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I have this. I always did like Allen Eager with Tadd Dameron and Fats Navarro, I think I have him on quite a lot of bop albums from the 40´s . I think I remember on this one is a whole set of a live club date from Boston or so. But some tracks from some photographic studio are not so fine, I think somebody does some terrible sounding crap on drums.

I never saw Harold Mabern live but heard him on the Freddie Hubbard "Night of the Cookers" and I think on some Wes Montgomery in Europe. Very very fine. But I never in live saw such a strange form of the front head.

I think I also have a Hawk album with some of those players. But I think it does not have Thad Jones, it has Benny Golson as second tenor and also this to me completly unknown pianist la Costa. I think I bought my copy for listening to the title tune "Bean and the Boys" which we play quite often.....

From that period of the late 50´s I enjoy mostly Blue Trane on BN, since it has Philly Joe Jones on drums. The Prestige albums .....I mostly miss a more powerful drummer. Most of them have Art Taylor, who is okay but does not reach the level of Philly J.J., Elvin Jones. On Atlantic I like very much "The Avantgarde" with Don Cherry .......that´s a very very fine album, very interesting to have Trane with the Ornette Coleman-boys (Cherry, Haden , Blackwell).

I like all of Trane but finally chose the Impulse Era Part 2. Sure Trane was the first saxophone player I heard since my first LP was a 1956 Davis Quintet album, but shortly afterwards, also in my early teens I heard "Live at Village Vanguard Again", and this kind of music impressed me deeply. And when I started listening to jazz, Trane didn´t die too long ago. Maybe 5 years earlier, and the influence of late Trane in all the stuff that was going, was still very very deep. So, late Coltrane was just the spirit of the time and saught after mostly when I began to get really deep into music....

I hear a lot of Dexter in Trane´s early recordings like those with Johnny Hodges and early Dizzy. And on the other hand, after Trane had been influenced by Dex, the later Dex from the later sixties on got some influences from Trane into his playing. Like, the way how he played Body and Soul, the inclusion of more modal pieces. You also can hear a lot of Trane influence on Dexter´s version of Night in Tunisia on "Our Man in Paris".

I never saw him live, but remember him best for his playing on the more interesting, more advanced BN-albums of the 60´s. While a lot of stuff of others became more and more the boogaloo thing, most of them sounding the same way, I was only thrilled by sessions of the kind, where Richard Davis participated. I didn´t even know that he was still alive.

He had led the Galaxy of Dream Band together with Jeanne Lee, right ? And most important. He brought the young Allan Praskin to Europe !

My idea of a perfect album. This was standard listening in my youth. And the live version of the title tune on one of the VSOP albums.

Oh, that´s much harder to enjoy but sometimes it doesn´t work otherwise, especially when you live in a flat and have to listen by headphones due to the neighbours. But my parents had a house and I had the first floor for me alone after my sister married and got her own place. Well, a lotta schoolmates came to my place so that we learn together for the examenes, So we did that stuff on afternoon and then the jazz-party started. It is one of my favourites, but with the exception of the Abercrombie side as much as I remember. This may be my fault, but somehow the music on that side bored me. I think I liked most the Freddie Hubbard side, but very very much also the Hutcherson and the Blythe. A special bonus is the drums of Al Foster, really one of my very favourite drummers.

You didn´t know it before ? ? This was one of the first jazz albums I heard. First a Miles Davis album with Trane and Philly on it, and than this one, I played it over and over again. I can´t say the same about Trane´s Prestige albums, since they mostly have Art Taylor on drums and I like Philly more.

Same here ! same here ! Bought most Milesstone albums when they came out and all them kids liked me for it and I had full house here, listening to the records. Tony Williams always was a key argument for me to buy a record.

Yes, I was thinking of what you described as "3." But sure, John Lewis is not a bop pianist, though he was a key figure in the 40´s as pianist in Dizzy´s big band and composing key bop tunes like "2 Bass Hit" etc. I like also his playing with Bird on "Summit Meeting at Birdland". I didn´t know much about Lou Levy, he was not well known over here in Europe. But I saw him with Stan Getz and he also had to play for Art Pepper, since his then püinist Milcho Leviev as his whole rhythm section had not arrived. I had not known that Jimmy Rowles had played with Bird. As Lou Levy, Jimmy Rowles was not really well known over here in Europe. I first "saw" him on the cover of the Mingus album "Three or Four Shades of the Blues" where you see a quite worn out, grey guy with a cigarette stickin in his mouth. But he only played that white styled solo piano interlude that sounded like a children´s waltz. And later he played with Ella, but as Ella was, pianists almost never got a real solo spot. I think Jimmy Rowles is on the Dial sides Dexter made in the late 40´s but as much as I love Dexter, mostly his Savoy sides, those Dial sides somehow bored me.

That´s the album I have. America label. I have a lot from that label, mostly Mingus. This one was the only I had, on which there was no Mingus.

So if I understand this is not the Ralph Burns I heard on "Hoch auf einem offenem Michael" 😄, but arrangements. Well I think the only Peterson I heard voluntarly was maybe in a rhythm section like that with all star soloists, then I have a Pablo Album of Eddie Lockjaw Davis at Montreux with the Oscar Peterson trio, okay ! And under his own name I have only one that my wife bought me: "In Tune" with the Singers Unlimited". That´s good Peterson because he is not so much bangin them 88 keys, the vocals is so so, but was very much en voque on more civilezed people of "my 1970s" . Nice found from my lady, who sometimes picks things up you won´t expect them...... I think I once saw some Hampton in Paris on an album at someone´s place. Let me say I never was a fan of Hamp with all that "yeah yeah yeah" and jumpin around, but I think in Paris there was something with Parisian musicians too, like Paris settled drummer "Kansas" Fields, even with french șlagăr star Sașa Distel or so...... Saw Hamp once and let´s say, the vibe solo´s was nice enough, musical thoughts, very fine ballads, why not, but when he started to play the drums with making some jonglin´ with the sticks instead of playin some drum, and then jumpin to the piano and do those silly two fingered style boogie woogie....that´s not

Good entry ! That´s how it was. All we boys at hi school wanted to "play Miles Davis", buying huge sunglasses, bendin down and mimicking a wah wah trumpet, he was Mr. Super Cool. I was lucky I could manage both of it. The acoustic with Trane or with Wayne Shorte, as much as the early electric and the post 73 stuff. Saw him with "Lieb" at Stadthalle Vienna.

I woudn´t say so, since Ornette was alive and well and creating wonderful stuff with Prime Time ! For me Old and New Dreams just was a working unit of some of the best players from the 60´s (Don, Dewey, Haden and Blackwell right ? ) . And by the way, around that time even Ornette himself went back for an acoustic gig with them on one of the Caravan of Dream albums, combining the old quartet and Prime Time, sometimes playing the same pieces, very interesting. Well, I didn´t even consider Marshall Evans Arkestra a ghost band. First I doubt there is still another guy alive, who played with the original RA Arkestra. I saw a Mingus Ghost band conducted by Jimmy Knepper and it was the saddest and most stupied things I ever heard or saw. A bored and tired old man "conducting" easy charts that you could play without a "conductor" or more so a non-conductor. For someone who practically "grew up " with Mingus´ music, this was a shame !

Yeah, Agharta ! Miles sounded so good until 1981 or so and started to sound so boring as the 80´s went on........ (oh my God, that silly bridge on "Perfect Way" sounds like "Kaufhaus-Musik von den 80er Jahren" 🤑 I never had heard that name, but was astonished that this picture looks exactly like Mr. B when he became more commercially and had said good bye to bop......

I only read the name once, when I was very very young when I had that America LP "Saturday Night Jazz Session" which I had bought for Fats Navarro and Roy Eldridge (I had hoped that they play together), and this Ralph Burns plays a very very strange piano solo as first soloist on that tune "High on an Open Mike" . It is a strange "solo", doesn´t really swing and then there are such block chord burst outs where you won´t expect it. If you had heard only Bud, Horace, Garland, Herbie, McCoy, Cecil and so on that really sounded strange and as a kid I didn´t know if it is "hip" or "corny" or both of it. By the way for you german speakin guy: At that time I still tried to "understand" the meanings of the titels. With the help of the "Langenscheidt Englischwörterbuch" I translated "High on an Open Mike" as "Hoch auf einem offenen Michael".

Wasn´t that the idea of french jazz writer and occasional pianist Henry Renault ? He always was seekin "remaining bop pianists" after Bud had died, Monk had retired and so on. But it´s hard to imagine Jimmy Rowles as a be bop player. Wasn´t Lou Levy more a bop player ? And wasn´t Tommy Flanagan more from the 50´s Detroit scene. I mean one of the best, most technical pianists, period. But not really a bopper. I would have liked to hear how Sadik Hakim sounds. On the few Savoy sides he sounds very very stiff, like someone who tries to pick up something from Monk, but without the wit and rhythmical conception of Monk, and it´s such a stiff chromatical playing with so stiff syncopes it doesn´t "flow" . It sounds more like classical syncopes. Al Haig playing Diz must be great. Haig was a great piano player, but not in 45. On the old Diz records he also sounds very stiff, but from 48 on he was fantastic, he had learned all the stuff and his playing with Bird at the Roost, or with Wardell Gray and so on is first class.

That´s why I love pianist led bands with powerful horns so much, or pianists in general in powerful blowing settings. I´m not really a trio music freak, and that´s what I imediatly liked by McCoy Tyner: His first album or the first I had was the one with Joe Henderson and Elvin Jones, that´s music, that´s action ! That was also my time: VSOP was led by Herbie, wasn´t it ? I mean, Hubbard, Shorter, Ron, Tony.....BANG !!!!! Or the old stuff. Sonny Clark Cool Struttin, I mean: Farmer, McLean, Paul, Philly......BANG !!!! Or I would have liked to hear all Bud Powell in settings like the Fats-Rollins-Roy Haynes thing or with Bird, Fats or Diz. Not so many trios....... I know most listeners like more tender trio settings, where you can relax, drink a good glass of wine and so, but I like it when it burns and that´s what McCoy always did ! I only heard, that in his last years he was very very sick, very thin and played only trio. I didn´t hear that. I only wondered why you play trio and carry all the load, if you gettin frail ?

Milestones was THE Label of modern acoustic jazz during my forming years. You could be almost sure that the guys you admired most, who you saw live, were Milestone recording artists and Festival schedules read like a Milestone cataloge: Sonny Rollins, McCoy Tyner, Ron Carter, Joe Henderson etc. My first Tyner album was "Super Trios" , then the "Milestone-Allstars" with Rollins-Tyner-Carter-Foster. Horizon came out when I saw the sextet with that violin player in it, but the tune I liked most (The Seeker) was not on it. Finally my favourite album remained "4 Quartets" , all with Al Foster on drums. There is "The Seeker" on the side with Bobby Hutcherson. The only side I don´t like that much is the Abercrombie side, it´s somehow another kind of music, not really mine......

last night I dreamed I had seen Joe Henderson live in a small club, which is quite impossible. I saw Henderson live quite often and he was one of my favourite tenor voices. But I have not spinned much music recently and didn´t have Joe Henderson on mind, quite a shame as great as he was, but see......last night I dreamed about him.

Fehring was more a composer and became famous for other kinds of music than directly jazz I think. But it is true that he had founded the ORF Big Band in the early 70´s . But see, personalities like this were not let´s say "the cat´s you met around the corner in all them clubs, were you met the musicians every night". It´s possible that even Kleinschuster was not really such a cat you got easy in touch with, like let´s say Fritz Pauer. I saw Kleinschuster not so often in the clubs, but Pauer always was somewhere.

The Clarke-Boland band was fantastic, but I fear I was a bit too young to have heard it live. One of our Austrian heroes in jazz was tenor saxophonist Karl Drewo, whom I knew of course and that´s where I got more info about the Clark-Boland Band. I fear most of that stuff of OOP in 72-75 Dizzy with Klook, that must have been a reunion from the bop era, I think Klook must have been Dizzy´s first drummer. I think there was a time in my youth when I listened chronologically to the transition Miles made from acoustic to electric. I mean, I think "Sky" was the first that used fender rhodes but if I remember right, ony on the first track "Stuff" . Was the next "Filles de Kilimanjaro" ? oh yeah, and than "Silent Way" and "Brew". I don´t listen so chronological any more, but I find that "Brew" , after you practically have "lived" with the Miles from 72-75 still sounds like a mostly acoustic record, like a larger instrumentation of stuff that came with "Silent Way".