Gheorghe

Well, my music is jazz and my mentor was the great Austrian pianist, composer and teacher , the one and only Fritz Pauer ! You can read it in my short bio on my homepage I think..... It could happen when I was younger if some Engish speaking tourists asked me as a "local" about this or that about monuments from some classical composers and I´d answer "why not come to the Club so and so and listen to what´s happening NOW in terms of music in my town ?" We can´t denie some European influences in our "jazz" but it´s stuff that you can listen to. And words like "strict method" sounds funny in my ears. I have heard some early Schoenberg stuff once and it sounded quite good..... But I tell you what: In the late 60´s early 70´s there was Avantgarde snobs in the people of upper class, like Bankers who might "admire" "modern art", and "12 tone music° and say it´s fantastic and go to all them events to be seen and so, but I am sure they couldn´t even understand a 12 bar blues..... It was just to be "in". Now it´s else: Bankers go to clubbings and so......

There is a special tune on it, in minor, and I heard it also on a live CD and some club, with his then quinted with Pepper Adams, where it is the first tune of the first set..... I love that tune, it´s the best Donald Byrd composition I ever heard...... and the best Donald Byrd I ever heard play.... I think it is even my favourite Horace Silver. Interesting is the choice of Teddy Kotick, who I think became quite obscure after his long stint with Bird. Kotick, Tommy Potter, Curley Russell, who all had played much with Bird, rarely recorded again after that. Well, Curley Russel re-appears on "Blowin In from Chicago" (also with Cliff Jordan, and John Gilmore).... Ah ! This is what I was talkin about. The first tune on that album !

Very similar to me, I can "read" only a tune I already have heard. And about writing I was stuck in a very very rudimentary kind of it. I can laborously write a sheet and when I show it my "cats", especially the youngest will say "I understand what you mean, but no no, I must re-write it. Or I play it on piano thru the phone, and he records it and sends me the sheet worked out on computer for Bb, Eb, and C-instruments so they have the sheets for the next gig.... Twelve tone music....... and bein forced to write or play it......, I mean don´t play only diatonic, as Monk said "There is no wrong notes" , so even on piano with the flat finger position and different force for the keys you hit, you can make it sound a bit like that, or let´s say I hear Dolphy play solos. That´s not only diatonic and it is with heart, not worked down on paper. So for me "twelfe tone" is just a question of more emotion in the playing, let´s get far out if you want and can do it with sense. That´s why I also like good kind of 60´s avantgarde so called "Free Jazz". But European 12 tone.....oh no !!!!! About string quartet: I really think that maybe if I have the money or someone may do some musical event for me when I´ll be older, let´s say 70 or 75, they will do somethin´for me and my musical wish would be to play the more "pretty tunes" I rote, (for example "Waltz for Serena") to have some dudes play it on strings. I think some of the musicians I know, know how to get some classical kids from some classic school and may write out the theme and solo and then do it on fiddle..... just soft played. Might sound pretty....

I have this too but have not listened to it than once. I think the one I spinned often is titled "On View at Five Spot"

I don´t know very much about what series and wat special releases or editions something is. And I´d pay 10.000 euro only for necessary things if I need a craftman to fix somethin´in or on my house....., and even if 10.000 euro meant only "pocket money" for me, I´d rather spent it for 2 weeks holiday on a Greek Island or in Turkey or so...., or my wife might spend it on fashion and shoes, I even understand THIS better than paying it for a CD copy....😉 I´d rather earn 10.000 from my music, if it´s about music😀 So, if I get a CD before I listen to it, I don´t know more than that it is round and has a hole in the middle 😉 It´s only the music, that counts for me, and Tina Brook´s album "Back to the Track" is very fine, though I must admit at 1960 there were more daring outputs, that I´d listen if it must be from 1960.... Tina Brook has a very nice light tone, but it sounds else than Hank Mobley. The best Tina Brook I heard was his solos on a live Kenny Burrell CD, and on one of those Jimmy Smith jams, I never knew which is which.... I this the album Newks Time or how is it titled. Is it the one with Asiatic Raes the KD composition and with the Surrey with the Fringe on Top just in duo with Philly J.J. ? Then it is IMHO the best of the early BN albums Rollins did.

oh, too bad a time machine still was not invented ! I first saw a pic of Miles with Juliette Greco on that bop album "Miles-Dameron in Paris 1949", which is one of the most exiting bop albums of the whole period, in the same line with Parker´s "One Night at Birdland" and "Summit Meeting at Birdland". She seems to have been a very nice girl, beautiful brown eyes and long natural hair. It´s not hard to believe that Miles fell in love with her. But did Miles speak French ? I mean enough to really get to know and understand a French Girl ?

Hello ghost of miles ! I like that kind of stories, where you listen to a CD and it reminds you of some certain events in the past. I also have this CD maybe also from about 1993, but I never know what edition, and anyway would never buy another edition of a certain album I already know, even if it has alternate tracks.... But this one I like, though I must admit I bought it only because of the others, whom I knew, but didn´t know who Tina Brooks was. I think he was even more obscure here in Europe than in his home country. I don´t really know his story but it seems that his recording career was very short, and once I read somewhere that Alfred Lion though he liked Brook´s music, didn´t like him as a person. About memories by listening now: In your case it is walking into that store the first time. In my case : I spinned it in my car in the small hours on the highway, that first tune did fit so well to that hour and that lonesome drivin thru the night....... I had to switch for many many years between Austria and România, let´s say from the time I was working here but had my wife down there, so driving the whole night 1000 km when there was no highway thru Hungary or Romania, that was cool, heard a lotta music in the car then. Often almost the only car in the night, at least in those years. Definitly one of the great great records of the 60´s, from that period I love so much. I had the great occasion to hear Jackie McLean, Herbie Lewis, Billy Higgins with Bobby Hutcherson instead of Walter Davis, but since Bobby Hutcherson is on the twin album "One Step Beyond", it was almost a Jackie McLean Blue Note Quartet, what I heard, one of the best concerts I ever heard.... I never had heard Giorgio Gaslini but had heard that he was great playing very similar to Monk´s style...

All Prestige albums of Miles are excellent, especially those with the first quintet. Oh yeah, Philly J.J. on "Salt Peanuts". And on Working if I remember right there might be "Woody´n You" with that typically arranged out chorus, from the original Dizzy Charts, obviously arranged by John Lewis..... And Trane is so strong on that, Miles tone, Garlands piano, Paul´s bass, and my "buddy" Philly J.J., man they were for me something like maybe other heroes of maybe some sport, or some film for other kids back than. Herbie was so great on BN, but tell me when he was not great ? My favourite from the pianists, who were more or less "young stars in the early 30´s" when I first heard them..... There were two leagues in my school: The one was more torwards Hancock, and the others more torwards Chick Corea. Both were giants.

I think I have it somewhere in the shelves and listened to it once. I think I remember one remark in the liner notes: They put down the better selling CBS releases like "Homecoming" and so on, and stated that THIS is the real comeback of Dex to the states. I really did disagree because the Dexter of the late 70´s until his death was more modern and did more than just straight ahead mainstream, there was much more tension and suspans in it, especially the contrast between Dexter´s relaxed laid back phrasing and the modern, pushing rhythm sections. Sure there are topnotch musician on it, Barry Harris was as near to Bud as anyone could be, and to Monk, not only musically, but also in real live. I never have heard about Sam Noto. Is it possible, that he didn´t become famous as far away as we are in Europe ? We all know who Blue Mitchell was, but Sam Noto ? Never heard....

must be fine. I always loved Sun Ra, from the very first time I heard him on record (it must have been among my first records in teenage years, and finally until I saw him live. Well, my first start was the ESP album "Nothin´ Is" from I think 1966, it left a live long impression, and it is interesting when I finally heard him live, I was more prepared to free stuff like that, which sure was present, then to the bop standards and swing standards he also played. But for those who always thought that Free Jazz Musicians can play straight, it was a serious lection, Ra doin stride was first hand stride, he had it in the blood as well as Space Age Free Jazz. IMHO he was one of the greatest of them all, a pure Genius. I did not really understand all that stuff with Sun, Moon and Stars but since I am not a one God believer, more so I belief that there is a lotta "Gods", one God for the Sunrise, one for the Moonlight, one for harvest, one for nature or so, I dig Sun, Moon and Stars.... just as nature we see, and if I´m honest when I see a star or the moon I think about Sun Ra. Let people laugh about me, they must have somethin to laugh at, but I admire Sun Ra !

I must admit I have not heard much of Don Menza but when I saw him once in Viena he was tops, played tenor, really tough tenor with all them runs and almost like Griffin.....really a surprises....I was sick and inactive then, but now I regret I didn´t play with someone like him.....

We share exactly the same impressions ! You can read mine also earlier here on this thread. Exactly my impressions, one of the great jazz composers, but I don´t really like his tenor playing. And like you I love Bud Powell´s interpretations of it, live or in the studio at "Return of Bud Powell". I can´t say which one I prefer, because Bud recorded it on almost each album in the 60´s , in all European Countries like France, Italia, Suedia, Danemarca, Belgia , Germania , everywhere...... Well, there is no end, there is so much good players around, if people would stop listen to so called "modern jazz" just because those who first played it in the 40´s, 50´s we might not be able to pay our rents........

Thanks for the infos. And since I never was a fan of films, especially Westerns, since I don´t like to see all them rough men shootin´ around, I didn´t know anything about "Rio Bravo". And not being a chess player I only did read the Chess Nuvel. So the main thing I had observed was the nice girl on that Rio Bravo photo. Had not known about the actress as not goin´to movies and only look at a real woman, but she had taste about dressin´ that´s for sure....

I think I have them double: On Thelonious Monk Vol. 2 (BN) and on Milt Jackson also by BN. I remember I had the Monk tunes also on the old double album with the hidous colour of the cover. (LA Sessions). The 4 Monk tunes sound very strange. Thinking that this is BN, one of the best recording disc houses, it sounds very very rudimentary like those old tapes we made in the beginnings on casetofon for "Demo tapes". You don´t hear the drums properly and THIS IS SHADOW WILSON. John Simmons was a very good bassist but his bass sounds very uneven recorded. Monk and Bags sound good. The two vocals with Kenny Hagood also sound very fine. To bad that they did not whole albums with him like they did with the Billy Eckstine band. Hagood was the second great bop singer. There are always one or two features of him with top boppers, but only in the late 40´s mostly in the Roost. And on Dizzy´s "I waited for you" on video !

Yes, I had the old Double Album "Fats Navarro" on that double albums with that hidous brown covers. There is also a tune that doesn´t seem to be on the original BN´s . The wonderful Kenny Hagood "I think I´ll go away". I had not known the Capitol tracks until I bought this double CD. Capitol was not available in record stores in Viena. I only had read about "Stealin´Apples" with Benny Goodman. It´s a cute tune with some very fine Fats and I think Benny Goodman did like Fats´ sound ! There was a strange remark Fats told and I read it in an Ira Gitler Book . Fats about Goodman "Benny was´nt too cool. He seemed outright corny to me". I didn´t understand the meaning of that then, but as a musican I know what´s cool and what´s corny... This is about one of the very very few organ I listen to: I listen to "A Date with Jimmy Smith Vol. 1 and 2", Grant Green "I wanna talk about you" (with Larry and Mobley), the two Larry Young albums one with Rivers, one with Henderson and Woody Shaw.... and sometimes very rarely for easy listening I listen to this "Let em roll" because the strange front line of miscellanous instruments : Guitar, Vibes.....no horns.....

Oh I remember that you posted that because someone bumped the thread I had forgotten. What kind of story about Jimmy Ford ? As I say, I saw him perform with Arnett Cobb, maybe his alto sounded a bit rusty, and he wore a quite out of fashion grey suit, which usually would have been for clerks in the 1950´s , 1960´s where it possibly came from.... If he was so good to play with some of the greatest boppers of all times (Tadd, Fats, Klook), why didn´t he continue ?

So anyway you have more musical education than me since I just write the line for C-Melody Instruments and let others transcribe it into other keys, or clefs or what it is.... It´s quite a hard job for me to write notes on paper, I feel exactly the rhythmical particularities, but don´t know how to write them exactly. So sometimes I even tell the guys who make something useful out of it, that I was "too busy" or "too tired" or "I dreamed it and scribbeled it on paper after waking up and having coffee..." .....It´s like analphabets who are very inventive when asked to read or write something..., but anyway, the older guys know I never did learn to read or write music, and the youngsters let them believe my "stories"......😉 Congratulations. That the most important thing. I also can compose making long walks, but when do I do long walks. In nature I usually go fishing, but fishing for me is like if my cat goes hunting. It´s pure hunting instinkt and sixth sense for the fish I want to get on the line, so if I don´t cast lures or flies but choose that this time it wil lbe "waiting game" with natural bait for peaceful fish like Carp, Tench or Barbel, I don´t have music in my head but concentrate 100% on the fish. But I get musical sources they just come. But I don´t have the tehnical talent for record myself on cell phone: I gave up buying modern and performant cell phones many years ago and went all the way back to days when you just called or were called. I have the most simple handy and no one would steal it, and I have no headaches if some App doesn´t work since I don´t have any.... how comes ? The key is the musical colour. I must feel the key in the whole body, and know exactly in what key is the still in planning progress composition, because I hear the key. No keys, now music, of any kind..... at least for me.... Seems quite unorthodox for me. You don´t hear the instruments that will play your compositions, or with whom you gonna play them ???? You say you don´t hear music in your head ???? Especially when it comes time to compose. How could I compose if I don´t hear the music in my head ???? Or, is this other kind of music or more experimental. I´m "only" 100% jazz musican, never played any else music, never thought or heard in my head other music than jazz, and my compositions are here to enlarge the band book and to hear them beeing played, sometimes havin the luck they get radio play and I get some royalities...., but mostly because they are the best way I can express my feelings, and I feel very very honoured that the guys who play with me love my compositons and though they have more musical education, a longer list of star musicians they worked with or countries they traveled and three of them teach on top music institutes for jazz.... but those great and wonderful gentlemen like the way I compose and like to play it, what can I wish more.....? You.....are a serious composer, I mean music that´s harder to understand than jazz. I see on the thread of what music you listen very much other musical things, much of it autentical music from Eastern Europe !

I will almost remember him as a great composer. He was, almost like Tadd Dameron the perfect composer. I heard so many of his compositions on the old BN records and Prestige records. He played very often at Jazzland for many years, but I´m sure in the last decade or more he didn´t travel anymore. As a composer he was tops, better than an improvisator I think. I liked his compositions more than the way he played, especially in the last 3 or 4 decades. He had a bit a Don Byas tone, but was trying to phrase more like Archie Shepp, and sometimes his improvisations where a bit erratic. I saw him often play "Stable Mates" but to my disappointment he played it mostly as a tenor-drum duet while this would be such a beautiful vehicle for long solos from each one. But when I saw his somewhere at some festival around 2000 , I think it was with Curtis Fuller, Mulgrew Miller, Buster Williams and a drummer whom I didn´t know, he had dread looks and eye glasses but was not Hamid Drake, whom I know, and when they did that "duet" on Stablemate, Benny just didn´t know how to do it, he sometimes put his mouthpiece to the mouth and smiled, but didn´t know what to do. Such tenor-drum duets can be a highpoint, but with players who can do that. Dave Liebman is great in it.

Latin Quarter, which one ? From where or what is the one pic I like , but only for the nice girl, not for them ugly cowboys and so😄

I like both the ESP album and the BN albums. I don´t remember exactly what it was. I think I have : - Golden Circle Vol. I, Vol. II - Empty Foxhole (actually my FIRST LP of Ornette Coleman !) - Love Cry - New York is Now - and of course the one where he is a sideman on tp for Jackie McLean.... It´s strange that the only Coleman other than "Dancing in the Head" that I saw then, was the Empty Foxhole. I´m more interested in the music itself then if Townhall was published by BN or ESP, the music counts that´s all..... I think, that BN had certain demands, that indifferent how far they might go out they still had to get points where they just swing straight ahead. So on each Ornette Coleman LP for BN there is a lot of straight ahead swing, maybe Alfred Lion thought otherwise it would not sell. And I must admit myself, that at the time I got into Free Jazz, those passages where they all "swing" helped me to find a line to the whole further out stuff. This happens with Mingus, it happened with all Free Jazzers who came after him. At least at the beginning. Now if I listen to a so called "Free Jazz album" I find my way also without a swing line in it... Compare the BN´s with the Impulse records Ornette made about the same time (Crisis and Ornette at 12) which are more fare out than the swinging BN´s .

Also agree with Allen, but without the smilie I don´t understand😉

Maybe I should, I think you are right, from historical point of view it might be interesting, case 69 is still mostly acoustic, and 72 was more that indian influenced style with sitar and tablas......, shortly before I heard him with Reggie Lucas and Pete Cosey and Dave Liebman..... Maybe then as a kid I was a bit influenced by Miles words about the album "I´ll be tired of it before the day ends, that´s 4 years old music....", that´s why I didn´t buy it when I was just on the pulse of the time at that moment 5 decades ago....

beautiful black pantyhose...

I never saw his name elswhere than on that Kenny Dorham live CD, never had heard his name before and not after.... He seems to be a solid swinger on that album, but maybe I would have liked more rhythm "happening" like what Roy Haynes or Elvin Jones might do, but sure it is okay. But what did he do after that, and in Florida ? Had he other financial sources than music, because I can´t imagine he made a live from playing music, or was he teaching ???

oh I see, well I never heard that, but that mixture of jazz instrumentist and DJ whatever it is, I fear is not for me. I don´t even really understand what a DJ or DJane today makes. I see them with Headphones, and moving and always pushing buttons or so, but don´t know what´s so great about them. My wife tried to explain it to me with mixing sounds or so, but I still didn´t understand nothing😉 Was that last Miles Davis LP that I never listen to, "Doop Bop" a kind of Acid Jazz ? I have that "Natural Soul" CD since I bought it in the 90´s or early 2000´s when there was a lot of Japan-Import BN CDs (Toshiba Series or so). Though not exactly my stuff, I spinned it sometimes, my wife liked it..., but in general all those LD albums is a bit too much for me. I like the one he made with Blakey at Birdland 1954, and the "Date with Jimmy Smith Vol. 1 and 2" with Hank Mobley, Donald Byrd and Art Blakey", maybe "Blues Walk" alltough this has a bit a boring drummer and perc., too smooth for my tastes..... Strange, but I never bought Big Fun, because I had heard that it is more made out of remainders from other sessions. I think I have heard somewhere that it has "Ife" as the only then newer track from 1974 or so, anyway when I saw Miles first time. Ife with Dave Liebman was a highlight of that evening when I first saw that legend they rote books about.....