Gheorghe

I love it. They really cookin´ here. So great drumming , and they greatest guys playin´ together. But it´s quite a pity that Woody Shaw does not play on all the tunes. That´s the kind of albums I like most. Live, good recorded drum set so I can hear them cymbals and tubs, very very fine and like if you are on stage or sittin´in the audience....

I don´t remember if I ever saw that album with that title. The title "Odjenar" I think was on the Prestige album "Lee Konitz-Miles Davis", a very very strange album which sounds quite experimental , more like chamber music I think.... I remember my wife had bought it for me, since she saw the names of the musicians and that I might not have it in that combination. But the Title Conception as I remember was on the Prestige Album "Dig", that extended session with Jackie McLean and Sonny Rollins .... it is Miles´ version of that tune, not the original AABA form with 12 bars in the A sections and 8 bars in the bridge and in Db. Miles does the A section, but in C, and it has a unusual form with a pedal point section in it. I usually play the regular AABA form of the tune in Db but out of curiosity once tried the Miles version and ok, you have to take care to keep the unsymmetrical form, but you get it..... Some strange things here. The title "Dig" actually was composed by Jackie Mc Lean (on the chords of Georgia Brown), and I like most the title "Out of Blue" (based on "Get Happy"), very nice to play.... I don´t remember if I ever saw that album with that title. The title "Odjenar" I think was on the Prestige album "Lee Konitz-Miles Davis", a very very strange album which sounds quite experimental , more like chamber music I think.... I remember my wife had bought it for me, since she saw the names of the musicians and that I might not have it in that combination. But the Title Conception as I remember was on the Prestige Album "Dig", that extended session with Jackie McLean and Sonny Rollins .... it is Miles´ version of that tune, not the original AABA form with 12 bars in the A sections and 8 bars in the bridge and in Db. Miles does the A section, but in C, and it has a unusual form with a pedal point section in it. I usually play the regular AABA form of the tune in Db but out of curiosity once tried the Miles version and ok, you have to take care to keep the unsymmetrical form, but you get it..... Some strange things here. The title "Dig" actually was composed by Jackie Mc Lean (on the chords of Georgia Brown), and I like most the title "Out of Blue" (based on "Get Happy"), very nice to play.... I don´t remember if I ever saw that album with that title. The title "Odjenar" I think was on the Prestige album "Lee Konitz-Miles Davis", a very very strange album which sounds quite experimental , more like chamber music I think.... I remember my wife had bought it for me, since she saw the names of the musicians and that I might not have it in that combination. But the Title Conception as I remember was on the Prestige Album "Dig", that extended session with Jackie McLean and Sonny Rollins .... it is Miles´ version of that tune, not the original AABA form with 12 bars in the A sections and 8 bars in the bridge and in Db. Miles does the A section, but in C, and it has a unusual form with a pedal point section in it. I usually play the regular AABA form of the tune in Db but out of curiosity once tried the Miles version and ok, you have to take care to keep the unsymmetrical form, but you get it..... Some strange things here. The title "Dig" actually was composed by Jackie Mc Lean (on the chords of Georgia Brown), and I like most the title "Out of Blue" (based on "Get Happy"), very nice to play....

Fine memory. I also loved "Filles de Kilimanjaro" which was like a "treasure" among us youngsters in the early 70´s . I would have been too young to see the band with Dave Holland and Chick Corea, the first band I saw was with Dave Liebman, Mtume, Al Foster etc. But I saw the DVD from the "Bootleg Series" "Lost Quintet" and maybe Chick was scared, as well as Dave Holland. They don´t look relaxed at all on that video. First I thought they intended to "out-Miles" Miles Davis in context with stage behaviour with them angry looks, not even noddin´to the audience when their names was announced. But the music was great. I saw Chick Corea only once , when he sat in with Miles on a tune at some festival gig in the 80s. I think the tune was "Speak!". Wonderful thing. Miles with Monk. And listen how great they sound on "Bemsha Swing", Miles plays that Monk tune with very much love and understanding of Monk´s style. Much more than let´s say "Well You Needn´t" on another record, where he plays the wrong bridge. But it is strange that the version of "Round Midnight" (again with other chords than Monk´s original chords) is played with the "first quintet" . This would have fitted more in the 4 Prestige records of the first quintet (Workin, Relaxin, Cookin, Steamin ). Two weeks ago we played a gig with a name alto saxophonist and when we made the set list and I asked "Round Midnite?" he said, okay, but only if you play the original Monk changes, I don´t want to hear the Miles Changes on it. Easy for me since I never did else but playing the original Monk changes on that tune....

Definitly the best Bird collection. Actually my first Bird on record was the Savoy Mastertakes. From Dial there was no exclusive record out then, they usually were mixed in different series, or later on Spotlite there was annoying that there was a lot of "alternative takes" . I think the Savoy and Dials were the essential Bird to learn the style and the tunes, and I was happy when I got this 3 CD collection.

Benny Golson played quite often at Jazzland. And I heard him somewhere with Curtis Fuller and a stellar rhythm section. My opinion is, he greatest achievments are his compositions, he is one of the great composers of jazz history, but I consider his role as a soloist not as big as his role as a composer. If I listen to his style, there is some of the sound influenced by Don Byas, but somehow I heard solos with a bit of lack of orientation. He also got a bit of Archie Shepp´s sound into his playing. I think I´m not the only one who likes his compositions better than his actual playing. And he kinda hosted his concerts like announcinc Curtis Fuller this way "look at my saxophone, it has so many keys, and look at his trombone and it has no keys on it...." uhm.... But after Art Farmer´s death he was very often seen at Jazzland.

When I thought that I am ready enough for Ornette Coleman (one of my very first listenig experiences in Jazz was the Mingus Group with Dolphy from 1964), "Shape of Jazz to come" was on my wishlist but not available. My first OC albums was "Empty Foxhole" on BN and "Crisis" on Impulse. When I finally found the "Shape of Jazz...." it sounded quite conservative to me, not like "Free Jazz"...... It is strange that Randy Weston besides his standard compositions "Little Niles" and "Hi-Fly" was not very much in evidence in disc collectios or performing schedules in my country in the early 70´s, 80´s. I saw his name first on the cover of the not so good "Mingus and Friends in Concert 1972" and from an interview with Valerie Vilmer. It seems that he was very much bound to north african culture then, more than the hard core scene of NY.

Some great legs here ! I have not heard much Barney Wilen besides the stuff in the fifties and sixties, when he was something like a boy wonder, playing with the greatests of the greats like Miles, Bud, Blakey, Monk. He could hold his own being around with such fast company, just fantastic. It seems that I had lost the traces after that. I have heard that he had a lot of personal problems later. This was cult in my early teens. Though it came out maybe in 1969 just before Bitches Brew, many of all those crounds who were crazy about the Miles of the 70´s had that LP or asked who has it. And not knowing what the title means and what language it is, most kids pronounced the album name in a dumb phonetic way. Too sad this is the only studio document of the "lost quintet" (when Herbie and Ron were replaced by Chick and Dave Holland).

Klaus Schulz was a very nice guy and did an interview with us somewhere in the early 90´s for "Jazz Podium" after a gig. Our "Jazzland" was founded in 1972 and still goes and I´m so glad about it. I was not so historically "educated" to know if the trad revival was THE revival or a revival of a revival. I don´t think the animositys between those two groups were so strong. It was just two different things. The guys who would go listen to Barrelhous Jazzbands or how they where named were not the same like those who would listen to modern jazz. And as you mentioned Brubeck.....that was also another separate group, mostly the intelectuals who were students in the 50´s and attracted by that kind of style. About dancing to jazz.....yeah we had a club called "Jazz Freddie" where they had really good acts (the first time I heard Griffin when I was still a boy), and in the after hours it turned out to be more dancing, I don´t know if they called it jive or boogie or foxtrot, it was "people of the night" who very often came after the regular live concert, and it became quite loud there. But those jive dancers or what they was was always couples. I think that act of "maraccas girls" could also be seen, but in other places. That sounds more like "urban alternative szene" , and the dancing at "Jazz Freddie" seemed to be more like a more rude suburban scene. But I didn´t notice all of that stuff around......, my goal was to be involved with the musicians and somehow I had blinders torwards the rest of the proceedings.....

When I was young I still remember there was quite a vivid trad jazz scene in Viena. There was bands that almost each month performed at "Jazzland", like the "Barrelhouse Jazzband", the "Red Hot Pots", the "Picadilly Onions" and so on. Well, they had a lot of fans from an older generation. Í´d say it was like a paralel-society. The Trad fans where one group of fans or musicians, and the "modernists" where another one. But I´m glad that they existed, since our wonderful "Jazzland" would not have survived for so long time if it had not covered the whole "market". I heard great musicians there from the genres I dug, like most of all the then brand new Dave Liebman, and be/hardbop legends like Art Farmer, James Moody, the wonderful Woody Shaw and all of then, and I have performed in that club and will do so further. All my love to that place and the people who run it. As I said, the trad clique was another society. They were more straight ahead people in private live, than many of us others were. My only encounter with one trad group was when somebody had urged me on stage to sit in with such a group for a few tunes. There was no animosity from my part, the leader, a very fat and white bearded banjo player called "Sweet Georgia Brown" and when my turn came, my idea was just to play my boppish stuff to interpolate it with them their stuff, like those friendly battles where let´s say Bird sat in with a trad group, or how they performed some old time tunes on that "Bands for Bonds" thing. "Sweet Georgia Brown" has nice changes, they were used by Jackie McLean on his tune "Dig aka Donna" , Bud played it once in the studio, Fats Navarro/Allan Eager played it ...., and I thought I was good, and some of the guys in that trad band who had a bit more open mind, smiled at me when I did my stuff. Anyway I tried to simpatizize with them by changing my own stuff into a more Teddy Wilson sounding stuff, with some stride in the left hand, but the more chromatic lines were to the complete dislike of that fat white bearded banjo playing leader who almost chased me from the stage and I think later in the evening when he got juiced he cursed me as a long haired arrogant kid who never had worked some real work in a factory or in construction or who knows what.....

Sorry no. I had hoped this. But it is possible that the mistery tune I ´m lookin´ for is from an earlier album, since I browsed thru all the tracks of "Mysterious Traveler" . It´s really strange, I found the track "Mr. Gone" since I remember this was a strange 4/4 straight ahead tune, but the track I want to find.... It is true that it is possible it could have been from an earlier album too, since Herwig also spinned older stuff. I remember he once spinned some tracks from "Blue Train" which I bought....., his hour of jazz saturday late evening was my main source of hearing all that music when I was underage for night clubs. (well I didn´t wait until I was 18)

Yes, that´s it. Quite short, but nice and especially so nice that Monk agreed to perform at that school.

I have "In Tune" where they sing together with the Oscar Peterson trio.

Great pic !

Great pics. That´s some places I have not been there, But traveling with train has been a part of my live here in Europe-Eastern Europe. For many years I had to travel each month about 1000 km crossing two borderlines to have at least 3,4 days with my family. I remember once two guys from California were doing that "adventure" of traveling east and it was completly unusual or unknown to them that they wake you up in the night for passport control and luggage control and nobody spoke English. They always asked me "what´s happenin´ now ???" I think I remember they wanted to visit the "Dracula Castle" 🤣

I like this much more than the many albums Lou made with Herman Foster or with organ. This is really a fine bop session, I remember I had bought this when I was in the States, and I had bought it before "Sidewinder" and like it much more than "Sidewinder". I saw J.C. Heard with Dizzy Gillespie in 1983, it was a fantastic concert, one of the best Diz I ever heard. They played a fantastic version of "Manteca" and "Round Midnight".....

Hello Friends. Yesterday I had a bit time and listened to some Weather Report tunes on youtube and it was so exhausting. I wrote down all the titles of the albums (with the exception of Black Market, which I discovered that I have myself !) . The Big Surprise was, that I recognized the swing tune "Mr. Gone", where the synthisizer plays the walking bass line. This was the second tune that was spinned after the "misterious tune" about which I have asked you ! But then I had to stop due to other commitments. So I suppose, that maybe my memories wrong and it was not in 1977 but in 1978. Well as a 1959 born you cannot know anymore, if a certain event was in 77 or 78. What I remember is, that the Radio DJ of "Jazz-Shop" spinned two tunes of Weather Report. One was "Mr Gone" and so maybe that slower piece with that sweet theme that constantly repeated might also be from "Mr Gone". And that could be logic, because that radio program concentrated on records that just had been published. Now, what more lyrical tune will be on "Mr Gone" ?

oh yes, I have it. I think it starts unusally with a slower tune, I think "Ruby My Dear". It´s not a very long concert since they had to leave to play in town. But it´s nice, yeah.

The group I saw was also John Blake, Joe Ford, on bass was Avery Sharp and on drums was Ronnie Burrage. Arthur Blythe on the ballad feature. I remember he has quite a lot of vibrato in it. Something I usually don´t hear from alto players. I must admit I´m not really familiar with Benny Carter. I also like very much the next Milestone-Studio album "Horizon" which has John Blake, Joe Ford and George Adams on it. And I think again the wonderful Al Foster.

I have the BN trio album. As much as I remember I was quite astonished that they played Dizzy´s tune "Bebop" in C minor and not as usually played, in F minor. One shortcoming from my point of view is the very very sparse use of the left hand. I mean, you must not bang everything and cover it only because the piano has 88keys, but here it often sounds as if it is only single notes played with the right hand, which makes the thing a bit thin for me. I like the Clark albums with horns more.

A very fine chronic about what happened on the NY scene from 1972 - 1975. Maybe that the author had a very strong affinity to swing and mainstream jazz, and less of the current directions, but there is a very very nice profile about Jimmy Rowles , some interesting reminiscences about the legendary hoover Baby Laurencek, the annual July festivals, Monk´s second to last appearance in public in 1975, same with Miles Davis before his 5-6 years hiatus from the scene, a moving Charlie Parker Memorial concert in 1974. Mingus´ Carnegie Hall concert "With Friends". It was the years when I was a teenager and dreaming of goin´ to NY to witness all those greats, Sonny Rollins..., which was impossible then....

I had bought that "Clifford Jordan" and "Zodiac") sessions, also that Strata East Mosaic. But I had bought it only for the "Don Cherry-Charles Brackeen - Charlie Haden-Ed Blackwell" quartet, since an older friend in my early teens had it since I loved Don Cherry and I had it only on cassette. I also listened a bit to the other CD´s "Zodiac " and "World" but my general impression is that there is a kind of morbidity on it, I mean acoustic straight ahead jazz played in at the end of the 60´s, and I remember that on the fotos all musicians look somehow as men who had seen better days.....

One important thing about the McCoy Tyner Quartets: As on my question in the "Artists" Forum about a certain Joe Zawinul tune I once had asked you all about a certain McCoy Tyner tune I had heard McCoy play live when I saw him in spring 1980 (sextet with saxophone, a violin player etc.) and you led me to the tune "The Seeker" which is here on the tunes with Bobby Hutcherson. I love them all. Maybe I have some difficulties with the John Abercrombie thing, it´s not "earthy" enough for me and that "electric mandoline" sounds funny to me. But the Freddie Hubbard stuff is wonderful, as is Bobby Hutcherson and wonderful Arthur Blythe. And with Al Foster on drums that´s always a guarantee for me that the music will be right. I have not spinned it for a long time. As I remember Duke Jordon sounds much better on piano than on earlier recordings. The personnel is great, only I would have preferred another saxophonist than Stanley Turrentine, I´m not such a big fan of his sound and phrasing. I mean, with Dizzy Reece I would have combined let´s say Hank Mobley.... I love all his Big Band stuff. I think Dizzy left the band quite early to form his own band, and was replaced by Fats Navarro soon. I have the "Spotlight" live stuff, the Savoy Double album "Mr. B. and the Band" and another Savoy "Billy Eckstine Sings" (which has lesser instrumentals, but still tracks with the real band).

@mhatta: No itwas not black marked. But thank you for the suggestion and for participating. hi thank you for the suggestions, It is not "Will" or "Adios". It was NOT used as a theme song for the radio program: We had a great radio DJ in Austria and his program on Saturday evening was titled "Jazz Shop". That Radio DJ was Herwig Wurzer and for me he was the Symphony Sid of Austria. That hip talk, the voice to that jazz sounds of the night. I had recorded some of his shows on cassette as I was a boy but those cassettes don´t exist anymore. So it was no theme song. Well that´s my fault I never kept documents..... I have the theme in my head, but don´t know the title. It might have been something that was or brandnew on the market in 1977 (because the show was "Jazz Shop" , or it was an reissue. I think Herwig Wurzer once spinned a trio track of Joe Zawinul with a regular trio too, and once there was a piece with more kinda "shuffle" rhythm, with a walking bass line played by sythi....

Well I hadn´t known about Spotify and don´t have a streaming service. It´s just that the tune I described is in my head, I heard it THEN and it had that special mood in it. As I said before, it has a very diatonic motiv, that´s always repeated, and it must have been in the 70´s. I still hope that you friends over here might make some suggestions so that I can narrow my search .

On the trail, that´s a nice blowing vehicle. I also have it played by Wynton Kelly, with George Coleman on tenor. But my favourite version is Jackie McLean at Montmatre. I love his sound so much. The tune doesn´t have many chords, so you anyway get a bit more a "modal" feeling into it.