Gheorghe

Yeah, this one. That´s what I heard. I love that album.

Yes, quality musicians . Well all the musicians he played with were great, but for a strictly jazz lover like me the period with saxophonist Bill Evan, with Mike Stern or John Scofield and above all Al Foster was much more interesting than later the musicians, who didn´t really have links to so called "jazz", and when the Miles Concerts became more kind of "shows" of a parody of himself. While others said, that Miles in 1981 didn´t have strong chops, I find that that whole stuff on "We Want Miles" sounds much stronger than later all those endless versions of "Time after Time" and "Human Nature". One exception was the show I saw in 1989. With a really virtuoso keyboardist Kei Akagi with deep jazz roots and the more "jazzy" repertory from "Amandla" it was much more interesting than what I had heard fom 1985-88, and I think I saw Miles each year until his death and had seen him shortly before his 6 years hiatus when I was only a teenager....

yeah, Big Beat Steve, I didn´t expect her sounding boppish, but don´t forget the Mr.B. album was the first time I heard her name. Sorry to say I didn´t see the movie. Ballad and bop as you mention, that´s very important, I love to play ballads and bop is much more than Bird´n Diz or so, besides the voice of Mr. B I always did like the voice of Johnny Hartman, and with some amusement the "slightly doggish" voice of Kenny "Pancho" Hagood. And no question , of course Sarah during that time.

I first heard about her when Ernie Bubbles Whitman announced her sittin´ in with the Billy Eckstine Big Band, I think the tune is "´Deed I do" . Well it is not as boppish as the rest of the recordings, but we always enjoyed it, when that Spotlite album "Together" came out.

I never heard Zoot live and might admit, that during the time, where most of the musicians discussed here still lived and were active on the scene, Zoot or Al would not have been my main interest or in general among players of any instruments over here in Austria. Trane was the thing even long after his death, and Rollins was a model for budding tenorplayers...., and I also fear that Zoot was only a smaller amount on Pablo, who had the "big heads" Oscar Peterson, Ella, Trumpet Battles and so on. On the other hand I saw Al Cohn live when he maybe was under contract by Concord. Well Concord was another kind of thing, also very much based on then contemporanous mainstream - swing. Xanadu was much better, but I think I only have one record where Dexter is combined with maybe Al Cohn or Zoot Sims and maybe a rhythm section around Barry Harris I suppose..... The Al Cohn I saw and heard sounded very much like he always sounded and as @Peter Friedman describes it as in the vein of a Jewish Cantor. But on that settling Al Cohn was combined with Scott Hamilton and Buddy Tate and I must say I listened more to Cohn and to Buddy Tate than to Hamilton for some reasons and still would do so. Actually that was a Woody Herman Allstar Gathering, the only time I saw Woddy Herman with a small format (well I think it was a septet). Nothing special or exiting musically speaking, but fun..... And as I said, the first Al Cohn - Zoot Sims I heard was that "Miles and Horns" Session which is more Al Cohn (who composed all tunes). They sound nice but remained a curiosity in my few Miles albums I had then .....,

I don´t care so much for all that stuff Lou Donaldson said on stage, and dissing Free Jazz and so, but as a player, he is really a teacher. You listen to his phrasings, and very much of the stuff is really right so you don´t have to let him say all his stuff, you better listen or listened when learning, and find the answer in his playing. He got it all, the sound, the rhythmic approach, the phrasings, the knowledge of harmony and all.

Really wonderful to have this 2 CD document of the earlier version of Dizzy´s Big Band. Well, Monk was replaced shortly afterwards by John Lewis, but I think that edition was the one which is also on "Jivin´ in Bebop", the fine film. This was shortly before Dizzy got Chano Pozo and included more afro-cuban material, like "Tin Tin Deo", Manteca" and so on.....

At first hearing and still an unexperienced listener it was hard for me to tell who actually plays a solo. I have Miles and Horns, which has both of them added, mostly Al Cohn compositions. And I have something like a Tenor Conclave on Prestige, with Trane, Mobley and them both. I think at some point it was easier to identify each of them by close listening. In my opinion Al Cohn has more the tendence to bend notes and play in a more "singing" mode, while Zoot Sims sounds a little more "boppish", it seems that he had some more Bird also in his playing. They all sound fine to me, As much as Brew Moore or Allen Eager, and Stan Getz maybe was the most individual, most constant and most flexible and most famous of them. I would have liked to hear some more Lester Young with so called "modern" rhythm sections like one on Musidisc I think from the Roost which has Roy Haynes on it. I wonder how he would have sounded in the 50´s with some rhythm section like Red Garland, Paul Chambers , Philly J.J. or Art Taylor. Lester might have sounded good also with a 40´s rhythm section like Al Haig or John Lewis, Tommy Potter and Max Roach I think.....

You welcome: In the case of Woody Shaw, he was THE trumpet voice of my late teens to the mid twens. He was on the cover photo of DB and featured with a long interview and I swear I didn´t know about his drug problems. From the music, his very very intellectual side and the cover photos of him with his father and his baby son he looked like a healthy, successful man at the peak of his power. I didn´t even now about his problems about loosing sight. So I was quite astonished, when in 1987 he was booked into a local club and not a concert hall, as single artist with a local picked up rhythm section. I was early and he sat at the bar and drunk numerous little bottles of "Jaegermeister", a digestive alcoolic drink. I couldn´t count them. When the set started, he was led on stage, where he threw his cigarette end on the stage which he did during the whole set. The playing was mediocre and quite uninspired compared with what I had heard live or on records a few years earlier. It was an embarrassing evening and hard to listen to or to look at Woody. I think he died shortly after that, and like in case of Chet Baker, it was under most tragic and misterious circumstances. Shortly before he left Europe and went back to the States, there was an announce in the german Jazzmagazine "Jazzpodium" that a bank account in Elvetia was opened for donations for the seriously sick Woody Shaw, who was unable to play......This was only a short time after that sad gig in 1987 in Viena.

I saw them live, it must have been early 1983. In Vienna it was the complete quintet with Steve Turree. That band with Turré , Miller, James, Reedus was one of the best steady working bands of the early 80s. I think it lasted quite long but I don´t know when it disbanded. In my case it was only one set, since it was a Summit Concert titled "Bebop Supernight" and the first set was Johnny Griffin, the second Woody Shaw and the third a very disappointing Dexter Gordon, who let the trio play some numbers and came in late, it was embarrassing, even more since it was advertised that Griffin-Woody-Dexter would continue as an All Star Bonus.....didn´t happen... @sidewinder : Yes it must have been the same schedule, Early 1983. Strange that in Bremen Steve Turré was not present....

great joke

Mulligan was a very flexible guy. I must admit I don´t really have the stuff that had made him famous, I mean those things from Westcoast Jazz, but to hear Mulligan with others was always fantastic, this one with Monk, the dates when he sat in with Mingus (it seems they were quite close in Mingus´ later years), and one special event with Dizzy (Dream Band in the early 80´s I think") where he plays the quintet numbers in an all star setting (Diz, Mulligan, John Lewis, Max Roach or so). On the Monk date I especially love "Midnight", "I Mean You" and that fantastic "Sweet and Lovely " . And LISTEN to Shadow Wilson !!! He was a master, underrated, but he swings like a whole Basie Orchestra !!!! I love it. I bought it among my first batch of LPs when I got some money from my father for good high school when I was a teenager. I was mostly lookin for the few musicians I knew (Miles, Trane, Mingus) and since it had also Philly J.J on drums, I bought it. I had heard some Dameron with Miles before. In my case it was a red album cover with a large black white photo of Dameron at the piano, and it was titled "Tadd Dameron with John Coltrane". "On a Misty Night" is a very nice tune, I heard Pharoah Sanders doing it live.

Yes I remember that he had played with that orchestra.

I also have those two on a CD, but I think there is not the Fats-McGhee Encounter on it, The Navarro-McGhee if I remember is on the Fats Navarro album under his own name. But that Allstar bop session led by Maggie is vintage bebop at it´s best. There was also a McGhee Vol. II, but it sounds else, it doesn´t have that power though Horace Silver is on it. And I think on the side B is a guitar duo, that plays super fast, but doesn´t really move me in the same manner like let´s say a Kenny Burrell or a Grant Green......

It´s a wonderful album. I think I love Jackie McLean´s sound most, from all alto saxophonists, maybe there are other listeners who like other altoists more, those who have a more mellow sound, but for me McLean is the ultimative sound for my tastes. Sure I´m listening more to things like "Let Freedom Ring" or "One Step Beyond" , but this little standard record is so fine and has such a good rhythm section. And I think there are not many musicians who play "Let´s Face the Music and Dance". If I remember right, it has Walter Bishop on piano. I think I listened to it mostly together with Dizzy Reece´s "Sounding Off" which is another very fine record of standards also with Walter Bishop. I must look where I have them, maybe when the evenings will be longer or I got some time off, I´d spin it again, but I fear the list of records I´d like to re-listen is dozens of times longer than what really will materialize.....

The Dexter box must be good, I heard the CBS-All-Stars in Montreux and it was great to hear Dexter or other acoustic aera giants combined with first hand masters of electric jazz like Bob James and George Duke, Billy Cobham and so on and it was nice to hear fusion-associated musicians playing straight ahead and on the other hand hear a Stan Getz doing Night Crawler with Bob James.... I remember those times very well, the slow resurection of acoustic jazz just at that beginning opended space for such "marriages of acoustic and electric", you also can hear it on stuff of J.J. Johnson-Nat Adderly combined with people like Billy Childs......just wonderful, and quite overlooked now.....

I have a Turntable for the some LPs I still have and it has USB so I save them on an USP stick and play it while driving longer distances. My Turntabele is a DENON like all my stuff, my CD-Player and Tuner. I saw that my Yamaha pianola also as an USP, but never tried it, maybe I could record something I play.....

I love it. I bought it among my first batch of LPs when I got some money from my father for good high school when I was a teenager. I was mostly lookin for the few musicians I knew (Miles, Trane, Mingus) and since it had also Philly J.J on drums, I bought it. I had heard some Dameron with Miles before. In my case it was a red album cover with a large black white photo of Dameron at the piano, and it was titled "Tadd Dameron with John Coltrane". "On a Misty Night" is a very nice tune, I heard Pharoah Sanders doing it live. I think this was my first album under his name, but after having heard him for the first time on the "Night At Birdland" with Blakey, Fats, Bird etc. I was a bit disappointed since the solos on the live sides with Bird and Co seemed to be more exiting to me. When I saw the cover and that Ray Brown and Max Roach are on it, I was a bit disappointed that you almost can´t hear them. But Norman Granz seemed to have his own ideas how a trio setting must sound.....

The Coltrane with Milt Jackson.

A very nice record. I got it from my wife last year for birthday or chrismas as she had picked it up from the Saturn store where maybe she bought something else but was a place where CDs were offered, and so she guessed that´s my taste and she was right. It´s a nice easy to listen album.

I´m not such a fan of the many organists that came after Jimmy Smith, or those quite similar BN albums from the 60´s with focus on "boogaloo", but THIS one I like, mostly for the strange frontline of guitar and vibes, and the tunes. Especially "Turnaround" is very very catchy.....

In my case the first "jazz" I ever had heard was the "Steamin´" LP It had another cover than the original Prestige, and was available in the early 70´s. Before that I had heard an Oscar Peterson at some other peoples place but when I heard Red Garland soloing especially on those medium tunes "Surrey with the Fring on top" and "Diane" or the ballad "When I Fall in Love", my impression was that this is real music, so for me as a starter he was the perfect pianist and I could hum all his soloes along with the LP. On the other hand, I didn´t have the same feeling when it was only a trio album. My favourite Garlands always have been the sideman recordings or those recordings, where he is the leader but has other hornplayers too like let´s say Trane and Donald Byrd or so on.....

I don´t know the lists and the numbers of the volumes, but in a form discussion many years ago I remembered that I had heard Art in 1981 at Wiesen and that he played "Your´s my Heart Only" . @soulpope pulled my coat to those two albums "Croydon" and "Stuttgart" since they have that tune on it. Austrian Press and Radio/TV and audience didn´t know then, that this was in Pepper´s playlist of the 1981 European Tour and had thought that it was his reference especially for the Austrian audience, since the tune was composed by Austro-Hungarian composer Franz Lehar. So even in the german Jazz Magazine, the review of the festival stated that Pepper played that Lehar Tune "for Austria".

Stormy Weather ! It´s not exactly my repertory on gigs but once I thought if there would be a request in that direction I might at least try to play it at home and I did. I didn´t even know that Red Garland recorded it and on the other hand I love to LISTEN to Red Garland, but only to enjoy it, not to try to copy him. But the really STRANGE thing is that without even knowing that Garland played or recorded it, when I played it (no sheet, just knowing the tune as common knowledge) I found that automatically it got into a thing that reminds me of Garland, I mean with them chords and light touch in the higher register.....

Yes , the "Blowin´ in from Chicago" is wonderful. I had it on the BN brown paperback double LP series under the name of Griffin "Blowing Sessions" and the second LP was the "Blowin´ in". Maybe in those days I paid more attention to the first LP because of Griff-Trane-Hank-Lee Morgan) but the "Jordan-Gilmore" is really a treasure. I think Gilmore also recorded later for BN, maybe with Andrew Hill. Sun Ra his major boss had a humour side on Gilmore´s playing outside the Arkestra and it´s reported that once he said to Gilmore "A little Bird told me that you did Birdland last night".....