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I have it as part of the Dexter Prestige box. Yes, I noticed that. The problem is, I have all the single Prestige CDs, only Blues a la Suisse is missing, so it would be a little to much for me to buy the whole box only for one missing item. I would have been interested in that record, since Hawes plays electric piano. Not, that I´m a fan of the Fender Rhodes, I love the acoustic piano, but I would have liked to hear how Dexter sounds in that context..... Anyway: Some interesting Dexter from about that time, also with a mixture of "crossover" or "fusion" musicians and mainstream stars are the two albums of "Montreux Summit 1977" , where Dexter is well featured.

I have tried for many years to find that Prestige LP (or better CD) Blues a la Suisse with the same personnel (Hawes on electric piano, Cranshaw on electric bass and Klook on Drums). Never found it. I also listened a lot to Dexter those days. Mostly to the SteepleChase albums "Dexter in Radioland". They all are great, with one exception: "Vol. 1, Cry Me a River". Well, the Ballad is wonderful, but I don´t know what Dexter´s doing on "April". I heard so many of his recordings and saw him live so many times, he allways was great even if he had his "cups", but on that "April" from 1962 it sounds like he´s puttin on his audience. Another point: Does anyone have informations about the progresses of Maxine Gordon´s book about her late husband ?

I don´t remember exactly where I was, but it was a terrible blow. The next thing I remember was the album "Sphere", done by Charlie Rouse, Kenny Barron, Buster Williams and Ben Riley and in the liner note they wrote that it was recorded while Monk was at the hospital in coma and that they hoped that someday he might here it, and that they learned about his death after finishing that album.

Well I love them all: Hank, Griff, Wayne etc. from the records. And when I started to hear the Messengers live, it was Bobby Watson and David Schnitter. I loved that group (with Valery Ponomarev on tp). They where hot. And if I remember well, the last edition I heard they had a young guy on tenor and his name was Javon Jackson, right ? He did some very good stuff.

I love his ballad interpretations here: Above all the version of "I Should Care" played in another key than usual (D-flat). That´s one of the best versions of that tune, that I heard. And "I didn´t know what time it was". Woodyn You and My Heart stood still are also solid, same about "Elogie" which is much better here than on the Victor LP. Nobody mentions the second Roost session from 1953. That´s also nice Bud, a bit subdued, but still fine....

I saw him life only once, it was in the mid 80´s with George Mraz and Art Taylor. One of the best trio sets I ever heard.

I don´t know what SHM reissues are, but I voted for TOCJ reissues. I purchased a lot of that.

hi Big Beat Steve ! Thank you for diggin´into the two albums I mentioned. Well Bird in Paris really doesn´t have the best sound quality, it´s worse than the Miles-Dameron stuff from the same festival, but sure something that Bird-freaks will like. Anyway, I welcome each live recording with Bird where you also hear a bit of the stuff that his sidemen are doing, like KD and Al Haig, and a rare and nice Tommy Potter solo, and Max of course. About Bird in Sweden: I still have the Spotlite double LP, I like especially the first half, Rolf Ericson is really nice. The long jam on Body and Soul IMHO is so-so, somehow I allways had the impression that the participants were not sure where to go, to keep it as a ballad or double timing.....well anyway those are really nice collectors items, but ...... if I could keep only two live recordings with Bird, it would be "One Night at Birdland" with Fats and Bud, and "Summit Meeting at Birdland" with Diz and Bud.....

Bird in Sweden from 1950 would be nice. Maybe also Bird in Paris 1949.

A book about the life and music of Max Roach would be fine...

Thank you. I ordered it yesterday. Though I already have a lot of the material from that box (all that was on separate CDs ) , I think it´s worth buying. The "Favourite Quintet" always has been mistery to me. As I remember, it must have been on the French "America" Label, which I called "the Mingus label" because most of Mingus´ recordings where on that label (The Great Concert, Right Now, Mingus at Monterey, and "My Favourite Quintet" from the Mid-60´s, and some stuff from the 50´s also (the 2 live at Cafe Bohemia LPs) and even the 70´s (also from Paris , Blue Bird and Piticantropus Erectus). We youngsters in Europe called the America Label "the Mingus Label" because without that label it would have been hard to get acquainted with all that great music. During that time I had all those "America" records besides "My Favourite Quintet". I don´t remember why, maybe it was OOP, or I was short of money, something natural for a youngster in the 1970´s .....

yes, I see it´s just a must have for me being the Mingus fan I am. Also the unissued tracks from the early april 64 Town Hall concert just before they went on tour.....

Thank you , Hans, for the discography link. I didn´t know about it, only saw a vaque description of what it is about. Didn´t know about the other thread. Right now, I tried to check it out, but I´m glad I didn´t post my question on the older thread, cause it´s too much runnin out of topic....sure, with interesting opinions about Ornette Coleman and Don Cherry, no question, I dig them , but I don´t find so much it would have in common with Mingus, with one exception: Mingus is the one who kinda opened my ears for the more far out stuff, so I got to Ornette and the whole New Thing through Mingus, when I started to listen to jazz when I was still almost a kid.....

Please, can you tell me, if that Mosaic box set (7 CD) includes the quintet date from Mai 13th 1965, Minneapolis ? If I´m right, the tunes from that date might be "So long Eric" , a ballad medley including "She´s funny that way, Embraceable You, Old Portraits", and "Cocktails for Two" ? Once it might have been an LP titled "My Favourite Quintet" on the french "America Label", but it seems it never was reissued on CD. I´d purchase that box only for that Minneapolis date, since I think I got the other material (the dates with Dolphy, the great "Right Now at San Francisco Jazz Workshop", the "Mingus at Monterey" and the "UCLA 1965"......

24.12.14, Woody would be 70. Will there be a DVD. Haven´t visited the Woody Shaw hp lately

As much as I remember, there was also another album from around 1970/71 titled "The Quota", with Jimmy Heath, Peck Morrison and if I remember right, Lenni McBrown on drums. A friend of mine had that album, nice little album with nice tunes...... Yes, I also would have liked to purchase some of those Galaxy albums. Remember there was also a thing called "Galaxy All Stars" recorded in Japan if I remember right. I think they had some very good stuff. I only got my "Return of the Griffin" on CD and it costed me a fortune

Charles Tolliver, I would have liked to see him, same about Charles McPherson...... I must admit I didn´t go to many shows this year. Pharoah Sanders was great, I loved it, and later that year........ Lou Donaldson.....as usual, but that girl on organ was great.

Well, How Hight the Moon and Ornithology is the same thing, Ornithology is Benny Harris´line on How High The Moon. Bud starts the theme of "How High the Moon" and the horns play the line of Ornithology. I also had the impression that the back cover picture looks almost like Jackie McLean. But I didn´t see many pictures of Phil Woods in my live, only later with beard and even later only with moustache. The question whether this was a Bud-led session is a reasonable one. Well, not "Bud-led", but I think he was the featured artist and they wanted to showcase Bud, playing stuff that he might feel comfortable. Reminds me of "Our Man in Paris", where Dexter also would have used "new" originals, but finally relented to play bop standards since Bud at a later stage of his career wasn´t wild about learning new stuff. And let´s say Art Taylor is really great on that. And I really love the brushwork he does while Chambers plays his fanstastic arco solo on "Ornithology".

The "Burnin´in USA" with O.P.and Blakey ?

Happy Birthday !

@king ubu: In general, I´d agree that the BN are great recordings, but especially the 1957 "Bud!" .....well, the stride section on "Idaho" is fun, but the rest isn´t so much inspired. The slow blues "Some Soul" sounds uninspired, same about "Frantic Fancies" which is just an improvised line on "Strike up the Band", somehow "frantic"...... But maybe, the Birdland 1957 might grow on you. I love his solos on Ornithology, and Lover Man is wonderful, maybe Groovin High a bit more tentative, and Dance of the Infidels is solid. More interesting late 1957 is on Mythic Sound, a much better version of "Bud on Bach" than on the BN, for example..... ...

The Prestige records of any artist (Miles, Trane, Jackie McLean and others) are great for just enjoying some great music done by great musicians, but without much time invested for rehearsals or arrangements. I like all of those if I just want to relax and hear lot of good blowing. In that way, they are all classics, even if other labels gave them more time and more money to really make records.....

Well I don´t think anybody would say Bud doesn´t play great on the Blakey side too, but this was 2 years later, after he had settled in Paris. As I mentioned in my own review, the point is, that Bud during the mid fifties had his bad period, remember his shaky performances late 54 early 55 for Verve . So that 1957 recording is great, a huge improvement, and even better than the BN "Bud!". But if you like to mention "Blakey in Paris", of course this was one of the best examples of Bud back in action. This together with the "Essen Festival All Stars" feat. Hawk , sounds like "the old Bud", for those who always want to compare his later work with his early work. Anyway, even in 1947 Bud had days where he didn´t play up to his best, like on the Savoy sides with Bird. where his fingers seem to be stiff or something. And: It´s great to hear Bud with good hornplayers. I always say there are to many trio recordings.

very sad news. But what can I say. I´m glad he was there and played that wonderful music for us all. He was a fantastic musician and sure a great human being. I also loved his autobiography. I have most of his records. Strange, just a few days ago I listened to the Art Blakey "A Night at Birdland". Though that´s not a record under his name, his presence is very very strong, his compositions and his great piano. One of the highlights is his piano solo on that untitled slow blues. Really moving, and while I listened to that, I wondered how Horace Silver might feel right now. I was aware he was ill, also had heard about his alzheimer desease. RIP

Got mine yesterday. Now about the music: That´s really a great live recording, I love it ! First of all: Bud really plays very very fine here. I don´t know why so many people keep telling that Bud after 1953 was finished. Here he has made trememdous steps since his somewhat shaky late 1954/early 1955 sessions. He´s even better, much better than on his 1957 studio sessions for RCA and BN, especially on Ornithology and Dance of the Infidels he really stretches out, that´s vintage Bud Powell. On "Groovin ´ High".....maybe....he sounds a bit more tentative, but I think he didn´t play that tune often. His "Groovin High" with Zoot Sims, 4-5 years later is done at a slower, more relaxed pace and Bud played the tune again at "Golden Circle" (Sweden). "Lover Man" is just beauty: Bud didn´t play that tune often, the only other version was done in Paris at the Café BlueNote, but on both occasions he sticks to the famous bop arrangement (Sarah with Diz and Bird). Bud really plays great on that, with some Tatumesque runs..... I like Donald Byrd very much and he´s a great choice here, the ideal trumpet player for such a session. I´m not familiar with Phil Woods work, my natural choice , especially with Byrd would have been Jackie McLean, but that´s really beautiful alto, very much in the Bird tradition, with many of Birds patented licks, but in an individual manner, so Phil Woods really fits in. Paul Chambers´ bowed bass on Ornithology is fantastic. Chambers and Art Taylor must have recorded together almost weekly for BlueNote during that time. Art Taylor is really great on that. I´ve mentioned earlier that he sounded boring on some studio work with Bud, but know I know it´s the fault of the engineers, they didn´t record him properly, and you just can´t play only brushes behind a bop giant like Bud, you have to cook, and exactly that´s what Art Taylor does here. I´m glad to have a recording where you hear the drummer, I hate recordings where you can´t hear what he does, even if the sound quality otherwise is good. And all those who write off Bud´s later work: Did you ever consider that this man had to play the pianos they usually have in night clubs, damp rooms, bad tuned pianos, the mecanic stiff, you have to face that and if the piano is in sad condiditon, you have to slow down a bit to make it sound. And: Bud NEVER complained about a bad piano !