Gheorghe

Usually I´m only into music on this forum, but being a fisherman also (my second live long passion) I noticed the rainbow trout. But you are not supposed to grab it that way That´s what I meant about the rainbow trout

I don´t think I have very very much Zoot. The first time I heard him on "Miles and Horns" on those things like "Tasty Pudding" , then I liked very very much the "Tenor Conclave" with Trane, Hank, Zoot and Al Cohn....., and the biggest surprise for me was that set of Zoot with the Bud Powell Trio at Blue Note Café in 1961 or 62.

Another question in the same context: I have noticed that some of the board users listen for days or even weeks to certain kinds of style or musicians, like @HutchFan he listens for longer periods to female singers like Carmen McRay and others, before that for a longer period to latin music . So my question: Do they decide that they want to listen for longer periods to music under a certain motto ? I tried it that way a long time ago, to listen to let´s say all BN recordings of Lee Morgan or Hank Mobley or Jackie McLean or other BN artists, or once around Bird´s Birthday to all the Bird records I have......but I stopped it. First of all because I don´t have the time to listen to many records, or if I have time I sit down and play myself or my mood switches from one day to the other so I don´t want to fulfill a series of listening to one artist or one style, if I´m just in the mood to listen to somethin else. I might listen one day to let´s say "Ascension live" and decide the next day I will listen to some other more open Coltrane like "Village Vanguard Again", but the next day I come home and might say hey now I want to listen to some Mr. B and the Band (Billy Eckstine in the 40´s ) and say well tomorrow I listen to this or that, but then I feel another way and decide to listen to some easy stuff like "Soul Station" or something like that....

What tunes are on that album ? Fine photo of Bud. From the Golden Circle 1962 I think....

I still have the old cover with that pop art like on Bitches Brew and might spin it again. There were also some short studio pieces on it, and one of the surprises was that he used Ron Carter again for a kind of ballad I think that it was titled "Little Church". And the strong Keith Jarrett on it. This was the first time I had heard the name Keith Jarrett and when he came to Viena in 1975 I had thought that might be some funky stuff. I think Steve Grossman was on sax on the tour band 1971. I think on the last piece there was a man´s voice who made some statements....... Anyway you know how that went. We all bought the next Miles album. Bitches Brews, then Live Evil, then On the Corner and the live thing "In Concert 1972", then the "Get Up with it" and "Big Fun" (of lesser interest with the exception of Ife") , and "Jack Johnson" was lesser known, but really strong and fine... So I wouldn´t say I am a collector, but I was there when those albums came out and were bought, listened to and discussed .....

I like Brew Moore. Even if he was not among the most famous and successful musicians, though he was strongly influenced by Prez, he could hold his own on bop sessions with really fast company as Bird, Miles, Fats, McGhee, J.J. Johnson, Bud, Max Roach, Blakey Machito. His solos on the AfroCubop sessions (Spotlite Label UK) and "Miles Davis-Last Bop Session 1950) are fantastic, as his Steeplechase recordings from the mid sixties in Denmark. He really had an unique manner to hold his horn, that was also influenced by Prez.

I thought the "woman" on the photo is a man. Really not feminine.....

Thanks for sharing this. Wonderful Mingus from the time of the UCLA record. and the great Cecil Taylor, with Jimmy Lions. A fantastic piece.

Yesterday was Mingus´ 100th birthday. He means so much to me and actually, his "Great Concert in Paris 1964" with Dolphy was the second album I had after Miles´ "Steamin". So....Mingus was and still is a source of inspiration for me and one of the very favourite musicians and composers of mine. And I was lucky I saw him live.

I love it, wonderful compositions. The first tune "The Thespian" is so beautiful with that intro with Chambers on arco, and then the fast theme. All tunes are great. That latin tune "Olé " is a real earworm, you don´t get it out of your head and I remember when I first heard it after I bought the CD, I jumped to the piano and did it. So easy and natural changes.... a dancer might dance to it, a player has the urge to play it....

It´s one of the best albums of the first half of the 60´s, one of my favourite BN albums. One of those I enjoy most. One of my favourite bop albums. And it´s very interesting to hear that completly different approaches between the session with Bud and that with Lewis and J.J. with "Afternoon in Paris" on it. Two different moods and both of them really fantastic stuff. We had a short discussion maybe a bit OT on "Jazz Literature" were I stated that I like Bud most together with horn players and some, first of all Mr. Mark Stryker disagreed but Mr. Stryker made also a statement that this Prestige LP is some of Bud´s best. Stitts tenor is fantastic on both sides....

Thank you all for your great comments and I really apreciate your participation. As for playing an instrument. A piano was in our house long before I was born. My father could play some classical tunes like Beethovens Moonshine Sonata, I was still in ....wait a minute....dictionary...."napkins" ...that´s how you say, and got under the piano just to hear that deep sound. When I was about 2 or 3, my father got me up on his lap and showed me the keyboard and playing the notes and said "look, this is a C, this is a D, this is an E ..... and so on. Then the flat keys and this went on for serveral days until he told me to get off the piano and not look at what he plays and hit a note and asked me which one it is. And somehow step by step I´d start to finger out things and would try to play the theme of "Moonshine Sonata" by ear, just with the limitations of my little hands. So I remained a piano player for the rest of my live, but I never got formal training and reading sheet I only can read a single line, not a whole partitura or piano music and of course chord progressions. Later I got some money after my grandma died and bought a bass fiddle and started fingerin around on it until I could fill in on bass when there was no other bass player around. So music was something that I feel naturally. It´s compareable with the dance talent of my wife: She got some medails and if she sees some special dance she will do it imeadiatly like I would play something by ear after one listening. So we both got our talents. And yes, very much about the first listening experiences at ages like 13, 14 always will remain key experiences. In my case, my first jazz album was Miles´ "Steamin´" and my second was "The Great Concert of Charles Mingus". Those were key figures for me, because Dolphy let me to Ornette and New Thing and tunes like Mingus´ "Parkeriana" or Miles´ "Salt Peanuts" and "Well You Needn´t " would let me learn about Bird, Diz , Monk and so on...., and Miles led me to electric jazz. So very very shortly after those 2 albums I enjoyed listening to bop, hardbop, modal, free and electric and I think that´s about the styles I still prefere.....

So you both KNOW at least something about form. I don´t mean technical skill, but musicianship. But the form and the chord progressions is not a thing that I have to analyse, it is there anyway. About keys if somebody knows or doesnt know what key it is. I heard that there is something what people call perfect pitch and I don´t like that expression because I don´t like the word perfect, but each key is like a colour for me. As if I look at an obiect and can tell what colour it has, I can say this is in Db or Bb or plain C ...... all them keys ...., I don´t know else but would be interested if people who don´t recognize keys in the way I do, how they get their impressions....... and sure they get....

It took me much time to decide if I want to start that topic and even was not sure in what category it might fit in: In the course of many music discussions here on the forum both with musicians and not playing music lovers I would like to UNDERSTAND, how people who just love the music but don´t play it ore don´t know musical details , well.....how they listen to albums or to live music, how they enjoy it. This might also be very helpful for a player to understand how he can touch the ears of a listener. In my case: If I first hear a tune I hear in what key it´s done, what form it has and that I hear the form in the solos and know where they are at and at the same time I enjoy what they do, how they might develope their solos, what mood they are in..... well ..... as other musicians would listen. If it´s a so called "free jazz recording" I still think I can hear where they are at and what they doin and how moods, sounds , certain patterns, modulations are happening. And this is nothing theoretical or analytic, it´s just happening automatically, like if I see a house or a landscape and know what kind of house it is, or what kind of landscape it is. You realize what it is and at the same time you enjoy lookin at it. And now I would like to hear also from you fans who don´t know about musical forms, numbers of bars, or in what key they playing and all that: Is it mostly the rhythm, is it the "sound" or the "mood", is it like a tone poem, or how do you enjoy the music. I hope it is not a dumb question, but I just want to know how people who are not musicians are listening to music.

Yeah ! My favourite tune on it is that beautiful ballad "X-Love", for me also the highlight on the 1962 Town Hall event.

I had to take my old english dictionary to find out what "florid" means , and now I can say YES, that´s a good description. I saw him in 1983 with Charles Lloyd on festival schedule and have the LP with them from Electra Musician from exactly that period. And I can tell you what my impression was (about both Lloyd and Petrucciani); First listening "wow", but it remained my only album of that genre. Not really my music. And Petrucciani well he had a helluva technique but it seems to be a very very classical approach, it doesn´t really have that natural rhythm feeling I want to hear from a pianist.

I first had that silver Atlantic LP cover, that was used for several classic albums I also purchased then, like Ornette Coleman Free Jazz, John Coltran-Don Cherry the Avantgarde, Mingus Blues and Roots, Les McCann Eddy Harris Montreux 1969.... they all had the same cover design....

One of my favourites, since it was the second Mingus LP I bought or better said my mother saw it in London and bought it for me. I don´t know how often we spinned it and hummed all the tunes. A friend of mine was especially fond of "Moaning" (has nothing to do with Timmons ´Moanin´).

I have this. Is it possible it was during the time, when BN had slowed down it´s business , so 1976 /77 that period. I haven´t listened to it recently, I´m not soooo much into vocal jazz with the exception of a few, Billy Eckstine (with the bop band), Earl Coleman, Johny Hartman etc.... and if female singer than Sarah with that first session with "Lover Man"....), but I bought this one since I think somewere is written "feat. Dizzy Gillespie"..... well if I remember right, I didn´t hear much Diz, is it possible that he just plays on his mouthpeace only on "T´Aint Nobody´s Bizness.." ??? Well the first half of the 70´s was an extremly rough period for acoustic jazz veterans... I remember how it was and how it started to become better in the late 70´s .

I only know it as a fast tune, as Bird played it, and others like a 1977 version of the Messengers at the Korner did it. Was it originally played half time, or is Bird´s version double time ?

Miles played it in F and the brigde in Bb. I never had heard the original version since I´m not really familiar with Benny Carter´s work, but didn´t play Miles with Benny Carter in LA in 1946 and decided to stay and record with Bird ? Miles´ bridge on "Well You Needn´t " is common ground at jam sessions, but I always ask which bridge they want, since if I play it on my own, I use the Monk bridge, since I´m familiar with Monk´s music.

I also have this (present from my wife) . Strange the back beat rhythm on "Light Blue" which always let me wonder how Monk´s career could have continued through the 70s if he also changed the rhythm of some of his tunes from swing to slightly rock and using fender bass instead of acoustic, like Diz did in the 70s and 60´s when he played Con Alma with a rock beat and so on..... But Art Tayler, who seemed to have been a strictly straight ahead swinger, seems to have difficulties with it. On the alternate takes you hear how "stiff" it sounds. Anyway, if Monk would have continued that way he sure would have landed a "hit" like Morgan´s Sidewinder..... Of course I never had heard that name, but is the title tune Conception played in the Miles version (with the pedal point in it) or in the original written AABA form ?

Yes, it fades away, but anyway it is not well organized, more a sketch. Because there is no musical connection between that fascinating a capella which maybe have been the first "idea" of things like "Todo Modo" or "Three Drums" , and that simple slow blues (strange enough in D-natural as much as I remember). I mostly listened to this session for Bobby Jones who really was something else but underrated. Maybe I was a bit disappointed when I heard it first and I will tell you why: I was a kid of the 70´s and my first and most enduring impression of Mingus (with Dolphy and so on in 64) was just 6 years ago (then). So, thinkin about musical changes from 64-70 (maybe influenced by the differrence between Miles 1964 and 1970) I had thought that will be the same with Mingus. So my expectation was "Byard, Richmond even more in action and more into "far out" , more free sections, less "swing", and then I was astonished it was a quite tame thing, mostly straight ahead swing and .......you don´t really hear Danny Richmond ?!!!!

If I like to listen to an easy listening long track, one of my choices may be "Long Drink of the Blues". Funny how Jackie sounds on the tenor too. And I like Jackies renditions of ballads on some of the Prestige sessions.

Later there were more concerts at TU, but in late 78 and early 79 I saw two concerts at WU (Joe Henderson quartet, George Coleman quartet. I remember this, because it was in the 18th district and you had to go the way up from the Stadtbahnstation (now U6). My sister studied at WU when it still was "Hochschule für Welthandel".....