Gheorghe

I like all those Savoy recordings of the 40´s . In the 70´s there was those double LPs, a main guide for me to listen to the Masters of the 40´s , like the 'CharlieParker Master Takes, the Billy Eckstine band with all them stars....., and the single LPs of Fats Navarro, Dexter Gordon , J.J. Johnson. Byas was one of the great masters. Yeah I bought it shortly after it came out. Really a strange combination those two. Some of the music is fine, but not everything. I prefer to hear them in separate groups. I saw Chet Baker for the last time late in 1987, just a few months before he died, and it was the best Chet Baker I ever had heard.....

Well the sound is "so so". I must admit I have not listened to it lately, lack of time, but in my case I was at least pleased to hear the drums really loud. The electric piano maybe is too "übersteuert" don´t know how you say in English. About Chick Corea with Miles, I like it a bit more controlled, like on "Silent Way". There are too many atonal outbursts for long solos, I prefer that atonality more when I listen to Cecil Taylor, or at least on acoustic. The Fender is more a "funky" instrument, or for a bit more "laid back" straight ahead stuff, but it sounds funny if you play "free" on it. The music on it still has a lot of straight ahead swing, I think one tune from Bitches Brew was on it, I think "Miles Runs the Voodoo Down" is on it, others are the old "Milestones" or "NO Blues" stuff like that. I´d listen to it again just those days, but now I have to play myself and don´t have so much time .

Was this his last live playing. I didn´t see them then, since beginning from late 1992 I retired for 20 years (didn´t play in public 20 years). But if I remember right, I still had subscribed Jazz Podium in the early 90´s and the review was that Giuffree already had difficulties to play due to Parkinson desease. As I said, I "discovered" him only thru the Graz CD I got from my wife. I also think he did some kind of workshop once here in Viena at some jazz conservatory and it was more about ensemble playing, some written stuff, and that he was very profesorial, not jazzmusician-like as you might supose.

Thank you @HutchFan for that great project and thank you for inviting us to make our own suggestions. Well the early 80´s was some good time for jazz. Living Legends were still alive or in one case had a comeback after long retirement.... Younger Artists had a lot of work to do and record . My suggestions would have been. MILES DAVIS his first two albums "Man with the Horn" and "We Want Miles" J.J. Johnson "Pinnacles" Woody Shaw mostly the group with Mulgrew Miller, Steve Turré ...... Jackie McLean - McTyner "It´s about Time" on BN Archie Shepp 1985 in San Francisco Ornette Coleman "Virgin Beauty" Dexter Gordon "Gotham City" Sonny Rollins anything on Milestone McCoy Tyner anything on Milestones especially "Horizon" and "4 Quartets" Art Blakey that good group with Donald Harrison , Terence Blanchard and Mulgrew Miller, Dizzy Gillespie "Montreux 1981" the one with Milt Jackson and James Moody Max Roach Double Quartet "Easy Winners" Thats some of the stuff I collected then and still enjoy...... You must know I was INTO it: The Musicians I admired still were alive, and I heard them on Festivals and all that And I played acoustic jazz with some name musicians although I was just in my early Twens in the early 80´s , and than for many years a funk band until I returned to acoustic..... , so I was INTO the stuff as a listener and player and what I have I had bought then.

I have some Miles live bootlegs I think. The first might have been the italian Kings of Jazz record of Miles at Birdland 1951 with Rolliins and J.J, and also from that Label a "Miles Davis-Stan Getz" also from Birdland 1950, and years later on another italian label "The Last Bop Session" also from 1950 at Birdland, from the same date as the last Bird-Bud-Fats live at Birdland..... From the "Lost Quintet" I think I have one Bootleg "At the Blue Coronet" from around the time of "Silent Way" , with Chick, Wayne, Dave Holland, Jack De Johnette. And a Bootleg from Vienna 1973 at Stadthalle, but this was just for re-listenig since it was an event back then in my schooldays in my town.

I was listening to the "Graz" which my wife bought for me 2 oder 3 years ago. It was her choice and she simply said, she saw the cover and that it was written "live" and thought it might be interesting for me. Well and indeed, I never had had my focus on Jimmy Giuffree or much white cool jazz in my live, but than I liked it and spinned it quite often. But I must admit, without the choice from my wife, I maybe wouldn´t even have had it.....

Hello Friends. Of course I know the tune though I never played it myself. Sure I could play it just from memory like it happens if the leader calls a tune and you never had played it by yourself and just play it out of memories, but during the last year I invested more time in trying to re-learn to read a sheet, at least if I already know the tune. It´s quite helpful because even if I may be a very lousy reader, I have something like a "photografic memory" . I heard some guys doin "Nica´s Dream" and thought it would be good to have a glance at it at home before goin out and eventually have to play it. But on sheet music when I wanted to buy the tune, I got an answer that "the product cannot be delivered in my country" Now what´s that shit ? I just wanted to buy the file for pdf, not more, I dont want to get the musicians or the instruments delivered to Austria 😄. How stupid is this ? So dear colleages, if someone would be so nice if he has the lead (for C instruments please ).......?

Well, the first part of the story, I mean how they got to know each other and how she tried to organize his live, that sounds very much like all them "Laurie Peppers, Chan Parkers, Jo Gelbards, Buttercup Powells" and all those women who were "struck to a junkie jazzman" , or Maxine Gregg, who first had a young junkey trumpeter and than an old alcoholic saxophonist..... Maybe I was grewn up with another mentality. If you don´t stand then man for your woman and protect HER, well I can´t figure out stuff like that, a woman who swallows all that shit the guy does, clean up the house if he pukes after a drinking party with "friends", bringing him aspirine the next morning and shit......, but maybe I just never screamed over women with "mother instincts" who treat their man like a wicked teenager who just got drunk after the first after school party.......

I had the impression that the Kindle is quite heavy. It may be good to read. I need eyeglasses if I read. But the "book" is just heavy in my hands, it is not comfortable, and somehow I never got used to handle it, I´m not really into electronics. We always order our books, jazz books from where I find them, and beletristica online from România mostly......

Yeah and a very fine group. I have an album also in Japan, but maybe a bit earlier and with Billy Higgins on drums, but it´s also George Cables and Tony Dumas, a great bass player.

I must check out if I can find a copy of the paper version. At least I´d like to read again those chapters or passages that seemed to be interesting for me. If I remember there was a bit too much about all his psychiatric hospital stays and medical records. But it might be interesting to read some stuff out of it, especially I think Mr. Carl Smith had his own theories about Bud´s time in Paris and his return to the States, not like Francis Paudras, who exagerated the importance of his friendship with Bud, at least that´s how I think it was. He misdated recordings as being earlier than they were, just to tell that he had such a long friendship with Bud, and he tends to the romantic side of the story. It can´t be like that. A music lover from the more burgois background and an adict artist in trouble, it is not that way it does not "work". And maybe he was naive also as he thought that Goodstein had called Bud back to NY just out of love and admiration, it was a business thing that didn´t work for him so he dropt him....

The trouble I have is that I had ordered it as a Kindle Book when it came out, I bought that Kindle thing only for this book, I managed to read it, but later I heard theres a paper edition too, but I didn´t buy it, since I thought eventually I re-read passages of the Kindle, but I just can´t stand reading a book if it´s not a paper book .

I also would have choosen Junior Mance trio. Festivals sometimes was a mess. Especially North Sea where so many good artists played at the same time in different halls. I had that experience once in 1985 at Hollabrunn Festival. For the same time there was Jackie McLean sextet in hall A, Lou Donaldson quartet in Hall B, and Pharoah Sanders quartet in Hall C, so I had to split the performances to see all them three.

I discussed that album last year with a fellow musician and said that the only thing I complain is that there is too little work on the left hand. I mean , you must not bang all them keys only because there are 88 keys, but the left hand should do more rhytmically. The tunes are great, but it´s strange "be bop" is played in C minor rather than F minor, and it suffers from the lack of left hand punctations..... Well, across here I don´t remember there was a big George Shearing following among us musicians and music students. It´s possible that a slightly older generation, who liked comfortable "lounge jazz" liked it. I remember one guy who was more into easy listening jazz praised George Shearing, but in my case my only linke to him is two of his compositions that I have in my repertory: I like to play "Lullaby at Birdland" at a brisc tempo in A minor, or in a more medium tempo in F minor, using block chords in the theme and then building up more and more emotion into the chorusses. And I think I´m one of the few guys around here who do "Conception". Actually there is the original Conception in AABA with 12 bars in the A section, and I play it in Db, which some folks consider a difficult key. Others, like a trumpet player I know play the Miles Davis version in C, with the A section as normal, but a different continuing of the tune with that great pedal point in it. Two listening examples: 1) Conception in Db with the original AABA form: Bud Powell Piano Interpretations, Verve 1955. 2) Conception as done by Miles on "Miles Davis-Stan Getz at Birdland 1950", and "Miles Davis-Tadd Dameron on "Last Bop Session" also at Birdland 1950....

He was one of the greatest, but it´s tragic that he was kind of an unsung hero. I think he was mostly a musicians musician. But everything he did was fantastic, not to forget his great compositions.

I have Prime Design , Time Design. though I am not really into strings other than double bass, I like the theme, the way it is played first by each voice, and then in the harmolodic quartet sound. The Free passages get very much interesting support from the drums, that´s what I like, I always listen based on the drummer´s work. And the ending is also great. The Theme is the same like the "New York" on Ornette at 12.

That´s it. Exactly those two albums are my Wayne Shorter Favourites. I might also add "Schizofrenia" as this was my entry into the music of Wayne when I was a teenie. I don´t have it but as much as I remember it was very late in his live, about 1987. Chet became better and better in the 80´s. I never listened to the albums of the Westcoast and didn´t even know who is Chet until there was an article about him in Jazzpodium in 1978. I saw him the last time late in 1987 and it was the best Chet I ever heard.

This is the only Verve LP of Bird that I really can enjoy, since Norman Granz didn´t interfere with the personnel, it´s a vintage quintet of Bird, very good sound and very fine music. On the others....well "Strings" is not really my thing. The "Bird ´n Diz" , though it has Monk, is also a disappointment with Buddy Rich on drums and the lack of really rehearsed material, the "Perennial" has this Tommy Turk destroying the quintet, the "South of the Border" is somehow....tra la la, and "Cole Porter" is a weak and tired Bird......,

I only heard the "Opening at Caravane of Dreams" one time. Is it out on CD also ? I´ve only heard "Opening at Caravan of Dreams" back then in the 80´s at a friend´s place and it was great. Is it available on CD? I remember there was a lot of fantastic stuff on it, maybe the best Prime Time I ever had heard. There was also one tune where Ornette quoted a Parker theme, maybe "Au Privave" or something like that. And I liked the last track, where he plays violin also. I had that impression that his violin abilities had grown very much since 1965 when he first appeared with it. He almost sounds like a free jazz version of Grapelli. The violin is not my really choice as a jazz instrument, I had known it more as a gipsy instrument, but here it is great.

Great news. I must purchase it.

Yes, that´s some great Brew Moore at his best. Personally I would have preferred another pianist, who has more "melody", it would have fitted more to Brew´s slightly Lestorian style. Let´s say someone like Kenny Drew. Bass and drums very good, Benny Nielsen died too early, William Schiöpffe was a bit older than the others, a very fine drummer who also worked with Bud Powell.

Yeah man ! It´s a wonderful album. I´m lookin´ forward playing with Allan Praskin again in the near future. He is the master ! From the album, I would have liked to hear the last track "There is no one" much longer, cause that´s the thing, really up tempo, based on "It´s You or No One", I love to play such rapid tunes.

I have a Black Lion Ben Webster album with Kenny Drew on piano, which is very very nice.

I once bought a CD titled "Bean´n the Boys" since I love that tune and play it often but there is a lot of young guys who don´t "have" the changes of "Lover Come Back To Me" in their head or were not taught them. The version I have, but I think I spinned it only once, also has "Eddie Costa" on piano. I never had heard his name, it seems he was not very much mentioned here in Europe. I have another Hawk LP with Tommy Flanagan, well that´s of course a piano player I know and apreciate very much. But Hawk really was lightyears ahead of his generation. And that "Bean´n the Boys" is a first class vehicle, nice key in Ab, supposed to be played at a brisc tempo, wonderful with the rite musicians who know it.....

I love to listen to it if I´m really exhausted and need some unpretencious swinging stuff. It´s nothing were you can learn very much from, but it swings and has a happy jam with Cannonball and Dex also. The Rhythm section is funny, the bop veteran Klook with Hampton Haws on Fenderpiano and Bob Cranshaw on fenderbass. It annoyed a lot of acoustic purists, but it was part of the time, there were so much Fender-Rhodes and Fenderbass even for straight ahead jazz. Cranshaw played a lot of Fender with Rollins too, but IMHO he never was an electric bassist, he just played "acoustic" style on Fender. If I hear Fender I prefer musicians who really USE those instruments, not just play it as a replacement for an acoustic instrument. But good Idea, I´ll spin it eventually, only my time is scarce and I listen more to stuff I can "study" if I don´t play myself.....