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I don´t know the book, but it sounds interesting though "from the Beginning" would scare me as I´m to young to got back that far ("Beginnings" as old time or "trad" jazz) , but interesting he judges Miles for his fingering. Even in his early days I heard Miles playing almost like Diz or Fats, as his "Paris 1949" or his Birdland 1951 live stuff prooves. But one interesting thing about Miles: Many scholars here play Monk tunes with the wrong chords, like "Well You Needn´t" with the wrong bridge like on "Steamin"" instead of the correct bridge. Same with "Round Midnight". I always take a sheet of the correct chords with me, so fellow musicians would not play them wrong chords from the Real Book. Well, Dolphy also impressed me from the first listening on the Mingus concert in Paris.

I think I remember I saw this in a record store about the same time when Archie Shepp was in town (I had heard him with Siegfried Kessler, Bob Cunningham and Clifford Jarvis). Too bad that I didn´t have the money to buy this record, since it was very very expensive, it costed more than the price for 2 usual LPs. Same was with Max Roach in Tokyo, all those were very very expensive.

I have not heard about those labels. But Dameron tunes were always nice. "The Scene is Clean" I first heard on a Max Roach-Clifford Brown LP, the original Tadd Dameron sides were hard to find. I heard Pharoah Sanders play some music from the Dameron-Coltrane-date, also around 1982-85 I think. In general I love his compositions until the 50´s but found that later he had smoothed out, the stuff he composed when he himself couldn´t play anymore with his own band didn´t have the "bite" that had "Our Delight" or "Hot House" etc.

I think the first time I heard Jimmy Heath on record was the then available Red Garland LP "Quota". Many guys in the early 70´s had that. And I think those who had not heard him at least did know his name from his composition "Gingerbread Boy" which was often played. And later when BN was re-born I was astonished to hear many recording dates with him on tenor, but strange to say it was more in the early days of BN, I think with early Miles and early J.J. Johnson, but less from the late fifties on, when the label became more famous.

Oh I was not aware of this. The reason might be I didn´t listen to the Gerry Mulligan pianoless Quartet. Somehow that kind of music was not very much listened to among musicians of my generation. I was already playing myself in jazz clubs when I became "friendly'" with an older loyal visitor, and between sets having a cigarette he told me about guys like "Shorty Rogers" and so on, that he listens much too and I had to admit I never had heard that name. Even about Chet Baker I heard for the first time in 1978 when there was an article about him in Jazz Podium. But needless I became a fan of Chet, as soon as I heard him first, but it was another Chet Baker than the one who got famous in the 50´s . Well, but I don´t remember to have seen Art ever without a pianoless rhythm section. So this one with musicians I really love (Ron Carter, Tony Williams) must be a gas When I was young I had those 5 Steeple Chase albums at the Golden Circle, but I have not listened to them recently. What disappointed me on them was that the drummer and bassist were not as good as let´s say Pierre Michelot and Kenny Clark about the same time in Paris, and 5 trio albums with too long blues tunes (Blues in the Closet, Straight No Chaser, Swedish Pastry running between 15 and 20 minutes) can become quite tedious. Bud played much better in Switzerland or Denmark about the same time. And maybe that playing only trio all time and in every town with other bassists and drummers also was disappointing for Bud who sometimes sounds a bit bored (mostly on that over long Straight No Chaser). I think someone gave me a tape with the Oslo tunes many years ago, it´s about the same like the Golden Circle gig.

I had to google what is "dungarees" but know I know. Oh yes, that was that terrible fashion of the 70´s when musicians dressed too much in casual looks on stage. And I always hated dungarees. Mostly if women wore them, it´s a love killer. Now in the present, in the few jazz clubs left, most musicians who play a very fine dressed, the audience usually casual, some girls better dressed, and the musicians on stage maybe got another awareness of how to look for a performance. But enough about non musical stuff......., that´s a question of taste. About Herbie Lewis: He was a wonderful bassist, I saw him with Jackie McLean, the others were Booby Hutcherson and Billy Higgins (all dressed with dark sacou, white shirt and ties, even if it was a hot day in July, and they really burned. Herbie Lewis did a particular interesting solo on a fast "Blue´n Boogie" which was something else. Some folks from the audience said it sounded like an "african solo" and he got frenetic applause. I have heard that Sam Jones died too early, but didn´t know that if he made the record just a month before, that he would have been too ill to perform on the live dates of the "Amsterdam stuff". Maybe he had other commitments, he was always very very much in demand.

That´s also a wonderful memory.

I was not aware of that album. I think "Elektra Musician" was a very short lived label, I think I had some of them, the Dexter Gordon album that I consider quite mediocre and first of all I´m not really a fan of organ, and a whole side is with organ, then I think I have that Woody Shaw which is fine, and maybe an old Cliff Brown - Max Roach. This one of Ron Carter must be very interesting as a pianoless thing. And I´m a big fan of Tony Williams. Bill Evans was from the only 80´s Miles band that sounded interesting to me, but the biggest surprise for me is the participation of Art Farmer. I saw Art Farmer so many times I can´t count them, but always did believe that he is the kind of trumpetist who needs a piano player. It must be interesting to hear him in a pianoless context. And Ron Carter was an idol of all of us in the 70´s and early 80´s. His big sound. I think I might start a topic about his sound and his playing style ......, it´s something I grew up with

Oh, how much would I have liked to see this group. I heard them on record only (3 live albums on Steeple Chase), but it seems they didn´t tour Austria. Later I saw the George Coleman Quartet shortly after they had recorded "Amsterdam after Dark" playing the music from that then brandnew album, and they had Hilton Ruiz and Billy Higgins, but NOT Sam Jones ! He had been replaced by Ray Drummond, who also was a very fine and versatile bass player, later working much with Johnny Griffin, but I would have liked to hear Sam Jones. And I think he was the best bassist who ever worked with Bud Powell, his contributions on "Time Waits" are fantastic ! I think too many jazz students play his "Del Sasser" without even knowing who was Sam Jones.....

oh, "April in Paris" 😀 You are lucky ! There must be something about Paris in the month of April. And that ballad expresses the feelings so well. And related to music and live in general. Sorry to say not have been in Paris yet, but my two hometowns are also fancy towns and there is something in the air in that month that´s very special. You have musical inspirations, And it was April when I had my first date with the girl I married....and the atmosphere had something very similar to "April in Paris" , those wonderful smelling blossoms in the old city park, a gentle glimpse of a spring rain, and the most beautiful girl in town with me....

I didn´t know RTF recorded for ECM ? Or is "RTF" only the title, not the group ? I remember a youth friend of me who just disappeared, was a big RTF and Chick Corea fan and I liked that powerful Stanley Clark-Lenny White combination. Later, he also had an "ECM" record called "Cristal Silence", but in my case, it was not really my thing then, (too silent for me without drums and bass)

I enjoy some of the fine altosaxophone of Charles McPherson. I always had the impression that he borrowed some of Bird´s licks, only with a softer sound, maybe a softer reed and more relaxed, like a mellow side of Bird. But I think most what I have is Mingus-related. At first listening, and my first Mingus listening experience of course was with Dolphy, McPherson was a bit disappointing to me as a step back, but I enjoyed his ballad contributions on "Mingus at Monterey" and on "My Favourite Quinted". I think I remember he was back with Mingus in the earlier 70´s too . I don´t think he visited Europe very often after his tenure with Mingus. But one thing I can tell: It must be very enjoyable to play with him. I remember once when I was in the State, some musicians mentioned that "Charles McPherson was in town the week before" and that I thought too bad, I would have liked to meet him.

it seems I have read another bass book one about Paul Chambers but don´t remember the title, I had thought it´s "Bassline", so maybe it had another title, by the way a good book where all the much stuff he recorded is very very well documentated and described . I think I remember a very very long time ago there was in Jazz Podium an article from Güther Boas, who did a trip to NY and met a lot of the old masters, among them also Milt Hinton. I think I don´t have many recordings where he is on bass....

Oh I see, I think it has another order of the songs than the original LP. But I must admit I never bought again music I already knew. The tunes on that album were standard repertory in groups I worked with. I understand others re-buy music, first on regular LP, then on CD, then on another edition of the CD, and then on those modern post CD vinyls, just to hear another recording quality and recorded sound. I´m happy if I know the tunes, and sorry to say, after decades of active playing my hearing volume is not the best one. You loose it on high frequences, anyway have to turn up the treble to hear the cymbals of the drums and hear it loud, that´s a fact.

I must admit I never understood the purpose of the metronome. But maybe the reason is that I didn´t get formal lessons, but I don´t think it helps somebody to get a sense of rhythmical inspiration for becoming a good musician. And that "tic tac" sound would get on my nerves. If a drummer is just a beginner and has a too metronomic sound it can get on your nerves. And the metronome brings some very very sad memories back: As one of my first inspirations in jazz was no one less than Charles Mingus and I was born early enough to not only hear him on records, those last months were he couldn move even his hands and had to compose by singing accopanied by a metronome and so record his ideas, brought me to tears and maybe still does. I mean to have created some of the deepest, the most fascinating music of this century, accopanied by genius drummer Danny Richmond and no more being able to play or even to tap your feet or snip your fingers...

Joris Dudli is a wonderful drummer. I heard Ponomarev only one time in the late 70´s when he was with the Jazz Messengers. I was a big Wes Montgomery fan in the 70´s and tried to find all records that were not the later more commercially records with arrangements and strings and God knows what. This one I loved very much, especially the long swinging blues track and the wonderful Dameron ballad "If You Could See Me Now"....

Yes, the tunes with Monk I think "Epistrophy" "I Mean You", Evidence", and two vocals with Kenny Hagood "All the Things You Are" and a strange "I Should Care" not in the usual key Ab but in D, really strange to listen to it. I remember the sound quality is not good at all, which is strange for BN recording. Interesting that it has Shadow Wilson on drums, who later became a member of Monk´s quartet. In my case I had already known those tracks , since they were on the two LP set of Monk on those strange BN LA-Series with those ugly covers like a paper bag colour. I bought the Milt Jackson CD later, maybe in the earlier days of CDs, it was not RVG, nor Conn, it was just a CD with a photo of Bags . And the second half of the album was practically Lou Donaldson with the MJQ, very nice too.

Thank you, so I think this must have been earlier. I never saw a record or a video from that World Tour 1978, which featured Dave Liebman. He himself referres to that tour in his autobiography "What it is".

One of my key inspirations in the early years. Actually , once I saw Jackie McLean with 3 quarters of that original quartet. Instead of Walter Davis was no one less than Bobby Hutcherson on vibes, so it was a kind of Blue Note All Stars formation. "Freedom" and "One Step Beyond" where some of the most important Jackie McLean albums for me in my youth.

I have it on a compilation of all that early 60´s stuff , my wife bought it for me for Chrismas. Great stuff since I sometimes play with a 2 tenor tandem and they´s work on some stuff from that repertory. Well, Epistrophy is very fine.

I only know from the original LPs back then. Usually "Amazing Bud Powell" was Vol I with the Fats Navarro Sonny Rollins stuff, and I think the 1951 trio stuff, and Vol II I think was the 1953 stuff with Glass Enclosure . But there were 3 others: The Vol. III with Curtis Fuller, and I think the 4th and 5th was not subtitled "Amazing B.P." , it was "Time Waits" with Philly J.J., and the quite strange "Scene Changes". That´s all I remember.

referring to my question from Saturday: Is this the live concert with Dave Liebman added to RTF ?

Thank you for those interesting infos !

I think I´m listening more to RTF know than back in those days. Though my main love was the music just before the 70´s , I had the logical link to electric jazz of the 70´s , mostly electric Miles, but also Hancock´s Headhunters and to a lesser amount RTF. I think one of my buddies was an almost fanatic fan of RTF and pulled my coat to some of his stuff, "Where have I known You before" and "Romantic Warrior". But I still regret I missed a Chick Corea tour somewhere around 77 or 78, but I think it was RTF somehow augmented with other great musicians, above all my favourite Dave Liebman. Is this RTF live from the late 70´s featuring Dave Liebman ?