden of Souls" which is really a pretty thing. "Love Call" is great On the album Ornette at 12 are beautiful things, the first tune , I think it´s titled "New York", there is also a version of that tune with string quartet "Prime Design/Time Design". And I shouldn´t forget "Good Old Days" from the "Empty Foxhole", because that was the first Ornette Coleman I heard when I was a kid......

oh my god, those liner notes , that´s really dumb stuff , the most stupid thing I ever read...

Really sad.

It´s strange, Paul Quinichette is one of the few musicians I never really got acquainted to. Only the fact, that he´s one of those Lestorian tenorists, cannot be the Point, since I got to listen to much Brew Moore and Zoot Sims. But maybe, because it came from another corner. As a "Birdwatcher" I looked for all unussued Bird and found some bop sessions with Brew, and was quite fascinated that he can play with that fast company without ever changing a note of his Lester Young stuff. Same with Zoot, being into all those Prestige sessions, Trane, Hank and everybody, I got to listen to him on "Tenor Conclave" and loved it. Great Player. Maybe, Quinichette was not very much involved with the kind of Music or the artists I frequently listen to......

well, "Goldrush" is on the Rockland Concert 1952. That whole concert is really great Bird. the other Bird with Strings live that I like very much are the two Birdland sets from 1953, with some conversation with Symphony Sid.

I also saw the track list on amazon. it seems to be more a sampler than a recorded session or set. Cuban Holiday and another track seems to be from Bird with the Herd. The Candido tracks from Birdland ....I know only about two of them "Broadway" on "Summit Meeting at Birdland" with Candido just on "Broadway" for March 53, and later from May 53 "Cheryl". But it´s not really Cu-bop, it´s more standard Bird with Candido added. Until now, the only pure Afro Cuban "life" of Bird that I heard is the 3 tracks "Mambo", "Lament of Conga" and "Reminiscing at Twilight". Even Cuban Holiday from Woody Herman sounds more like just a bit of latin flavour from the theme......, the solos is just swing like the rest of the stuff.... Same with Kenton. As Al McKibbon said in an interview, Kenton tried to go with the latin wave for some time but didn´t know what to do with it. He just added two percussion players but didn´t know how to dig into their stuff......, I wouldn´t put down Kenton the way McKibbon did, but it really seems that Dizzy was the man when it came about the Jazz meets Cuba connection. And Howard McGhee with Brew Moore and the Machito Band, they really got involved in Machito´s music, even Brew Moore who just stuck with his Lester Young licks, but he did that all his live but could play anything.....

The only live Afro Cubop with Bird I have is on a Spotlite LP, listed from about 1950 with Machito. The tunes are "Tanga" (if I remember right), "Lament of the Conga", and "Reminiscing at Twilight", a Dance number without solos. And I think it was some private recording made by Marshall Stearns.....

So I did remember quite well.... Strange, with all that BN reissue I think I never saw a BN CD or LP with the "Three Bips and a Bop" material.

got them on individual LPs a long time ago, japanese Verve, quite expensive then. Oh yeah, that cover art was typical for Verve. Strange paintings, and quite short liner notes, not very representative for the music, not like those Ira Gitler or someone of that category would write.... Some of it sounded quite commercially for me, most of all "Temptation", more like Hollywood movie from the 50´s than Bird....

should give the Chronological a try. It´s a shame I read so much about him and would like to hear the stuff he did with Dameron (Three Bips and a Bop from Blue Note), but it never happened. I think there was some with him on a Spotlite collection "Cool Whalin´".... ... ps...: and I think one of his last performances was at the North See Jazz Festival, I think he was about 60 when he died (1979 or so)

I remember I was a bit astonished during the 90´s that many artists of my taste started to record for Verve. During my youth, it was more a label of mainstream, Oscar Peterson, Ella Fitzgerald and so, and the more commercial stuff of Bird....

glad you like it. The best is still to come: cd 2, the wonderful rare ballad "If you where here", a beauty, really a heartfelt ballad. Bud didn´t play it often. And I hadn´t heard other people play it, until I discovered a Tommy Dorsey recording of it with vocals. Great the two versions of "The Best Thing for You", really Bud at it´s best, fast and "eating up" those tricky changes. And after the first version he says "same again" and plays another great version of the tune. And cd 3 is very very good. I´d say cd 1 is the worst, cd 2 still starts with a "tired" Bud on a quite lazy version of "Moose the Mooche", but then things improve. It was recorded on different dates.

@aparxa: I think, Vol. 4 is a really enjoyable album. Philly Joe Jones is great on "Buster Rides again" and I like the quite "Monkish" touch of Bud on the whole album. And "Time Waits" is a beautiful ballad. "John´s Abbey" and "Monopoly" became Powell-Standards during the following years in Europe and back at Birdland 1964. And "Dry Soul" is much more interesting than "Some Soul" from the Vol. 3 "Bud!".

and how about Vol. 4 (Time Waits) ? Do you like it more that "The Scene Changes". I wouldn´t say I don´t like "The Scene", but it´s a strange album, it sounds much more like a Sonny Clark thing than Bud

The Griffin-Powell duo (Perdido and Idaho), I think was recorded at France Paudras´home in February 1964. It´s somtimes misdated as 1960 or 1961 but I think Griff came to Europe in late 62. Bud and Griff were quite close. They played again in august 1964 at Edenville (the Black Lion album "Hot House", the Mythic Sound "Holidays at Edenville", and the obscure Duke-Label). As for the Bud -Pres "connection", that didn´t take place......, Bud played with at least two "Lestorian" tenorists: With Zoot Sims in Paris, and with Brew Moore in Copenhagen. The Zoot Sims tracks are of special interest, because here Bud plays in a very relaxed "laid back" manner. I agree with @John L about the difference between the super relaxed Lester and the tense neurotic Bud, but it seems, that the Zoot Sims date was an exception. You can find it on the ESP reissue of "At the Cafe Blue Note". I had an earlier copy on the "Mythic Sound" series....

Their stories were conflated in Bernard Tavernier's fine movie, Round Midnight. I think there was one attempt of Bud to play with Prez, it must have been something like Prez´ birthdayparty celebrated at Birdland, around 1958 or so. And I think Bud wanted to play behind Prez, but Prez didn´t like it. On the other hand, Bud played very fine with Hawk at the Essen Festival 1960 ("Hawk in Germany")

Yeah , it seems that Bud did more recordings with horn players during that year 1963. Dexter is one of them, the others might be "Americans in Europe" from early 1963 at Koblenz, where he meets Don Byas and Idrees Sulieman. And not to forget the "Dizzy Gillespie with the Double Six of Paris", there is enough solo space for Bud also. I´m not very exited about the Reprise Album "Bud Powell in Paris". Again......the drummer, with all due respect to Kansas Fields, but he was not the ideal drummer for Bud. @king ubu: I wouldn´t say I don´t like the "plays Bird" album for Bud´s playing which is fine, but it sounds strange, maybe it´s the recording, I don´t know. I know it was not overdubbed, but it sounds to my ears like if the bass and drums had been recorded before and the piano after that. Somehow it doesn´t happen together. Maybe that´s was just the times, the way they thought a trio might be recorded. When I was younger, it didn´t count for me. I was such a fan of Bud I bought everything, but as older I get, as much I need to hear it as a whole thing, what happens, how the drums sound, they got very important for me.....

Thank you so much ! Great reading. Well, I think 1973 was quite a rough period for acoustic jazz. I think, Mr. Mobley suffered very much from the loss of interest in what he was doing, what he had planned to do in future. And even in the late 70´s with all that bop revival that I witnessed, it seems there was no place for Hank. I think, Hank and Archie Shepp were quite close, even if they had different conceptions about music. And later, when all people started to re-consider straight ahead stuff, Archie played A-Train, Sophisticated Lady and much Ellington-compositions....