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I love to see that you spin Fritz Pauer, really astonishing for a young guy from the states to even know about him ! So I like to tell you that he was my mentor, there were times we met every night, when not playing then just hangin´out and I wouldn´t know about music what I know now, without his help and kind support. And I wouldn´t have had bookings at age of 18+ if he would not had let me sit in. How´s Herbie Hancock-Ron Carter-Tony Williams ? As a freak of VSOP when it happened I had all of it, but I was not aware of a trio record. How does Williams sound on it ? If it´s not a record where the drums is only in the background as happens with many studio albums, I would dare to buy it. P.S.: Thanks for the advice with Hubbard at Keystone, you right, this is MY music. Got it shipped yesterday ! I love it. All those arrangements, the band, the fantastic choice of ballads, that fantastic voice. It´s a pity there are so few male singers around there, you find ton´s of female singers, but to add a good balladeer to a good instrumental group would be a very interesting thing. This is one of the few albums I listen to quite often. And you play those ballads much better if you have heard it sung with the lyrics. You just get what you need to know to play that ballad properly....

Really ? ? I don´t know if the "chicks" I would have liked to date would have listened to Keith Jarrett´s Koln Concert. And I would not have had this kind of style. My only ECM was Dave Liebman´s "Drum Ode". When I started to listen to Jazz the only thing from Keith that I knew was his damn good keyboard-organ stuff in some early electric Miles feature. I think it was the album "Live Evil". But chicks and jazz. Yeah back then in the 70´s there were also women who went to the clubs, but as much as I remember they didn´t look like what I would have looked at. I think it would have happened very rare to see a long haired, long legs chick with some "dangerous heels" and "shiny stockings" in a jazz joint then. So this was strictly music business for me. To learn to play, to meet the musicians. Back to Mosaic ! I didn´t know about Mosaic before I became a forum member. I have two Mosaic sets, which it seems I bought only for one album on each of it. 1) Mingus Jazzworkshop: I bought it because somehow I never had the "My Favourite Quintet" from Minneapolis 1965, because I wanted to hear that ballad medley and that long version of "So Long Eric". I think I knew the rest: One CD is what was "Mingus at Town Hall" or something like that. One is what was "Music written for Monterey", and one or two was a concert in Netherlands with very much of the material of the "Great Concert" in Paris 1964, but not as good as the Paris material and not as well recorded. So if I listen to that Mosaic box, I only listen to the 1965 Minneapolis material. 2) That Clifford Jordan box: The strange thing is I only bought it for the one disc that is not Cliff Jordan: That "Rhythm X" or how it is called, with Charles Brackeen-Don Cherry-Charlie Haden-Ed Blackwell, since this was a very very rare record in my youth that I only had on cassette from an elder avantgarde-freak. I love Cliff Jordan, but more his 50´s BNs, his participation on "Speak Brother Speak" and with Mingus , and then again after the mid seventies with the magic triangle live, or what followed. But on that Mosaic much of the music seemed to be a quite worn out attempt of playing straight ahead jazz in years like 1968, when there was hard times even for free jazz. And somehow the Glasspearl Game never really got me. A sacrilege sure , but I can´t help. Otherwise I think I´m not the ideal Mosaic Listener. I don´t have the patience to listen to 5 consecutive albums of one and the same artist or the same period. As a playing musician time for extended record listening is scarce and the listening mostly has a purpose if the leader who get´s me to play with him want´s certain themes where I maybe do some research before, to listen who it sounds on the original..... When I was younger once I tried to listen to all albums of a certain musicain for let´s say a week. Let´s say I wanna listen to all Mingus I have. But could I ? Who knows what mood I´m in the next day ? How the vibrations are, what my feelings are next day, next couple of hours ? I can´t predict what I will listen to tomorrow or next day ?

really, late 1969 ? And for your thought: I´m sure you are right, that Miles may not have been directly influenced by Indian music, and that it came through rock incorporation of indian instrumentations. I know that there were tons of unissued studio material from around 1970 but I must admit I never collected that. I had the Miles Davis albums subsequently from 1972-75, and retrospective the released LPs from the older "Filles de Kilimangiaro" "Silent Way" and "Bitches Brew" and the almost forgotten "Jack Johnson", that was what I found in the stores, and rare during that time you might have found a "Steamin´" with another LP cover (which coincidentially was my first Miles LP). It must have been issued in 1971 or so). And about the Indian influence. I think mostly Alice Coltrane had that thing. There were still a lot of hippies who loved India when I was in that period. The only association I had is that there were those shops for hip clothing for youngsters where I bought some "indian shirts" .... I think real indian influence if people/artists had that, it included much more than just music, it might have been some religion or philosophy, and what I had heard about Miles I doubt he would have been receptive for that stuff.

Same here when I was 16, with the exception that I listened only to Jazz. At that age mostly to Miles and Mingus, I still had to learn about the rest. And, I was only THINKING about sex because women that would have appealed to me were unaproachable for me. They were for men who have more power and money, not for a smoking and drinking and jazzlistening shy kid....

I don´t have the Basie version but I think I heard a version with Thad Jones starting his solo a semitone up (Db) quoting "Pops goes the Weasel" , quite a trademark. I think I heard it on a Thad Jones small group album with the same gimmick that seemed to be a trademark.

I´ve thought that a bit of India influence in Miles´ music was a bit later that the late 60´s ? Shortly before I got acquainted to the music of Miles, there was that album "Miles in Concert" 1972 where they have Badal Roy, and a guy who´s name is Balakrishna or somethin like that. The 1973 Miles I heard didn´t have the indian touch anymore, but was very fine. But the actual album in the record stores was "In Concert".

Oh, I never saw this. Sounds like a dream combination. Did they record Burrage properly, I mean is it recorded in a way you HEAR the drums ? I would like to hear it and will look after it.

Oh, first I thought this is the Austrian painter Prof. Hermann Nitsch. He was one of my favourite trumpet players from the young lions or what they were called back than in the 80´s and early 90´s. But then he was not so fat. What was the cause of his death, he must have been younger than me.

A very very good book. And it´s really into Paul Chamber´s music. The author really took much effort in it and reviewed almost everything that Paul Chambers recorded as a leader and as a sideman. Very very good writing.

It must have been in the days before I got acquainted to jazz, that I may have heard one or the other song on radio. I think I heard the first jazz in 1973 (and saw Miles late in that year), so this must have been ´71 or ´72, there was a radio hour "The Big Ten of ORF3" were you could rate ´em . It was on Saturday and be sure on Monday, again at school, during intermissions we all discussed what was spinned. That´s were I heard Ike´n Tina Turner. I think we boys heard what we considered "hard rock", in any case not the soft side of pop music, it had to be "hard" and "loud". This is my only sure musical memory of non jazz music , or maybe the local "gipsy music" you´d hear at weddings, at restaurants etc. .....

oh really ! I loved Tommy Potter´s bass in the bebop era. Those were the days when a bassist had the hardest work playing a whole night all them up tempos when there were no pickups for the bass. None of those unsung heroes was known for extended bass solos, but if they got a short spot it was good and had substance. I think there was a Parker CD with some live date at Café Society where Tommy Potter plays a solo version of "Talk of the Town" in course of a ballad medley. The album he made under his name, in Sweden is fine, but the title is confusing: "Hard Funk" would fit for 70´s electric jazz, not for an acoustic album. Nothing specatular here. It´s something of "Americans in Europe" with Freddie Redd, Joe Harris and the best swedish trumpetist Rolf Ericson who even played with Bird. My CD of it has the studio session plus a live set at some concert. oh thank you so much. I never saw this photo. Must have been a wonderful guy this Mr. Rossbach and it must have been a great day in Koblenz. Only that I still don´t understand, why the fastest guys played almost exclusively ballads. I love ballads, but I think one of them in the course of a set is enough. You don´t play "Can´t Get Started", "I Remember Clifford" and "Round Midnight" one after the other. Oh boy, the foto below must be the Oscar Peterson Trio. That sh....eating grin.....arghhh The only one I have is the Sarah Vaughan set. Would be a good idea to have all the music from Ronnie Scott on individual CDs, I mean so many great ones played there over the years, so something like those CDs live from "Onkel Poe" in Hamburg from which I have a lot of them (all with the exception of the not strictly jazz events).

Somehow a somewhat strange concert. I have the CD that has both volums of the original LPs, omitting the Oldtime musicians, keeping only the "modernists". It´s strange that the Don Byas-Idrees Sulieman-Bud Powell unit played only the eternal "All the Things You Are" and 3 slow ballads. So there is not real range of tempos, those guys are supposed to play more fast tempo stuff and maybe one ballad during a set. And it is strange that they didn´t add Kenny Clarke who was their regular drummer in Paris. The organ player "Lou Bennett" is nice, it seems to be somehow in the vein of Jimmy Smith, but.....I´m not an organ specialist. The music of Bill Smith is quite nice, but somehow sounds very unusual to me, And actually I don´t know much about it or the musicians. Someone told me that Bill Smith was Brubeck´s horn player for many years, but Brubeck again is not a musician I´m really common with. And it´s really strange that this European concert happened in Koblenz, which is a nice town but you are supposed that some big event like this is in another bigger town like Berlin, Koln, Stuttgart or Essen, main jazz centers in the 60´s in Germany. It´s also strange that it was recorded by Impulse, a strictly American label I like very much because it´s involvement with Free Jazz, with late Coltrane etc. This must have been exactly when I heard George Coleman in Viena. Same personnel. But in Viena they played mostly originals from their latest album "Amsterdam by Dark". "Blues inside Out" is a composition and title tune of a contemporanous album by my own mentor Fritz Pauer. So it is possible that Fritz had given the sheet to Coleman here in Viena. It was 44 years ago, but I remember I was with Fritz Pauer at that concert, and Mr. Coleman announced him and urged him to sit in. Oh boy, those days that formed me.

Oh yes, now I saw it. He plays some great bass on that ´69 concert in Paris, but it seems that he had remained quite obscure. Same with the drummer Paris Wright. Philly Joe Jones is great there. There is a nice interview Monk with Jacques Hess, a french bass player. And I liked most his answer when he is asked which of his compositions he likes most where he says "I didn´t rate them" . The end of the contract with CBS must have been a bitter experience for Monk. I think it was the same thing with Dexter more than 10 years later. CBS dropped him and I think something like that really hurts. He wasn not the same anymore after that, like Monk before.....

Wow, Dewey Redman....would have sounded interesting. I didn´t know that Wilbur Ware played with Monk in the later years. I think I heard him on record with Monk earlier in the 50´s. Who were Monk´s later bass-players. For a short time it was Dave Holland that sounded good, then I think it was Larry Riddle if I remember right. On a 1969 video there is a bass player with a scandinavian name who I never had seen or heard before, and a kid on drums, who is not really ready and they don´t keep the time. I think some tunes became faster and faster during the solos.

Another Sun Ra related saxophonist comes to my mind: Pat Patrick. I´m sure he played with Monk since he is mentioned in some liner notes, as he played some nights with Monk. Patrick also played bari, right ? Anyway I would have liked to hear more of the Monk with more avantgarde oriented players. Monk with Cherry would have been wonderful for me, and not to forget it´s mentioned that once Beaver Harris played the drums on a gig Monk had. I don´t know what period it was when Pat Patrick played with Monk, maybe after Rouse had left and before he got Paul Jeffrey. I think I would have preferred to hear Patrick.

100% agree with you ! I wrote in another context with some live Miles at Newport or Plaza, that Adderly is just not my thing, but to avoid to make "enemies" I stated that this may be a sacrilege. I have that strange thing with alto players. I like Jackie McLean, I like Jimmy Lyons, Donald Harrison, and yeah, I bought the BN "Somethin´Else" and while listening I said it is great because it´s supposed to be great, but I can assure you that I have listened 100s of times to other alto players who just appealed more to me. Yes, you are right: "Billy Boy" is rescued by Philly. Otherwise, I love everything Red Garland did, but beneath the tune that sounds banal to me and is to much piano-showcase, the sound of the piano at least on my old LP copy always was with too much treble.

Great suggestion, dear Bill ! The very very first jazz tune I ever heard in my live was "Milestones", once heard "Milestones", hooked forever ! But I didn´t have the album itself. My first album I could purchase was "Steamin´" . I had asked at a record store about "Milestones", and during that time you got a strange look, if you wanted something from the past. There were many Miles records, but they were those pop art covered 70´s albums, it was in 1973. But one thing I can say. Miles, Trane, Garland, Paul, PhillyJ.J. became my heroes. Maybe like for most chicks it would be some actors or what they dig. Anyway it was in the pro-Travolta-era😄 The drumming of Philly on Two Bass Hit is fantastic. As well on "Salt Peanuts" which was my first drum experience from "Steamin". When I finally after years got the album "Milestones", I had known the title tune anyway, so I concentrated on the others and 2-Bass - Hit was a highligh, as well as Dr. Jackle and Straight No Chaser. But I think my favourite, or the favourite among my friends was "Sid´s Ahead", especially Trane´s solo ! And the Miles-chords comping Trane. Somehow in my gang it is strange that Cannonball got less attention. We all were Miles-Trane-Philly-boys. A pro pos boys.....the tune "Billy Boy" just the trio never appealed to me. Somehow it sounded silly for me as a tune, and it was just too much banging piano. I liked much more the more controlled way Garland played on medium tempos, that light thing alternating with block chords, but not the square block chords, but them hip Garlandish-voicings.

I think I´m more an outsider if it comes about more easy listenable jazz. So much stuff that was celebrated by different fans all over the decades (Mulligan, Brubeck, mainstream swing, soul jazz like maybe Ramsey Lewis and Adderly stuff in the style of "Mercy Mercy" just didn´t enter in my collections. I´m glad for everybody who likes one or the other style of jazz, that´s true. Just, that to my ears or to my maybe more complex personality the more "easy listening" kind of it doesn´t appeal. I want Bop´n Bird/Diz, Mingus, Trane, Ornette, Jackie McLean or from the seventies mostly the electric Miles from 73-75, and most of all , all them fantastic drummers who would thrill me, Max. Elvin, Roy Haynes, Al Foster, Tony Williams and so on..... That´s not a good example for comfortable evenings, but that´s my musical personality. I did some years of listening to easier stuff like fifties hardbop, those BN´s of the Messengers, Horace, Hank, Lee Morgan, but have not listened much to them for some years...., and maybe the only organ I love is Larry Young.

Johnny Griffin was the first US-musician I heard when I was around 15 and the story repeated itself when my younger son also heard him when he was 15, so it´s almost a family affair ... I love to listen to Griffin, but he is not my absolute favourite on tenor. Very much showcase, that´s true. Very very nice those two albums at Five Spot, really ! But for star saxophonists who had short tenures with Monk, I like Trane better. And for strictly Monk, which is my main purpose I love Charlie Rouse most, for his sound and for his phrasings because he really seems to be Monk´s alter ego on stage. For really getting inside Monk I prefer Charlie Rouse. Paul Jeffrey not as much. After Rouse he seems to be a disappointment for me. I heard extended live sets of Jeffrey with Monk from 1972 and 75 but Jeffrey seems to have a complete different style. I was not familiar with Jeffrey´s playing until then, had heard about him only from the years when he arranged for Mingus and sometimes was added on tenor in the studio, but I think without soloing....

No, it´s another album or another cover. It doesn´t have Monk

That´s why I said it will be a sacrilege what I will write.

This is my favourite Don Byas album. It´s a fantastic experience to hear this vintage bebop set with the sound of Don Byas. And he doesn´t just play the bop themes, he creates his own brand of bop solos with his very individual sound and phrasings. On "Antrophology" he even quotes Bud´s "Wail". The rhythm section is also very fine.

From the music it is quite similar to another live recording from Newport, also with Trane and Cannonball. I think I remember that Miles is barely audible on one track, maybe it was "If I Were A Bell". Maybe this is a sacrilege what I say now but from the saxophone I always have been listening mostly to Trane. Somehow Cannonball in that context didn´t get to me the same way Trane does. I don´t know what it is what I don´t like so much about Cannonballs alto style, he is a topnotch player and all, but....... (?). I think in my case I would have liked to hear that sextet with Jackie McLean on alto.

Yes, I also saw that video and had thought it is the same material as the Copenhagen Coda . Well, I can compare directly. Compared to what I heard and saw in the same weeks this is very good and I think plays much better and looks better. When I saw that embarrassing performance from the same period, Dexter was shabbily dressed, no suit, no ties, and an extremly short performance, and it was a big venue, it was the Viennese Concerthaus, the audience really remained embarrassed and disappointed.

Oh that sounds great !