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I have never heard about Bosch, but with that taste on music he must be loved by musicians. That´s the best thing that can happen to have guys with publicity puttin jazz in their TV shows. I don´t really have much Frank Morgan, I think the only thing I had heard was on a Wardell Gray album, where I like Morgan´s playing very much. He did much Europe in the 80´s I have heard, but don´t remember he would have played in Austria also.... "Bag´s Groove" I can imagine it very well as music spinned in a movie....

It has Hank Mobley´s "Turnaround" on it, huh ? Great line up with guitar, vibe and organ. Sometimes I let it sound in the course of a really hot summer night, in the garden with some cool drink and some hip movements to it, especially by Serena. We love those nights when I´m not workin and we can make some party just we two 😄

I saw Chet Baker the last time late in 1987 and it was the most beautiful Chet I had ever heard, and I had heard him many times from 1978 on. But in reality he looked much more "spent" than on this photo, though he still had that young man´s body, slim and everything, combined with a face of a 70-80 years old . But he played so great, was on time, was very very nice to the audience. One tune he played very often those days was some slow bossa titled "Black and White" or something. He also played that old Miles Davis tune "Down"..... such a great musician during all those 10 years I knew about him. On that mentioned slow bossa I think, Nicola Stilo, his flautist played guitar instead of the flute. I must admit, all those flute solos on all those albums, I was not always happy with that. The flute is not my most favourite instrument. I would have preferred his wonderful trumpet sound with a warm tenor sax or only with piano and bass (he is the only musician that I accepted without a drummer , otherwise I pick up most stuff BECAUSE it has a good drummer)

That´s it ! It was the same with let´s say Dizzy 40 years ago. He was old but kept touring, much more than recording in the studio. And I think touring as a famous elder statesman is much more pleasant than all those almost inhuman itineries you had as a young man. You fly first class, you are VIP, you have the best hotels, suites, swimming pool, Spa, massage, more time to relax and you enjoy high life.

Well, I try to think about that "most people" phrase. In jazz, most people, who write, are music lovers. They spend more time at home listening to their favourite albums which is mighty fine. I also like much of Rollin´s old work, like the mentioned "Friday the 13th" and "Let´s Call This" and so, and the old compositions "Doxy", "Oleo", "Valse Hot" , "Airegin" "St. Thomas" "Tune Up" and whatever it is, but in my case it is more the occasion away from home, that get´s my attention, rather than listening to a whole album at home. When I was a budding player and could play let´s say "Doxy" which is easy, and "Oleo" since it is just another rhythm changes, both in B-flat, the most easy key, and saw that more experienced guys eat up the changes of "Tune Up" and "Airegin" at high speed, sure I went home and listened to those tracks on some of those Prestige samplers, to LEARN them. And for seeing Rollins live, as a 1959 born you can be sure that it was during his Milestone Years, that´s what it was and it was the sounds that I was surrounded by. Those musicians like Rollins and Roach where not "be bop preservation societies" , they were creating and developing. As @felser mentioned the ´70´s Roach Quartets with Billy Harper (and later Odean Pope) this is the same thing. This is not a veteran drummer, who kept playing Bird/Diz/Brown style, but a living and creating artist. That´s what we wanted to hear when it happens. Another example of "most people". "Most people" for me is "younger people" and they have a different approach to the things. Serena, my wife is much younger and would not listen to so much jazz if she had married another guy. But about music she didn´t think historically , but from personal tastes. So, when we missed a Sonny Rollins concert in the States because it took place just in the night we arrived, a few days later, smoking a cigarrette outside the club during intermission, and talking about Sonny Rollins, a guy approached us with that angry look and without having been asked , barked: "I don´t like what Sonny Rollins has done since 1975". Now you might have seen Serena, with all her youth and beauty, with wide eyed surprise: "Since 1975 ????? When was 1975 ????? And what is left if you don´t like what Rollins did since a year (that in hear thinking sounded like Marco Polo´s time😄 . She liked the more modern sounding tunes from the "Road Tracks" albums she bought me. There is a short version of "Don´t Stop The Carneval" which has the more contemporanous sound, and some thing that is titled "Nice Lady" , that´s what seems to be danceable to her ... So, the definition "most people" can be seen from different points of view, the environment you have, and and and .....

I´m not really sure if I should buy it. Now I´m reading the biography about him, and I tend to overlook the more non musical passages. I like to read things that are musically important . Maybe some little trivia here or there ,but not to much. I love also to read what other fellow musicians say from playing with him. Right now I think I had read the chapter after "The Bridge" where he is in California. Oh man, all those letters to Lucille, all those heavy words and thick stuff, they must have been a very very intellectual couple. On the other hand, to end a letter with "You are my woman. I am your man" sounds strange and blunt to me. Serena wouldn´t let me in the house if I rote such dumb stuff at the end of a message for her 😶 I´m more the kind of guy who says to his sweetheart how great she looks.....😍

Discussing with my fellow musicians at the studio session last weekend , when we did a break I got it confirmed from them that their hearing got worse after decades of playing, again I got it confirmed that that´s whats happening. Craftmen get their back hurting, miners get their lungs f....ed up, musicians their ears, that´s a fact. In the studio the only who I have had little problems understanding what he says is the blood young alto player, who is fantastic and got tons of talent , why I spotted him, but he seems to be a bit shy and in aw of that unit of older musicians that he doesn´t speak loud enough. But if I told him to speak into my right ear it was okay, and anyway what counts is what he blows, and that´s loud and strong and beautiful !!!!!!!

oh my friend, now I have to laugh: "Herbe comp" .....as a musician, "to comp" means if you play chords for the other soloists in group performance. So first I had thought you mean Herbie´s style of comping for others, as a sideman or if he recorded with horns. The second one is the one I have. if you listen to "I Have a Dream" isn´t the first 8 bars based more than loosly on "Darn That Dream" ?

oh this one must be great. Marion Brown performed also in Vienna, but I can´t remember that date. But i remember on the George Coleman gig, Hilton Ruiz wore a very similar cap. Freddie Waits is a wonderful drummer !

As you say it, "The Prisoner" is wonderful. Only when I got acquainted to Herbe thru "Headhunters" and the old Miles Davis LP from 1963, it was almost impossible to find individual Blue Note albums from the former decades (50´s, 60´s , so my only source of more pre-electric Hancock was the BN double LP with paper bag coloured cover. There were dozens of those, and some had a full albums, others where samplers (I think my Sonny Rollins BN recordings also is such a sampler from individual albums that were not in print anymore. That was the first time I heard that Sonny - Philly J.J. duo of "Surrey with the Fringe on Top" and some tracks of pianoless trio.

okay, thats much much better ! But watch out till you see the cover model on my upcoming album, but of course above all the music you´ll hear. We finished the studio recordings on Sunday , have the foto of the cover model and the foto shooting of us 6 guys done......

😉 mighty fine, maybe the face not necessarly so

oh Hilton Ruiz, such a great pianist and if I remember right, he died too early. With whom might I have seen him live ? George Coleman ? Billy Higgins ?

I don´t know who is Carly Simon, but that´s the best photo in this thread, at least how I think about it.

Head Hunters was my first Hancock album, which is natural because it was that time and I was starting my live long love affair with jazz. I still love to listen to it. It took me some months to realize that Hancock before Headhunters played acoustic jazz. It was the "Miles Davis in Europe 1963" that got me into acoustic Hancock, such a wonderful musician ! And most naturally my next great love, maybe my favourite acoustic band in my youth was "VSOP". I also had the Blue Note LA Double LP with some of the best tracks from the BN period. That´s where I heard Watermelon Man, Blind Man Blind Man, Maiden Voyage and most of all I liked the track "The Prisoner". As a youngster in the 70´s Hancock was one of my main men, and sure he remained it all my live.

Oh I remember him, wasn´t he with Dave Liebman on Lookout Farm and Drum Ode ? They are the only ECM albums I have.

i think I heard some of that Benny Green on BN. I think it was very early Elvin Jones on drums. Benny Green may not be J.J. Johnson or Curtis Fuller, but he is wonderful. I think some of the best Benny Green I ever heard was on that live album he made with Hank Mobley....

One of my best jazz buddies who sorry to say passed away in 2011, though he had the same jazz tastes like me (Bird, Rollins, Trane, Ornette) was also a big big fan of Tom Waits, he and his wife. They even had a Tom Waits song played when they married. I hadn´t ever heard of him and he said I must listen to it it is so great and he borrowed me some CDs and VHS or DVD, but honestly to say I couldn´t get a connection. Strange but true. I tried hard since he was my friend and he was the one who got me into all those greats since he was almost 6 years older than me, but it didn´t work with Tom Waits. I don´t know why, but that´s how it was, don´t have no explanation for it. The Lausanne 1962 is some of the best Bud from all his live, period. Those versions of Anthropology and All God´s Chillun Got Rhythm, so fast, so hip, and fresh. Maybe the only thing is there could have been a better drummer. But it is much better than most of the Steeplechase Material from Golden Circle from the same period, on which it seems that Bud was bored, he mostly plays medium tempo blues for more than 15 minutes and sometimes seems to be on autopilot, but even there are some great moments, but again the rhythm section is not up to Bud´s standards. His ideal drummer in Europe was Kenny Clarke. And sometimes , other than Pierre Michelot or Pettiford when he was alive, there was not many bassists who knew his music......

Thinking about Rollins with McCoy Tyner: I´m not sure if I have any elseSonny Rollins from the 60´s than the pianoless quartet with Don Cherry. It seems that the 60´s with the exception of the "Stuttgart Concert" with Don Cherry and the "Graz Concert" with Max Roach were quite a dead "Sonny Rollins period" for my listening experiences. It´s also possible that when I became interested in the music, speakin about the 60´s Coltrane was so overwhelming that everything musically was "Trane-ish", and this fenomen lasted much into the 70´s after Tranes death. So some of the first post 60´s Rollins I bought was the world famous "Milestone Allstars" WITH McCoy, Ron, and Al. I´m sure many of you guys from the States have seen those giants together, since the album was the result of an US-Tour. Well I love it, how couldn´t I, but as "Massey Hall" or "VSOP" this was gathering of 4 leaders, but sure some of the best moments of the return of the interest in acoustic jazz. I felt it, I lived it, and it was interesting how my buddies, who mostly were into jazzrock thru much part of the earlier 70´s got big fans of the acoustic masters, and considered them "super cool". Guys that almost could have been our daddies (Hubbard, McCoy, Ron) were so super hip they became our idols....

Heard it live just few weeks after it was recorded on "Don´t Ask" . But Rollins and Coryell performed separatly, so it was the Sonny Rollins Quartet with Soskin, Harris, Foster. On one of the Road Shows albums there is a live track of it , I think from Finlanda, same period - festival tour early summer 79.

Jackie McLean always was one of my very very special favourites, I would say I´m almost an addict of HIS alto sound. And I´m so glad I could see him live many times. One of my early mentors (not necessarly for active playing but for gettin´ broader musical knowledge) was Austrian Avantgarde-Jazz Pioneer Fritz Novotny (Reform Art Unit !!!) and when I told him how much I like Jackie McLean he was so glad, took me to his place and borrowed me all that stuff: It was three records: "One Step Beyond", "Let´s Freedom Ring" and "Old and New Gospel" (with Ornette on tp). First I had them on cassette and played them over and over again, and later I bought them. I´m no completist, but those three albums I have !

Would be interesting to read, since I always have liked his many many appearances on Steeplechases, mostly with Dex, but also fantastic with Kenny Dorham and others. I also have a record under his own name where he plays "Giant Steps" and "Theme for Ernie" if I remember right. Once around 1980 he "rescued" a Joe Henderson concert as was told to me. I had a flu and couldn´t be there, but my friends had told me that the rhythm section b and drums just didn´t make fire and it was a drag until Tete took a solo, made a sign to the bassist and drummer to lay out and started really to groove. He went right in with a left hand walking bass, obviously to show them kids how to groove, and he got the most applause for that, the audience went nuts and was so glad that he showed ´em what is stuff..... I have heard, that Tete didn´t live too long, I mean he would be around 90 years now and Hank Jones still performed at that age, as did Marshall Evans and others.... What was the cause of his death ?

Hey I MUST have this. I´m not a big record buyer, but THIS might be a must for me. All those greats, who were my favourites in my teenager years. Lieb is on of my alltime favourites since I had heard him with Miles. Randy Brecker is very fine on trumpet, Joanne Brackeen I could admire as well with Joe Henderson as with Joe Farrell, Buster and Al ....... if I could have that special wish , i´d dream to play with them two , Strange enough, I never got acquainted to Pat Martino and had confounded him with Pat Metheny who came to fame when he made a record with Ornette. well this really is maybe the best for group playing. But still, Tatum is my main inspiration for solo playing though I never do solo voluntary but as I said if them folks cry "more more" which they did when the bassist and the drummer were exhausted and the Clubmanager said to me "do somethin´ " I first think about Tatum, maybe a combination of Tatum and Solo Monk,

I only have Art Tatum with Buddy de Franco on Pablo as "Art Tatum Group Masterpieces", I remember there is the rarely played "Deep Night" , a tune from the late ´20s, it´s a wonderful thing that record, though for studies I listen more to Art Tatum solo, mostly for ballads or slow medium. Sometimes folks want me to play a solo piece and it´s good to study some of Tatum´s voicings and left hand treatment for some good solo piece though I´m a group player. But Tatum is a source of inspiration. wow, I´d like to hear a 15 minutes playing of "I want to Talk about You" . I think the mid 60´s was a point of departure for Trane, he still did play with his original quartet but soon after that he changed the piano chair and drum chair. That wonderful tune "I wanna talk about You".....I have the original version by Billy Eckstine, and Coltranes version from the 50´s but don´t have an idea how he would have played it when he was at the point to switch from modal to free,

I coudln´t say I am a FAN of any label, but I´m sure I have some Archie Shepp from that label, because in the late 70´s I had seen him live , I think it was with the genial Siegfried Kessler, a german who became a parisian, on bass I think there was Bob Cunningham and on drums was Clifford Jarvis, and it was after the free period. Shepp and Sanders went back to classic acoustic quartets with p,b,dr, there were a lot of that stuff in the recordstores, but very expensive. But was not most of Max Roach from that late 70´s also on Denon ?