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I think I had listened thru all the tunes of that album (Misterious Traveller) and couldn´t identify what I had in my mind that was spinned then in the late 70´s . The thing is that I´m not really a Weather Report fan and was not. Once I heard that Miles said in an interview in 1975 that Weather Report sound´s "foggy". Well sometimes it sounds like a musical fog and my first choice on electric jazz of the 70´s from the beginning when I was in the middle of the wave was and still is the Miles Davis until 1975 or so, mostly the band with Al Foster, Mtume, Dave Liebman, and second choice might have been Hancock´s "Headhunters" and third choice might have been RTF. With your help I could identify "Mr Gone" that kind of space age "swing tune", which was spinned together with the tune I´m seekin. So I suggest it might have been from an earlier album. Usually Herwig Wurzer spinned something which is new on the market since his "sendung" was called "Jazz Shop". But he often spinned a second tune by the same artist as a comparation. So I remember when he once spinned the then brand new Dușco Goicovici album "After Hours" , he spinned as a second tune "Saga Secorame" from "Swinging Macedonia" . And once he spinned the brand new "Ecclusiastics" from the then latest Mingus Album "Mingus and Friends at Carnegie Hall" and after that the old "Better get it in ya soul" from the late 50´s ..... I think this was his style of spinnin records...., oh boy he had that sonor voice, the voice of jazz, the voice of the night, like "your" Symphony Sid from Birdland .....

I remember I bought it since I love Kenny Burrell and seeing that Paul Chambers and my favourite Danny Richmond are on that album I bought it without knowing who is John Jenkins. Very very nice little album, I think John Jenkins sounds a bit like Jackie McLean, but I haven´t listened to it for at least 20 years. Well, typical nice hard bop, without taking too many risks, easy listening. My copy is one of those Japanese "Toshiba" I think, but before they made the Mini LP cover formats.

I remember his arrangements on the Chet Baker album "You Can´t Go Home", which is nice, especially because it brought Chet Baker to a larger audience. He was very proud of that album and played "Love for Sale" always with that arrangement, in all his small groups over here in Europe.

Though I have not idea what the title means or who is that group, my attention was taken to that lure with three triple hooks. As it seems that you are a fisherman too, this kind of setting of three triple hooks is really a downer. Not only that it hurts the fish unnessesarly and you might have also all them free hooks in the landing net and it takes time to get them out, as more hooks you have as more fish you loose. That lure is to small so many hooks, I can understand it for big fish with XXL lures on lower waters, but not on an upper section of a River where there might be trouts. Here in Austria, for trout rivers we have "Fly Only" with barbless single hook.....

I remember that around that time this music still was quite controversial. My first jazz book was Bill Cole´s bio about Miles Davis, who just wrote off Miles´ post "Kilimanjaro" material, he even acclaimed that "On the Corner" is an insult on the intellect of the people. Incredible. We youngsters of course had that record, in my case I had "In Concert" (live version of much material from "On the Corner") and I think I listened more to "In Concert" because it has longer solos by Miles. But Miles never stopped, one year after "On the Corner" was when I got into Miles and those more exotic instruments like electric sitar and the tablas of Badal Roy where gone and it was the music that you can hear on "Dark Magus". So in my case, hearing more the "Dark Magus" "Agharta" and "Pangheea" stuff, the "On the Corner" style was already from the past.

One of my favourites , I don´t have so much Wes Montgomery, but I have the Incredible Guitar, So Much Guitar, a Montgomery Trio (I think those are Riverside), and most of all I love the live dates here like this, and "Full House" with Griff and Miles Davis´ Rhythm Section......

One of the best BN albums of the 60´s, with the best playing of all of them and incredible fantastic tunes. I never was a fan of the organ, but Larry Young really is exiting on that. Strange to say I don´t get the same feeling from his other BN albums. Well the one with Sam Rivers is also tops, but this one is the best. I had another "Of Love and Peace" but can listen only to "Seven Steps to Heaven". The first long tune just is not mine.

I remember this was the last thing that came out, after Mingus had died. I remember that as a complete Mingus fan I was waiting every year for the Year´s output of a new Mingus LP on Atlantic. First it was "Changes 1+2" then "Three or Four Shades of the Blues" and then "Cumbia and Jazz Fusion". That was during the time Mingus was alive and touring all around the world and I also could see him live. The "Me Myself and I" I think was recorded, when he still was alive but couldn´t play anymore. I always wondered how those long tracks "Three Worlds of Drums" and "Something like a Bird" would have sounded live with Mingus playing the bass in the band. I think the ideas came during his 1977 tour where he also played in Tunis where he got some inspirations for the "3 Worlds of Drums". And the "Something like a Bird" might have been a follower of "Three or Four Shades of the Blues", that means : One suite , and one straight ahead tune. Enough for one show. "Something like a Bird" as you sure know is based on "Idaho" . "Farwell Farwell" is a wonderful ballad in D - flat, with wonderful solos by Coryell and by Ricky Ford. This ballad was also recorded when Mingus still had his health and played the band, I think it is on that Lionel Hampton session, but the paradox thing is as though Mingus plays bass on that version of Farwell, the arrangement is no good and the Hampton styled vibe just doesn´t fit in. So this one is the really power piece, to bad that Mingus couldn´t play on it anymore....

Strange thing, just a few days ago I heard my only stuff I have with Harry Belafonte, it is "Lean on Me" with the Machito Orchestra on the Spotlite LP "Afro Cubop" where it is the last piece. Very very fine number. I had not heard that vocal number in other context.

Red Clay was on of the MUST HAVE albums in our teenage jazz "gang" . Such a wonderful album ! This one, some VSOP Quintet, some Milestone album like new Rollins albums, McCoy Tyner albums, and of course the electric jazz albums like all of Miles in the 70´s, Herbie´s Headhunters and RTF. We especially liked the live version of Red Clay on one of the VSOP albums. I would have been sure that this is something very very similar like "Aghartha". Almost same cover art. I´m not famililar with Keith Tippett´s work, but always was a freak of electric Miles. Wasn´t Ligeti a modern classic composer from Hungary ? I´m not so familiar with classical music, but I think I heard some once and dug it and thought it might fit to Miles Davis (I think on "Get Up with it" is something similar to Ligeti, that has Miles on organ). What is that "In Concert" up there ? From the musicians, is it something similar to VSOP ? I never had heard about that record

The best George Cables work I heard on a tape that a guy made at Vanguard during that period. That solo on "Moment´s Notice" great, with shouts of enthusiasm from the audience. And Cable´s original "I told you so" , which is bossa all thru on the record, is swing in solos on the live tape. And Rufus Reid plays a great bowed solo. Sorry to say I didn´t know that I had to reel back the cassette after hearing, and after decades, when I wanted to listen to it again, especially the ballads have terrible wovers in the middle. That´s the thing, got the cassette when I was 18,19, placed it somewhere and then in the 2000´s it´s not good anymore . Same with some Mingus cassettes I had......

This was around the time after I had finished hi school, there were two "brandnew" Dexter records in the record shops, this one and "Great Encounters" (similar covers). I is so long from that time, but it still sounds "modern" and is almost my idea of a perfect acoustic jazz quartet album. Usually I am 100/100 into the music only, but in this case I also must admit, that the cover photo, the design and the liner notes is perfect. I music colleage of mine was in NY during the time this was recorded and heard them play that material live at Vanguard !!! I think, Dexter still had a few very good years in the late 70´s until maybe the early 80´s, when I still heard some very very fine concerts. It was only the last occasion that was a disappointment for me and others and was painfully reminding of of the infamous "Lover Man Session" of Bird in the 40´s .

It´s possible that it is lesser known than "Black Saint" but also a wonderful album. I think that beautiful ballad on it, it´s titled somehow like "Love X" or so, I first heard it on the "Town Hall Concert" where it is also one of my favourites. Though my favourite Mingus period is the time with Dolphy, Cliff Jordan and Jakie Byard with all those live recordings from the States and from Europe, I like those earlier albums starting with "Blues and Roots" very very much. I heard them before I saw Mingus live (but this was after his famous "second group" with Adams-Pullen). So I might say his most exiting groups were the one with Dolphy and 10 years later the one with Adams-Pullen. (Tough I liked the one with Ricky Ford and Jack Walrath also very very much).

I´m almost an addict of the alto sound of Jackie McLean. On all kinds of music, whether he plays stuff with one step into avantgarde, modal, or on more traditional material like here. "What´s New" was a favourite of him, I saw him play it live with a dream formation: He, Bobby Hutcherson, Herbie Lewis and Billy Higgins, that was one of my favourite live performances. "Stable Mates": This is my most preferred version of that great tune.

I had those two versions of "Wedding March" when I bought the CD version of "Cumbia" since my LP was so much spinned when it came out (Me and my friends had listened to it so much as it was played live by the Mingus band. We loved it so much that we played it in the group I was in then . But when I heard those "Wedding March" tracks I had or still have doubts that it´s Mingus who plays that. It sounds too "pianistic" for what I had heard Mingus checkin´ out on piano. It sounds like a pianist with a very delicate light touch. It´s nothing else than the short "caucasian" piano interlude on "Three or Four Shades of the Blues" which is played by Jimmy Rowles. See, that studio version of "Three or Four Shades of the Blues" is grossly overproduced. I heard it live from the quintet with Jack Walrath and Ricky Ford and with Bob Neloms on piano. I mean nothing wrong with Jimmy Rowles, but to get him in the studio ONLY to play a short piano passage ? Any pianist could play that simple maybe one minute gimmick which starts with Wedding March and that little waltz that seems to be an English Waltz. And it was recorded at Atlantic Studio AFTER the "Three or Four Shades" recording session. So maybe it was done afterwards just as one of the versions suggested for dubbin in the piano solo waltz section. I think that "Three or Four Shades of the Blues" is not Mingus´ best composition, I was much more impressed with "Cumbia" and with "Sue´s Changes" from what I heard them play on stage. Until I didn´t hear it on record I had thought it was just a gimmick to makin fun of a "square audience" or so. They had some "gimmicks" in the stage routine then, like in the fade out of "Cumbia" Mingus would continue to play straight ahead walking while the others already had stopped, he plucked the strings and tapped his foot to it, and it went higher and higher up until you couldn´t here more than just his foot tappin ´. I a Brian Priestley discography I think I saw another studio session described as "late 1977" with a track titled "Way Down Blues". But I never heard that. It was between that strange Hampton session and "Me Myself and I"......

Well, in 1970 it is possible that Bud Powell was quite forgotten. The missing of Mingus is also quite strange, but Mingus in 1970 was coming back after many many years of semi retirement and his comeback in 1970 was much less glamourous than Miles´comeback in the early 80´s . I´m quite astonished that "Bitches Brew" is not present. Well he has listed "Silent Way" so maybe "Bitches" still was not in the record stores. The Wayne Shorter BN albums and the inclusion of "Real McCoy" proves good taste. George Russell I "know" only as composer of "Ezzthetics" (played by Lee Konitz-Miles Davis, and on a Grant Green record for BN), and from some more strange and abstract tunes in some Gillespie Big Band records from the 40´s, but they are the tracks I seldom listen to.

I think I remember he was very much active over here in Europe during my youth, but it seemed to be another kind of music than what I was listening to. It seemed to be more "world music" than what I understood as being "jazz". It could have been in that ECM groove. Eberhard Weber ? I think he was scheduled once on a festival summit, but I couldn´t understand much of it, it seemed to be very quiet music, it is possible that the leader was Jan Garbarek. I remember in my youth a lot of folks maybe a bit older than me, were into Jan Garbarek and ECM......

Is this the only one, that was released during his lifetime ? One of my favourites. I got into Pharoah Sanders at a quite early age, saw him live on several occasions.

I don´t have it exactly in my ears right in this moment, but oh..... doesn´t it have a similar way of chord solutions like "Cherokee" ? This one came out when I heard them with Johnny Griffin at Jazz Freddy. It must have been in spring 1978 and so it was shortly before Griff left Europe to start his comeback in the States, similar to Dexter. What a night. I remember they usually started the shows at 22:00 and I think it lasted almost to ora 03:00 or so. It´s possible that it was published later, but I heard them play the material from that record in late 1977, and sure they played stuff from it the following year also. Later there was also a trio record made in Munich, with Isla Eckinger on bass and I think Billy Hart on drums...

I have a batch of old Vinyls from my youth saved on USB sticks that I listen to while drivin´. Yesterday it was two obscure Charlie Parker things with Orchestra, which was unusual since I think I remember I read somewhere that after Billy Eckstine Bird didn´t want to work again with Big Bands. The "Bird with the Herd" seems to be a very very rare thing, it doesn´t have many cover text infos, but from the sound I have the feeling that this was after the "Four Brothers" period. They really cook behind Bird and also have good soloists. Bird is in top form. The other one I think I bought when this short lived label started, that was led by Bruce Lundvall, the former CBS boss. I had some of them, like this one, and a Bud Powell also from Washington (they seemed to have some access to Washington tapes ?), another one was a Clifford Brown live concert. This is also a fine Big Band, the drummer is very very good . There is also some tunes I didn´t know before. They say that on Bird´s last engagement at Birdland, with Kenny Dorham, Bud Powell, Charles Mingus and Art Blakey the "first night was perfect" and all that crap that´s written is about the second night where things didn´t happen. Maybe in future there will be discovered the good stuff they did when it was fine.

I always kept that as a key record. You see, after first hearing Blue Trane when I was in my teens, I was eager to find also recording dates from the musicians involved in that date, you know: Lee Morgan, Paul Chambers, Philly J.J., so I soon had this record, then Lee Morgan´s "The Cooker", "Whims of Chambers", which I still listen from time to time. I think I also had other Curtis Fuller albums, one with a quite unknown baritone saxophonist, but it is not as fine as "The Opener" .

I didn´t know about Tower Records. As much as I remember there was a huge boom of RVG-Editions from the late 90´s on, and they practically reissued all the classic BN stuff, I mean the stuff from the late 40´s bop sessions until late 60´s , and in Japan they had those reissues that had mini LP format. I have some of them, but there was so many that people would collect cronological from the cataloge numbers. There were also records that sure did not sell well during the time they were originally released. I mean there were so many Jimmy Smith things, Hank Mobley things, Lou Donaldson things. I have one with Milt Jackson that´s cool. But I never collected in the way to be guided by cronological order of releases, the way people did it to "have the 1500 Series complete". Sure I have records that I´ll allways keep like Mobley´s "Soul Station", Lou Donaldson´s "Blues Walk" and Jimmy Smith from that session with Donald Byrd, Lou Donaldson, Hank Mobley and Art Blakey. But it is strange that the RVG boom did not cover the BN recordings after the renaissance of BN, I mean when people like Joe Henderson, McCoy Tyner, Jackie McLean, Freddie Hubbard and Woody Shaw still were alive and burning. Fritz Pauer, fantastic ! And great to hear that a young guy from the States spins his records. I could write many pages about him. He was one of the very very best European pianists, like let´s say Tete Montoliu in Spain and he was my mentor. Not only the best musician I could imagine, but also such a wonderful person. He took me under his wings when I was still almost a kid and I´ll never forget at one concert with some really fast company he let me sit in after intermission. During the years I heard him live, if he played trio it was mostly still with Jimmy Woode on bass, and the drummer was Tony Inzalaco. I heard him with all the US stars who visited Viena, with Johnny Griffin, with Art Farmer, Dave Liebman, Kai Winding......all of them....

Lester Young is a very very important for-runner of the Jazz of the 40´s and 50´s and I have a Musidisc LP from the Roost that sounds astonishing "boppish". I saw or read about some of that Lester Young discoveries , but was a bit afraid to buy it, since I often had the bad luck that I bought a latterday performance of a living legend, when they traveled as a single with local rhythm sections, and I miss something. This happened when I bought some Bird in Boston from 1954 or so. As in Lester´s case a very very late recording, but I spinned it only one time. I didn´t get from the rhythm section what maybe would have done John Lewis, Percy Heath and Art Taylor or in that manner. I would have liked to hear a 50´s Lester Young record with let´s say the Red Garland Trio, or the Wynton Kelly Trio, or somehow like that.......

I think I have them all on record. This was the decade when I was really a big big fan of Mingus, maybe he was my favourite musician at all, and my guide to jazz styles from the past towards more free forms, and eventually also including some 70´s rock feel in his work. A giant, a reason why I play jazz. I must admit, I don´t like the "Mingus Moves" so much. For me things started really with "Changes One/Two". I saw that I can compare this in quality of music with the so beloved Eric Dolphy collaborations from the 60´s. That´s the first live Mingus I heard, tunes from that albums "For Harry Carney" "Sue´s Changes" ....

On the Trail.....that´s Fred Grofé ´s tune, isn´t it. I think it is a tune I always "heard" in a more modal way of playing. I don´t know this version, but my favourite is one where Jackie McLean plays it. I´m usually more a chord based player, but on "Trail" you can go farther out, open it more and get in a more modal thing..... I think I remember I saw this somewhere advertised then. "Double Talk" was the title of one LP. But the annoying thing with the 80´s BN albums was that they were extremly short lived. I have the "Jackie McLean-McCoy Tyner" somehow I got that, but so much else Mid 80´s stuff, it seemed to be OOP very shortly after it was released. No idea why....