Gheorghe

Yeah, they are fantastic. Disc one is the so called "Onyx Band" from 1947, which recorded also for Savoy, and Vol. II is the "Royal Roost" band on Side 1, and Side two has Bud´s Modernists (IMHO one of the best bop sessions ever ) and that fascinating Fats Navarro-McGhee "Double Talk" and so on. I think McGhee also became a BN artist then.

This is the band I saw live in the late 70´s . Just wonderful.

Totally agreed. Leviev maybe is not the first rate swinger and I heard that Al Foster refused to work with him, saying that the way he plays is not his (Al´s ) music. I like his solos mostly on two tracks he did with Pepper: On the long "Make a Wish" or how it is called, and on "Your´s my Heart Only". Otherwise I love the things with George Cables. I must admit in the time I "learned" jazz, Art Pepper was not very much mentioned. I saw him only one time in the year before he died. I was not very happy when I read the book of "Stuck to a Junkey". Somehow it´s mostly about a musician who still has something to say, but away from stage is quite a dumb junkey and alcoolic. It seems that his brain was so blown away with coke that he couldnt even remember a set list or when together with let´s say Zoot, he didn´t understand when they play both, when he plays without Zoot and when Zoot plays without Art....... Really sad. It seems that looking for drugs and booze really destroyed his intelectual capacity and sometimes his improvisations are quite repetive, maybe it even impaired his creativity . I can enjoy a lot of those widow taste albums but I must not look at photos with him.

Oh I didn´t know that, so I bless the technology to help you to create more stuff. With admiration: Gh.

Ah that´s it, I remember ! It was a blonde actress if I remember right and yeah she sang. But I didn´t even know it was about Loretta about whom I hadn´t heard until now....

I saw Gary Smulyan with the Woody Herman Thundering Herd in the late 70´s I think. Such a great bari player. Fast company here also ! My trumpet player did play with Gary Smulyan !!!

Well, the music is really what could be played in a let´s say Pharoah Sanders memorial concert, I mean with regular instruments and of course a saxophonist who might continue with the message of that master. About composing, I couldn´t do it with all them modern equipments. I had to play some electronic keyboards when I played in a jazz-rock/funk band, but my love is natural instruments. I didn compose the one or other tune, two of them even got radio playing during the time they were recorded, but for composing I never composed or compose from the piano, it just comes, it be that I dream it and remember it when I get up, it can be if I´m just walkin´ around, anything. Than it´s in my mind, with the chords and the way I want to have it played with a group. If I think it´s fit for being presented, I ask a fellow musician who can write, to write it down, since I only can read some sheet music (if I know the tune by ear), but writing is not possible with my rudimentary knowledge of written music.....

I´m not really familiar, but wasn´t "coalminers daughter" a film ? About a girl who wanted to become a singer ? I saw that film many many many years ago in România on TV, the romanian title is "Fiica Minerului" and it was shown with subtitles. I remember though I don´t really like country music, there was some very fine stuff, somehow else than the usual country, there was something that sounded like if it had some jazz or blues also in it ..... very fine. That´s how it was, you could see subtitled films, mostly older films.....

It´s possible that I was at that perfomance, but maybe you should have stayed longer, it became better and better in the course of the evening.

Hi, did you see Pharoah at Porgy & Bess several years ago ? I think it was the last time he was in Viena. Also in Austria, he played at that Festival somewhere in Upper Austria, where that Farmer and Jazzlover Paul Zauner always organizes Jazz Events.....

Great schedule, have wonderful gigs. Who´s playin´ with you ? What kind of repertory ?

That´s it ! I even HAD couples from the audience dance to let´s say "Polka Dots and Moonday" etc......, it´s not usually for jazz nowadays but nice, you see that the music reaches people in different manners....... and wasn´t one Hank´s Mobley original titled "My Groove - Your Move"......?

Just have listened to it ! Is this synthie in studio ? Anyway, it is something I can imagine very well and it has the spirit and message of Pharoah Sanders in it. You almost can feel when Pharoah comes in and starts playing. I just imagine this on stage with a live band with piano, bass drums and percussions and maybe a small vocal group, laying down the mood for a while and then Pharoah..... he would have appreciated it ! Thanks for sharing !

Oh yes, my almost 50 years favourite. My copy looks very very used, very old, with all them white spot´s on it, that old LP covers would have. All my LPs look that way ....

You are right: While the jazz standards and originals would get faster and faster, they few ballads got slower and slower. Is it possible, that this could have been a kind of "emancipation", I mean you get away from the original speed and feeling of a song ? In the 40´s and 50´s ballads usually where played in a "slow fox" manner. Monk kept that as long as he played until the 70´s . And if you hear the Messengers do an "Ballad Medley" it´s the same. I suppose, ballads initially were meant for singers, and no singer would do "Valentine" in such a slow tempo.

From Tyrol ? Hope it´s a vacation, or did you move back ? Different Concert......might be worth listening, though I wouldn´t buy it, if I bought all them different concerts and venues where Mingus played with Dolphy and Byard 1964, I´d have to eat "Grammeln" (kennst den Spruch von anno dazumal: "5 Schilling für die Schrammeln, und morgen ess´ ma Grammeln") ......

Hello also from a rainy day Viena * Yes, I knew the story about Sue Mingus stealin´ records from record stores, Well a quite arbitrary way of rezolving the "problem"... About the record: Well, I think the "Great Concert of Mingus" in Paris 1964 with Dolphy was reissued hundreds of times. As most European jazz fans I had the America 3 LP set of it. I remember I got it just gratis from a guy who acclaimed that he "likes Modern Jazz" but couldn´t do nothing with this. When I was at his place he spinned the first section of "Parkeriana" and when the bridge with the tempo changes and potpourrie of varios other bop themes came, he stopped it and said "they completly crazy, this is not music", and I thought right now it´s becoming interesting and said I like it and he gave it to me, and it would be my second "jazz LP" in my life and settled the pace for my further musical developement..., I hadn´t even heard the name Parker at that time and hadn´t heard so called "Free Jazz" yet, so this became the starting point for my further musical explorations.... The Photo of Mingus in Tunisian wardrobe is well known and it is also in Sue Mingus´ book. I would have liked to hear something from the music they had played down there. They say it was the seeds of his further mega-work "Three Worlds of Drums", with its oriental flair..... * A propos rainy day: Good idea for a song to play. Gotcha do it as a first tune on a gig when it rains "Here´s that rainy day"...... nice tune....

ad a) yes you are right, ballads became much slower in the late 60´s , maybe as a contrast or as you say for a slow rubato between Miles and Chick and before that Herbie. Am I right if I noticed that starting at a certain point ballads, even if they were standard ballads would be played slower and slower. Right now this week I heard a usually fast trumpet player doin a very very slow version of "Darn that Dream". In my case, I also played ballads at very slow tempos, but somehow when I play a ballad now and I love to play a ballad, I always have the old vocal versions in mind, which never are that slow, because even the best singer get´s out of breath I suppose. ad b) yeah "Spanish Key !!!! Fantastic ! But if my memory is right, that "Neo or Teo" thing also changes the key from f-minor to D-natural (but in that Spanish mood). I have not listened to it for ages but I think if some guy on stage might call it, it can be played very easily..... The Flamenco Scatches from KOB I remember is very very slow, I had bought KOB when I was 16 or 17 but at that time I liked only "So What", "Freddie Freeloader" and "All Blues" though I had heard the 63/64 faster live versions before and liked them more since I was such a fan of Tony Williams..... Last thought: I remember somewhere in 2008-2010 or so was the 50years aniversary of KOB and I just visited my Mother who was 88 or so at the time and she always had those very little transistor - radios that she hold to her ear, and she holds it to my ear and says: You hear this ? It´s wonderful ! And it was the Flamenco Scatches.....

"Thembi" is a very fine album, and along with "Karma" one of my favourites. But personally I will always stick to "Live at the East" also on Impulse! as my favourite, since it was my first Pharoah LP almost 50 years ago ! And by the way, it also has that irresistible groove on the first track. This kind of thing was Pharoah´s trademark ! It´s strange that Miles was so rude in his interview with Leonard Feather that when he was asked what Pharoah Sanders´ music says to him, he answered "It doesn´t say anything to me since Pharoah isn´t doin´ anything. This is really a quite dumb remark, since Miles was too astute to not have an open ear for all kinds of music. Well it was his "trademark" to diss others, but in my case not to his own advance, as much as I love Miles. I´d say, Pharoah´ message has also to do something with some religion. Being completly innocent when it comes to religions - I don´t have any - it was not en vogue in my youth or in the youth of my parents - , I still get some feeling here that something could be somewhere....

Right, I couldn´t mention a slower live version. Maybe Dexter in later years: While ballads in the past mostly were done in a tempo similar to the popular singing version, later many musicians or musicians coming into age slowed down and some of his later live ballads were almost "standing time" so slow they were. But usually that´s true, live versions always fast: One example: I heard Mingus ´ Atlantic Albums from 1974-77 and also saw the live performances, all of it was much faster. "Remember Rockefeller at Attica" is fast enough on LP but really fast live 1975, Three or Four Shades of the Blues is much faster on his 1977 European tour, and there are many more.....

oh thanks for information @mikeweil , so it was not with combos, I understand.But teaching and accompanist for dancers is also a hard job. I have a full time job (and full time doesn´t mean from 08.00-16.00 only !!!) and try to do music if not dozens of gigs at least selected gigs with really good professional musicians. No carbaret card no union member (joke ! )

I don´t like to bump old threads but it just came to my mind that on tuesday I talked on phone with a great altosaxophonist, who in the 60´s was a recording artist for E.S.P. and if I remember right, there were some postings from Bernard Stollman that I think were deleted later, where he told his version of the story of the "Ups ´n Down" session, that he produced it but didn´t think it would be worth for release and later gave the tape to someone so years later it was released on Mainstream with wrong recording dates , wrong personnel and wrong liner notes (quite astonishing since it was written by no one less than Nat Hentoff). I asked the guy if he knows that Stollman then was "Bud´s Manager" and the response was "Stollman would tell anything.....period". So there still is mistery about it.......

Though I´m not very much "vertraut" with the work of Cal Tjader (I think I heard one "Stan Getz with Cal Tjader" on those french label "America" jazz LPs, I admire you for the huge amount of time it took you for that immens work. Since I think or deduced that you an active musician and teacher also, it must be a 24 din 24 hours of work.....

I don´t know what "a tube swap in my ZROCK2" means as a complete incompetent if it´s about technical or electronical things, but I´m glad you listened to "Filles De Kilimanjaro", which is one of the greatest Miles Davis albums of the 60´s I think ! It has a historical importance and back then a few years after it was recorded, we bunch of jazz kids would listen to it in context with the more contemporanous "Bitches Brew" or "On the Corner". If someone had the record or at least a cassette tape he was the "star" of the group and the others would come and visit and listen together. We didn´t know how to pronounce the french title "Filles de Kilimanjaro" and said it in the german phonetic pronouncing "Fill-Les deh Killi-Mann-Ciarro" or only "Fill Less" (for the french filles) . And the usual question was "hast Du schon die Fill-Less" (do you already have the "filles"? ). As an album it is that great transition from the "second quintet" to the now so called "lost quintet", but the music was not played live I think.....)

In the early sixties, Miles played a piece similar to "Flamenco Sketches" calles "Teo" if I remember right, anyway it was a Spanish Mood and I think I heard it on some live Miles. I must admit the first "All Blues" I ever had heard was on a then en vogue sampler "Miles Davis Greatest Hits" and it was very fast. So when I heard "KOB" I was astonished how slow the tempo is on "All Blues".