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Blue and Sentimental is my favourite. Of course, I also like "Soul Samba", but it´s a record that makes me sad, Ike Quebec was very ill, it was at the very end of his career and you can hear it on the record. Blue and Sentimental is just beautiful.

Now I have listened to the second CD also. I especially liked "Pennies From Heaven" the long track, over 16 minutes. Bennie Green is great on all tunes. As "danasgoodstuff" has told, Hank is deeply influenced by Bird, something he once stated himself. On Pennies From Heaven he quotes "Without A Song" and follows with some really astonishing runs. Walter Davis also gets much space and has his unique style full developed. Influences of Bud, but it´s Walter Davis´ unique style. Anyway, this will be one of my favourite live recordings. Hank had that Bird influenced style through most of the 50´s. He changed his style a bit during the mid 60´s. As about Bennie Green: I recently listend to his three BN albums from the late 50´s. But I think I like his playing on this live set even more.

Great album, got it yesterday, listened to the first CD. Great combination of Hank with the "very very slippery Bennie Green". Yeah, Walter Davis was unlucky, bad piano, while he´s such a great player. But I really dug the bass solos of Jimmy Schenck, never heard about him, great bass player, similar to Tommy Potter, who also did a rare ballad solo on "Bird at Cafe Society" (Talk of the Town, if my memorie´s rite, also from a ballad medley). Can´t wait to listen to the second set. Yeah, Keen and Peachy has nothing to do with West Coast Ghost, it was made famous by Woody Herman and as you told, it´s based on Fine and Dandy.... I always loved Hank Mobley. He´s one of my very favourites. I must say I learned to play the piano the way I like to hear it from listenig to Hank´s lines. Without "studying it", just by listening how he treats the chord progressions, I played much better....

Yes Michael, it was in 1995 at "Volkstheater". My hometown Vienna seems to have a special affinitv to the "Jazztet", since all three hornplayers from the original Jazztet performed quite often here: Art Farmer, when he had a time off touring, lived in Vienna and played on many many occasions at Jazzland. Benny Golson also plays her every year, and now Curtis Fuller came back. 1995......that was a time, when they still booked JAZZ artists for the annual Vienna Jazz Festival. Now....if it´s about the festival, there´s no sole musician I´d listen to.

I heard he was ill a few years ago but didn´t know what it was. If it´s really true, that a part of his lung was removed, it´s remarkable how well he did. He is very thin, I remember I saw a video of him from about 2001-2003 with Benny Golson, Mulgrew Miller and Buster Williams. Then, Curtis Fuller was much heavier, but also seemed to be subdued compared with the other players. I heard from somewhere, that he had suffered of athritis, but I don´t know if it´s true. Anyway it´s wonderful that he is still active. He´s always been one of my favourites and I am glad I saw him at "Jazzland" in Vienna, which by coincident is also the venue where I saw Kai Winding in 1978....

Well, no replies, okay, Vienna is far away from most of you. Nevertheless I´d like to say I enjoyed to show very much. Of course, Curtis Fuller at his age can´t be compared with his playing in his prime, it´s like Dizzy in his last years, but his great sound and his nice phrasing using triple notes came thru on medium tempos like "Bag´s Groove". I was glad my wife went with me. I also got my CD "Bone and Bari" signed...... Curtis Fuller is such a nice person.

I´m so glad I´ll have a chance to see him again. Last time it was around 2001 I think with Benny Golson. Curtis Fuller is one of my all time favourits. Of course I don´t know how he plays now, he must be 77 or 78 years old, but just the chance to see him on stage makes me glad. I didn´t remember with whom he will play, it seems to be a quite international sextet with a tenor player from Italy, a bassist from Serbia and on drums the great Joris Dudli, one of my favourite drummers here.... Anyway I think it was Joris Dudli who arranged that Curtis Fuller play in Vienna....

Well, who else but Chet Baker.....? It was in 1983 and he was scheduled to play with Joe Farrell, Joanne Brackeen with her trio. It was called a "Trumpet Summit" with three groups. First was Wynton Marsalis, the should be Chet Baker, when the emcee announced that he didn´t leave Rome, so Joe Farrell played without him, and the last was Diz with Harold Land. The second no-show was Art Blakey in 1988. When I arrived at the venue where he was to play, we got the money for our tickets back, they announced something like he had to go back to the States because some pet of him was ill.... One month later he played at another venue, we didn´t have to pay for the tickets again. Funny thing: I used to play as a semi-professional from the late 70´until the early 90´and the last time I was supposed to play was some kind of local "Thelonious Monk Memorial night". Various musicians, even advertised who would play what tune, if I remember rite. I remember I was supposed to do "Round Midnight" and a few other things, maybe "Off Minor" or stuff like that, but during that time it was winter and so much snow I couldn´t get my car out. Anyway during that time I was sick with all that stuff..... having a day job and a night job started to take it´s toll.....

He doesn't boast about it, but yes, Pullman has uncovered that the Roost recordings were made in 1949, actually after the first Mercury session. F Thank you! I really almost grew up believing that Bud made those sides in 1947.

Until now everything okay with this book, but one thing seems strange to me: Mr. Pullman writes, that Bud made only one recordings sessions in 1947, the side with Bird, but I was sure, and discographies confirm this fact, that the first trio sides were done in january 1947 (the Roost sides). Mr. Pullman mentiones them after the 1949 Mercury sides and before the first Blue Note sides from august 1949. Does he assume, that Bud made the first Roost sides in 1949 instead of ´47 ???

Great! One of the leading avantgarde musicians in my hometown Vienna (Fritz Novotny, founder and leader of the "Reform Art Unit" and a "New Thing Artist" since 1959) also named his son "Ornette". Ornette Coleman is one of my favourites. Love everything he did. The before mentioned album "Ornette at 12" is great. I´m glad I have the LP, and the other Impulse "Crisis" also.

Great idea, BFrank !

I think I have to make efforts to get some of that 1977-78 live material. I don´t know why I didn´t purchase the "Loadstar" (Horo)when it came out. Now it´s too late. I´m glad I got that "Amsterdam" at least. I love the way Max plays the drums, I love that pianoless quartet with Billy Harper and Cecil Bridgewater. I liked Reggie Workman more than Calvin Hill, though I got some very fine Calvin Hill on a 1982 album "In the Light" , that´s the quartet with Odeon Pope. Very nice album too. But I think, a year later Roach had replaced Calvin Hill with an electric bass player "Tyrone Brown" if my memorie´s ok. You say, there is an album "Confirmation". Never heard about that, but Max must have had an affinity to that tune, since one tune from the stuff with fiddles (double quartet) was based on the chord progressions of Confirmation, as I noticed then.....

Didn´t know there are two more volumes from Tokyo. As you said it: Best heard live. That´s the main reason I purchased it. To catch Max Roach live was like a dream that becomes true. I remember very well, that I just came back to town after some time away from home and on august 31 Art Farmer played at a club, and in walked Max, we all hoped he might sit in but didn´t, for contractual reasons I suppose. Art Farmer was great, but the next day at "Kongresshaus" was even more exiting. Though the acoustics were lousy, the music was top, Art Farmer also was there in the audience and Max announced him from stage. It was such a great time...

Interesting. He's on my list of the all-time worst singers! Pete, I can understand you. It may sound funny for a lot of people, since "Pancho" sometimes sounds a little "doggish", but I got the impression that this kind of vocalist somehow fit´s into the boppish context. Boppers like Bird, Diz, Tadd, and even Monk seemed to like him and featured him as a kind of "contrast" between the faster instrumentals. I still remember that great little LP "Tadd Dameron/Fats Navarro" live at Royal Roost 1948 (mistitled "Birdland 49") which I used to listen to over and over again with a friend, the only friend I had who had the same musical tastes like me. After hearing them ultra fast versions of "Rifftide", "Antropology" there was a very slow version of "Pennies from Heaven" and a cute little tune called "The Kitchenette Across the Hall". We would burst out with laugh and ...."oh man, you hear that? Oh no, sh........". After some more beer we´d listen again, and again, and after some time we´d try to sing it that way and so we found out it fits, it´s part of the game. Collecting all those bop stuff, we soon had the sides with Monk and Milt Jackson, the Bird live from 48, the stuff with Diz (dig the film Jivin in Be bop with Pancho singing "I´m waiting for you", or Darn that Dream on Miles "Birth of the Cool". Pete, thank you for reading and commenting my suggestion of Pancho. I really enjoyed to explain my reasons for that.....maybe strange choice....

Yesterday I purchased a rare Max Roach album, recorded in Amsterdam in 1977 with the great quartet Roach had during the late 70´s: Max Roach, Cecil Bridgewater, Billy Harper, Reggie Workman. It has two extended versions of "It´s Time" and "Call of Wild/Peaceful Heart". Brings beautiful memories back, since I´ve seen that quartet in 1978 and it was one of my greatest live concerts I ever saw. I still remember every aspect of it, of course they also played that ultra-fast version of "It´s Time" and the really great Billy Harper composition "Peaceful Heart", along with an extended version of "Round Midnite" in 3/4 time, which I never saw on record..... To see Max Roach at the peak of his career and virtuosity was one of the most exiting moments in my lifelong love-affair with jazz. That quarted with Billy Harper and Reggie Workman, and one year later replaced by Odeon Pope and Calvin Hill..... The album (LP) is an expensive japanese LP, it was almost new, completly unused, the label something obscure (Baystate or something like that). There were so many small labels during the late 70´s. Maybe I should have postet that topic in the "Vinyl Front" but I hope it will be accepted here, since it´s not about the vinyl, it´s about the music.

Male: Billy Eckstine, Kenny "Pancho" Haggood, Earl Coleman Female: Lady Day, Sarah, Ernestine Anderson About more obscure female singers: I like the voice of Kay Penton, who did some sides with Tadd Dameron and Fats Navarro in the forties.

well, I know there are different opions about his writing style. Just let me say I´m glad I got the book and I enjoy reading it. My English is a mixture of half forgotten high school stuff, cultivated by reading liner notes, jazz biographies and talkin to musicians, about the music..... It´s a great thing for me to read this book, I´ve already read 3 books about Bud, first the Francis Paudras book in the original french version that came out 1986, than another book, which kinda disapointed me, and the great Carl Smith book about all of Bud´s recordings). And of course, Ira Gitler in his book "Jazz Masters of the Forties" has a chapter about Bud Powell.

Such a great musician! Heard him first in the late 70´s and the next day I purchase one of his ECM albums "Drum Ode" with also has Richie Beirach on it. Later I got "Lookout Farm" too. I liked Dave Liebman from the first moment on. Too bad I missed the tour when he played with Chick Corea´s Return to Forever, but heard him later with his group with Terumaso Hino tp, John Scofield g, Ron McLure b and Adam Nussbaum dr.

For many years, Benny Golson has played at least once the year in my hometown. As you said it, fantastic! And such a great person. May he live another 100 years!

I liked him from the first moment on. Together with Diz, Max,he was one of the few key figures of bop who were still alive and active in the 70´s. Most of the Dexter on record was available on the Steeplechase label, all those great nites from Montmatre of the 60´s and early 70´. So, I somehow "grew up" listening to Dexter. Me and some of my youth friends. Always looking at tour schedules, festivals, etc. just to catch him live. I love every aspect of his playing, his sound, his laid back phrasing, the way he developes his solos, just everything. Even my wife - not a jazz fan - can listen to some of his music, and she always said he has such a nice smile, even when he was quite old he had that kind of boyish smile.

Well I wouldn't say loudspeakers sound hollow to me, but I also noticed, that yesterday I heard the sounds better from the car speakers than at home with my big speakers. But it also depends on the sound, how the album was recorded: For example: In the morning hours I drove my car and heard Wayne Shorter's "All Seeing Eye". Now you know that's RVG sound, and Joe Chambers on drums, really nice I heard all the stuff he did, almost could feel how the sticks touch the cymbal, and all the drum gimmicks how he reacts differently to Freddie, to Wayne, to Herbie, how he "creates sound and rhythm". Later in the evening I tried to listen to music at home and chose the "Red Clay" Freddie Hubbard stuff. It was much harder for me to hear Lennie White, and I mean HEAR what he does. But maybe that's also the producer's touch. In this case, allthough it's also done at the RVG Studio, it's a Creed Taylor production, and above all reissued on the japanese "King" label. I think, it was somehow "darker" recorded. Only when I went up with the treble, it got better for my tastes. HeadPhones might be a solution, but as they say about Blakey. I have to feel it from the bottom also. Well yeah, a good hearing aid costs a fortune, yesterday I talked to a friend (not musiclover but quite deaf and 15 years older than me) and he also said take the best one. You pay 2400 bucks and the health ensurance plays the other 1600 (800 for each ear they say). He told me it's worth it and I'd not be happy with a cheaper model, if I want to hear music also.

Thank you so much, Larry Kart, Dan Gould, and impossible! Yes, I will have to do it. Well, I didn´t have problems with my job, since I´m lucky to be in the position to tell people to talk louder, rather than hide behind my problem or worry about my job. But I think I got it settled, will make another visit to my audiologist and then to a good dealer and try out the best stuff, which is almost invisible and I´m confident things will be better. Now it´s still in the planning phase since I´ll have my vacation after two weeks and until then I´m too busy, but looking at it rite now I´m lookin forward to get an improvement. And yeah, I dont care for backgrounds that much, but I´m a drum addict. Whatever kind of jazz I listen, I have to hear what the drummer does and how he sounds, how Bu sounds, how Max sounds, Elvin, Tony, Joe Chambers, all of them, give the drummer some.....

Hi! I´m starting to have serious problems since my hearing, which never was the best, starts slowly disappearing. I never cared about that, since I never needed to hear the high frequences. Jazz usually does not touch that ultra high notes I can´t hear, like a violin high up or a piccolo flute. I don´t care for a violin or a piccolo flute, but now I got about 50% in the rite ear and about 40 % in the left ear. What really sets me up is that I start to have problems to hear everything the drummers do. On some records I got to get very near to the speakers to hear the ride cymbal. And the sound of the drums, I mean the whole sound of the drums is the most important thing for me to enjoy music. I manage to hear quite well drummers who really play loud and hit the cymbals the way Blakey would have done it. Tony Williams, I can hear everything he does, but if somebody also got the same problem, does a hearing aid help to catch all that sounds I start to miss? I never thought about it, but a few days ago my ear doctor told me I should think seriosly about gettin a hearing aid. I fluffed it off, but after some sleepless nites and turning up the volume higher and higher I start to think about it. Reminds me about Art Blakey, he had the same problems and I wonder how he managed to play at the end. Did he "feel" the music from the stage vibrations?

Hello JSngry: Thank you for sharing that video with us. You made my day. Great think, wow! Hello BigTiny: Must have been a wonderful experience, Kai Winding doing a high school clinic. Fantastic!