Gheorghe

Well the tuba is not really among the first five instruments I think about when picking up a band for a gig and wouldn´t be in further time, but I think I had heard some tuba in some Mingus workshops, maybe on the TownHall concert or another larger band , maybe "Let´s my Children hear music"......I think there was some tuba also on "Black Saint and Sinner Lady".

I think that my wife ordered this obscure CD for me as a birthday present. That´s why I won´t listen to tracks now, so that I may have a surprise then. If I remember there are a lot of musicians from the old days with Jackie McLean, Steve Grossman and so on. Anyway it´s strange that Miles who always cursed out his musical past and dissed former musical partners changed his mind. Anyway, also the "post late 80´s bands" sounded more interesting than what happened from 1984-1988. I think in 89/90 he had a great keyboard player from Japonia, it was Kei Akagi and he was more a pianist than a keyboarder, I mean he played like a pianist and did not only push all them buttons to make "musica from the conserva" . That band of young guys and new Miles at least returned to more "jazz" and I think they even cut out them stupid "Time after Times" and "Human Natures".....

I must look if I find the one Tony Scott solo I heard once. Is it possible that it was on some of all those Bird-Unissued Material. I didn´t really listen to much of the stuff, since very often it´s just from one nighters with musicians he was not used to, and sometimes very weak sound quality. Is it possible I heard a long track on some standard , it may be Indiana or Lover Come Back to me, a long track where there is a clarinet solo also ? Maybe that is Tony Scott. As usual with clarinet in that context, I don´t have much love for that instrument, it has a more piercing sound in the upper register, and a more "funny" sound in the lower register . Anyway I think there was such a booklet or something were Bird plays and then is a long squeaky sounding clarinet solo. P.S.: On the other hand, I feel better when it´s Dolphy´s or Maupin´s bass clarinet, that sounds much better to me than the traditional clarinet.

Hello Friends ! Sometimes I need sheet to check out if I remember the tunes and the chords correctly (as I never have sheet placed on piano when I play live). I had registered at sheetmusic but it sometimes disappoints me since you don´t find a tune or you find it in other keys than you might expect. (Like let´s say "It´s You or No One": Though I looked for C-instruments, the tune was in Eb, while usually it´s played just in a plain F at a very rapid tempo) . Or you find "piano music" that means with notation for both hands, which doesn´t help me at all since I only need lead sheet. Are there better sources for good lead sheet, I mean made for playing musicians ? Thanks in avans....

I think I heard this one some years ago. Sure the trumpet player has a lot of technique, but I think I remember he sounds a little nervous, too many notes, not really leaving space. A lot of Clifford Brown Followers did this. Donald Byrd not sooo much, Lee Morgan found his own style very early......, even if you play the fastest stuff you got to leave some space. I think I picked that up at some Metro Station where they had some jazz cds and I browsed thru them. It seemed to be a previously unissued session. The first tune I think had something to do with an animal farm, it had some animal sounds imitated by the horns. My wife heard it and says it is funny. I don´t remember the rest of it, only that it must have been one of the very last dates where Paul Chambers plays. He doesn´t sound as sure and strong like he used to be. I think he might have been very sick already and quite out of work, that´s how he sounds, exhausted, unsure, uncomfortable, and it also seems to be a cheaper bass. Me too: The 1947/48 stuff for Savoy and BN seems to be the best, and the live stuff from the Roost of course. The instrumentations, the solos, the compositions, and Tadd´s own nice little piano inputs, and as an arranger all the stuff he did for the Dizzy Bigband and the Billy Eckstine Big Band. I have the impression that later he slowed down and his compositions got more smooth, I don´t get the kick out of it, that I would get when playing "Our Delight" "Hot House" etc. The "Fountainbleau" is nice, but never really exited me. I like the "Mating Call" better. And the "Magic Touch" sounds more like a ghost band since Tadd obviously was very sick already and couldn´t play himself. And again a lot of the tunes are more a smooth easy listening.

What´s the title of this album ? I never saw it. Was it for Timeless ? I regret I didn´t see the Liberation Music Orchestra when they played in Hollabrunn near Vienna in 1985. It was a 3 days festival and due to other commitments I had to cut out sunday, the third and last day, so I missed the only occasions to see a late version of the "Modern Jazz Quartet", and the "Liberation".... I love it and bought it when I was 18. Such a great session with Griff + Davis´ musicians.... Around that time some older guy acquainted me with the music of Wes and I bought some of his albums, among them this one which is the most interesting....

I must admit I never bought the BN unrelease or rejected sessions or tracks too happily. The first CD pressings of the classic BN albums didn´t have so many alternative tracks and the Japanese CDs never had those " bonus tracks". Maybe I´m alone with that opinion, but for me there is much enough BN material that was considered worth for issuing when it was the time it was recorded. As for Kenny Dorham: I have his earlier BN albums with the original Messengers, the Afro Cuban album and the live album at Bohemia. The next album that really fascinates me is "Una Mas". I later bought the "Whistle Blow" from the early 60´s, but not because I wanted to buy it but it was in the last days of record shops and some guy showed it to me and I thought, ok Paul Chambers, Philly Joe Jones, why not. But it was too much like the typical hard bop albums of the 50´s , and the early 60´s already was the time for other movements, so after one listening I think it is somewhere...., while "Una Mas" with Joe Henderson and Tony Williams is of much more interest for me. So there is little chance I might hear an unreleased session, even more because I read a lot of comments here that it was not a good session with musicians not in best form, and to study their music I prefer to here them in a fine playing mood.....

It was a date in 1985, I think an album where Woody Shaw was accompanied by and Yugoslawien Quartet of ts, p,b,dr, and they were very good and so nice people, but when Woody rang the door he started to make fist movements against Max Bolleman and in the studio he said that Max Bolleman is an racist. He was completly unruly when it came about blowing into the mike, he just would blow into a dead mike. He threw his cigarette ends on the floor or stuck them on the ceiling and with him was a junkie woman, who threw all the toalet paper into the toalet and than watered the hole studio and thought it´s a joke..... and Max Bolleman says it was a miracle that music could be produced and it was mostly due to those nice albeit embarrassed men who played with him. I had seen Woody Shaw two years later at jazzland, and though he was not as irrascible, he caused enough trouble and left a lot of people in embarrasment....

Must be very interesting. Rouse is one of my favourite. It would be fine to hear this. Especially for hearing Monk´s music in a maybe more modern context where you hear the instruments, especially the drums and also the bass better than on the original BN record. The original BN-Monk records have such a terrible sound quality, I didn´t know that in the late 40´s right sound recording still was so low standard. It sounded like in a haze, and like you put a mike in front of an old gramofon and re-record it on audio caseta. I like to play Monk tunes my self and Epistrophy is a favourite of mine. It´s such a fine and logic construction of that tune. This was really Charlie Rouse´ last concert. I didn´t know he died so early, he really looks fine and healthy on that cover.

I like Brew Moore. I have some of him as a sideman with Maggie, with Machito and with Miles from the late 40´s - early 50´s, and then I think a double CD live on Steeplechase......., As a pianist I think it was a very comfortable thing to play with him.

oh them album covers of that time 😄 I only have the Miles and Horns. The Side One with Rollins is very fine and has immortalized the blues "Down", which he also played live at BL. Side II I think is that stuff with Cohn and Zoot, composed by Cohn, well it´s nice and "tasty", but maybe a bit to much like tunes for an old "show orchestra". But beautiful solos. Somehow "Peckin´ Time didn´t become a favourite. I had great expectations when I bought it in the States/FL in 1999, but I think it´s the drummer Charlie Persip, who is more a big band drummer I think. He also ruined the otherwise fantastic 1953 Mobley-Benny Green live set, where he plays a very old Gene Krupa styled drums with 4ths on the bass drum, so covering completly the bass lines......, it just goes "doof daff doof daff" all the time.

Yes that´s cool. I found it in a second had record store in the 70´s. I think it became a bit a model for me for playing solo myself. I love the way Monk plays stride, even on his own compositions like he did on his last album in London. I learned a lot about the use of the left hand from listening to Monk.

I have not heard about Tiny Parham. Timeless ? I had thought Timeless is a label of more modern jazz. But I know the "Chronological" since I bought one that is Fats Navarro with all his Savoy Records as I remember. But they are lousy, they sent me the right CD, but the cover was Jelly Roll Morton (?????!). I had my younger boy make me a paper of the original Navarro logo and I glued it over the Jelly Roll Morton cover. I was looking for other Chronologicals but it was mostly stuff I already had. I think I have one other with Eddie Lockjaw Davis, also Savoy sides.....

Strange but true: I didn´t know about "Karma" before 2013, when I heard him perform "The Creator Has a Master Plan" and told my wife about it. And one of my birthday presents was the Karma CD. Well for my wife, the beginning of the song was okay for her, but she left the room and closed the door when the free passages started 😄

He sounds much better on this occasion than the video from summer. Really astonishing. But why did they let him sit alone on stage for so long time ? He still has astonishing power from the moment he blows his horn and listens to his fellow musicians, but seems to have that really lost and vacant look on his face while not playing. How he sits, the position of his head and his look reminds me so much of a cover photo of Bud Powell. By the way: This is on a Paris Studio album, but not the original cover, and I´m sure it was made later than his Paris sojourn. Maybe at Carnegie or Townhall in 1965 ?

When I was for the first time in Turkey in the mid 80´s (it was still comfortable, not so many hotels like now), I was quite astonished how many younger people love jazz. The simple early "try" of a holiday resort with some spartanical constructed "bungalows" had a big hole in the wall were we slipped out and there was a little improvised "bar" for locals, where we´d go and the guys were eager to talk jazz with us. One of them knew Mr. İlhan Mimaroğlu personally. He had a house in that area. Also Ahmed Ertegün had a big house there. And in that wonderful small town "Bodrum" was a mini-jazzclub with all them great albums, Trane, Rollins, and at that early time of CDs it had CD only and the best equipment for that time. Really astonishing in a relative poor country as it was then. They urged us to come to play, they wanted to organize a festival for the following year, but it didn´t happen, and the logistics would have been a mess...... My "new to me" faves of this year was not necessarly jazz records since I don´t have that much time to spin them, and in my case my favourites were new, young musicians, who attended jam sessions at the wonderful Viena jazz club "zwe". Most of them are students at the important jazz schools around here and some of them are really hot and it was a pleasure to get to know them and play with them. The most astonishing "discovery" I had was in summer, when quite "out of nowhere" an alto player came down with his saxophone. He was very very heavy, I think Fats Navarro would have been slim compared to him, and I invited him on stage and oh oh, he was FANTASTIC. His sound reminded me of Jackie McLean and also his approach to the tunes. And like McLean he would start let´s say a bop tune in a more conventional manner with that wonderful "sharp" tone and would burst out, in a highly emotional way. It was heaven on earth to have this unknown guy on stage. We all hurried up to him during intermission and asked him who he was and he said he was from the States and just passin´ thru Viena, obviously on holiday, doin´ Europe and looking for clubs where there is jam sessions. The few records I bought was mostly from fellow musicians to dig some of their tunes that I liked....but there will be my birthday and it is not excluded, that my wife ordered some albums I may have talked about......, I always like those surprises.......

Thank you so much. I think about that time, early 80´s there was also a DB-interview with OC. I was a DB subscriber from the 70´s into the late 80´s I think.

I´m a big fan and the LP "Live at the East" was one of my first "jazz" LP´s when I was still a teenager, I still have it and thought to ask Mr. Sander to sign it for me, telling him how much I love his music since I was almost a kid, but somehow he looked like a man who wouldn´t like to be bothered with mundane stuff like this. Though I had the album with me when I went to his last concert in Viena, I went home with the LP un-signed, but with all that wealth of music in my head, which is the most important and durable thing.

oh thank you SO MUCH ! That´s it. you really helped me a lot. Best regards !

Thank you both so much for answering to this thread. I got the CD from Amazon, or from discogs I think. Maybe it can be ordered also on their homepage, "worry later" or directly by the label.

At many studio recordings "my main problem" is that I don´t hear the drums work completly. I´d have to get very close to the speaker to hear let´s say the ride cymbal. On live recordings I usually hear the drums how they would sound live.

Thank you for that info. I didn´t know that. I can follow that it is used in ensemble passages, but soloing it really sounds strange. Anyway, the two non typical BN-Artists on recordings, (Mellé and Montrose) somehow sound a bit "funny" to me, it sounds a bit "colder" than I´d say Mobley, Rollins, Trane, Griffin and all the others from the same period 1956 sounded.

Oh I see. What I heard is that he sounds good.

I also have the first VSOP where there was a Concert of all the Hancock groups, starting with VSOP, followed by the sextet with Buster William, Billy Hart, , Maupin, Julian Priester and Eddie Henderson and the funk band with Wah Wah Watson. The studio album V.S.O.P. was a bit of a disappointment to me. The recording quality, the bass is too loud, and somehow it doesn´t have that fire....the tunes not so exiting...

I think I have this somewhere, this might have been very very long ago, it was that short lived label from Bruce Lundvall. As much I can remember it would be some of the best Bud Powell live ever, but something was with the soundquality I mean I´m no audiophile but I think I didn´t hear Mingus´bass and it was too sharp or too much treble, so it was a pain in the ear. But from the playing it was about the best tunes and best solos he played. And above all because it was a dream team with Mingus and Roy Haynes, If I remember right there are some really fast tunes on it like "Salt Peanuts" "Little Willie Leaps" and a fantastic version of "Woody´n You" if it is that record. But I listen very seldom to albums without horns. Massey Hall I know too well to hear something new, but maybe I might make an exception to spin this one at some point, if I can catch something I had missed. It was a favourite of mine when I bought anything that had one or two members of the original Miles quintet, since one LP with the original Miles was my first jazz listening and like maybe Beatles fans might see each member of the band as their idols, in my case it was besides Miles the other players of that first quintet. And I already had dug some of Tadd Dameron´s stuff. This I think is the last real Tadd Dameron album. "In a Misty Night" became something like a "mini hit", a catchy tune, many fellow musicians like it and at least I heard it played live by Pharoah Sanders..... I think I had it on a Double LP of Miles that had "Round Midnight" on the first LP. It´s a good album with a wonderful version of the title tune, I think there is one walking blues on it and one stuff similar to the Flamenco thing on KOB. But in general this was more a transition period for Miles, it took 2 more years to have Tony Williams, my favourite drummer.