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@Eric: It started right from the beginning on. Woody said to Bolleman that he is a racist and if there are racists, Bolleman would be the last one to enter in that category. Woody was high on whatever substance and wouldn´t cooperate at all. And he was accopanied by a junkie woman who was completly crazy who put all the paper in the toilet and than let the water go and soon there was an inundation in the whole studio. Woody threw cigarette ends on the floor and after that session the studio was a shambles. But somehow they managed to record enough material for that album "Woody Shaw with the Tone Janșa Quartet. @Dub Modal Roney refused to talk to Bolleman in the studio, refused to listen if the sound was good, refused this, refused that, while the other musicians involved were very nice and cooperative. After the session there should be a photo of the whole group, and Rooney turned his back several times until the other musicians got him to the right position.

Casettes was a listening source of my youth in the 70´s. I taped jazz on radio, I taped borrowed LP´s if I didn´t have the money to buy them, other came to me and taped my LPs, we taped live performances, our one ones as well as other´s performances. Some smuggled a tape recorder into a concert, those guys made me copies of live performances of Miles 1973 in Berlin, Mingus, Dexter, but when the cassete recorder era died I didn´t take care of those cassetes for which I didn´t have use anymore. Only last year I bought a portable CD-USB-Cassette thing, mostly for listening to music in the garden on summer evenings, but when I wanted to spin my first performance with Allan Praskin from which a fan had made a tape, it was barely listenable, it had what I don´t know how you say in English (die Kassette eiert). So there are permanent changes of pitch and so on....., it was because I didn´t spin them back to the beginning when I didn´t listen to them . Or they had such an annyoing screamin torwards the end of a cassete, which made parts of the 2 Dexter cassetes of a performance from Vanguard at July 4th unenjoyable, because it´s especially on the ballads. The guy who recorded it, I don´t know how he managed to get into Vanguard and record two sets.......he was from Cehoslovacia. Maybe with some tip, that´s just a possibility because in Eastern Europe you gave tip for almost everything, sometimes it was coffee, sometimes it was Kent Cigarettes....., so maybe he brought some packs of Karlovy Váry wafers .....

Will he write a book about his father ? Once I heard rumours in that direction . On some of the more recently issued Woody Shaw performances he wrote the liner notes, he could tell a lot about the music and the live and surviving fellow musicians....

This is a great book about stories in the studio. And some who were world stars, were very very articulate and cooperated in the studio, while I was astonished how stupid and childish others acted. I was really shocked about the story behind the Woody Shaw recording. Hubbard would have been nice and cooperative, if there had not been a latino percussionist who wanted to play trumpet also and kinda threated Hubbard.... Elvin Jones was super nice. Some artists who´s name I never heard, acted stupid, like the one who needs a strip tease dancer to perform, or that "trumpet player" who had his whole body bandaged like after a heavy accidence, and his saxophonist with his stinking feet....... terrible and disgusting to read this... I know that Wallace Rooney got lessons from Miles, but maybe he understood some of Miles talking the wrong way, since he "hated whithes" and would turn his back when they wanted to make a studio photo.... Miles, who was very controversial, would not do this....

I can talk only about Adams-Pullen from the three that were mentioned. Earthbeams is a classic, like @Rabshakeh said. And I saw them live in 1980, a wonderful performance and the last time I saw Richmond live. He is one of my very favourite drummers. Sure they played "Double Arc ...." and they also played a seldom version of Pullen´s "Newcomer" that was recorded with Mingus on "Mingus Moves" And sure there was also an Adams blues shouting like the "Don´t use Control" (fine album cover)... I´m glad I saw so many performances

Somehow "last dates" depress me a bit. The "last" I have is that Lee Morgan "Rajah" and Chambers sounds weaker than usual and even the bass doesn´t sound the same. Maybe he lost or selled a good instrument and got a cheaper one ? All those "last dates". I have some but don´t listen any more to them: Bird´s Cole Porter Songbook Diz´ early 1992 with 2 or 3 other trumpetists added Mingus with Hamp Bud´s "Up´s n´Downs" Ike Quebek´s "Soul Samba" Lester Young in Paris a few days before he died But Paul Chambers set a standard, and he had a sound that recorded well. Some of his contempraries on record still have a kind of "tinny" sound, but Pauls bass is a beautiful fat sound. It was the first "jazz" I heard (the tune Milestones from the same album). I had heard that, had heard the walking bass and this tune and sound started a live-long love affair with jazz).....

Yes, the Mythic Sound CDs. But I have not listend to them for long time. This one is half solo in Paris, half trio in NY. The solo pieces, like many many of that kind that were recorded at Francis Paudras´ home and are not among the best Bud. The trio pieces ar better. At least, Bud plays the right Bridge on "Well You Neednt" and not the wrong one, that started with Miles on "Steamin" and is mostly played on sessions. Isn´t Bemsha Swing also on that ? Bud didn´t know the tune , he plays the wrong chords and is unsure and after one chorus he leaves it to the drummer. As for the NY Birdland performances, Bud is much better on Vol. 9 and 10 (Return to Birdland and Award at Birdland), but not everything of the later Bud Powell is good for learning the stuff....

Though in the last few weeks I was listening much more to modal, free, fusion etc, yesterday for my daily hour of record listening I decided to go ALL the way back , to the days of bop. First I thought about some Fats or early Dex etc, but then I said to me better the Mr.B and the Band, since I love B´s voice very much. This together with the Spotlite "Together" is the stuff where you really hear the band. And those arrangements (Dameron) and chords combined with Mr. B, it´s wonderful. A friend of mine who already has passed , also liked this stuff very much, but later bought a lot of the more commercial sides, like that "Billy and Sarah again" , but the big band that plays sounds quite boring to me, kind of routine without a really "brand" like the old band or like "Thad Jones-Mel Lewis" or "TALT" .... So IMHO this is the best Mr.B for a musician who listens to the instrumentation too. And the solos of stars like Fats, Dex, Jug, KD and so on......, The way they interpretate ballads like "Cottage for Sale" "I´m in the Mood for Love" "Without a Song", and listen to the exiting bop stuff they make out of a simple thing like "Jitney Man" , "I like the Rhythm in a Riff" and also the instrumentals of bop classics like "Cool Breeze", "Oo Bop Sh Bam" and "2´nd Balcony Jumb". The last side is less interesting, it starts to change into those syrop string things that sounds like old films .....

Thanks for your replies that I really appreciate ! I´m still mad I missed the live thing Chick did with Dave Liebman in 1978. I saw Lieb on 2 or 3 nights live when maybe he had a few days off. But it seems that that world tour were Lieb played with them, was not recorded ...... I would have liked to hear that......

I saw the Barney Wilen-Bud-Pierre-Klook thing on a video and I think it is also on the Mythic Discs.... But they play it without that great intro. Just the tune, which anyway is the chords of "Woody´n You", so it was easy stuff for Bud (about whom I heard that in his last years he had difficulties to learn new tunes . But Bud with Paul Chambers was Heaven on Earth (Scene Changes) and the 1957 with Byrd and Phil Woods.... I heard that BN had planned a recordings session of Bud with Chambers and Roy Haynes while he played at Birdland in 1964, but it didn´t happen or was rejected. And Chambers visited Bud at his hotel..... too sad they didn´t work together again. John Ore was okay, but sometimes his solos sounded more like "exercises" that the horn like bass solos Paul did......., from hearing some of Bud returning to Birdland, I mean the good nights, I often wondered why they couldn´t give him the strenght and will to make a record with let´s say Donald Byrd, Jackie McLean, Chambers and Roy Haynes........ (not only trio there is too much trio and Bud was much more inspired on dates with a good horn player added....

That´s also the one I have. On it is also Kathrina Ballerina.

I´ve heard of those Bird Eyes and maybe saw a few of them, but maybe they were not very common here in Austria or in Europe. I wasn´t really a collector or completist. As a fan and musician I mostly "studied" the current available material, the master takes on Savoy and Dial, the really exiting live performances with Diz and others at Town Hall, Carnegie Hall, Birdland, Massey Hall. The Verve´s to a lesser amount. Bird and Diz was not as sharp and exiting as other meetings of them two, Swedish Schnapps is quite ok, but a lot of other stuff somehow bored me.... So I have not really every thing, but those who seemed to be relevant for me for studying and to learn about the bop style, Bird´s lines , the bop repertory etc.....

Glad to read you again, lookin forward to your interesting contributions and discussions on the forum. Best regards. Gh.

But what a beautiful surrounding for making a record. You can take a break and sit on the meadow or under a tree. When I recorded when I was younger, it was an ugly street without trees.....

Strange, I certainly know all the musicians involved and some of them I saw live also, but about a Dick Griffin, who is obviously the leader, I haven´t heard ever. Maybe he is not so well known in Europe ?

It sure must be ! It is possible that I don´t have all Milestones, since especially in the early 90´s a didn´t have much time for music, I was doin a second job to my main job, was fallin in love with the girl who became my wife.... Now I´m listening more to the live albums, but this here sure is fine, ballads I suppose.

That´s the album cover I also have. Really, I like Whims of Chambers most of all three, because it´s the best personnel for a typical hard bop album. Beautiful photo, beautiful quiet and romantic street, where may this have been ? And, I didn´t know Chambers was so skinny, I saw other photos where I see only his face and it was more the kind of a very round "baby face". But yes, he was the greatest bass player of the 50´s and early 60´s. But I think, after 1961 or so he recording activities got less intense. The last recording I heard of him was on the quite obscure "Rajah" from Lee Morgan, which was issued long time after Morgan´s death, and somehow Chambers doesn´t have that sure and fat sound he once had....

Thank you for your impression about it. Seems to be more for historians than for music lovers or musicians. Like some of the books I bought and never really read, since there is so much out of music stuff in them. I like bios about musicians, written by people who knew the music. Ira Gitler´s "Jazzmasters of the Forties" is still one of the best bebop books I have read. I really agree with you.

I have not heard of her, but the title "what have you been doin for the rest of your life" I know from a later Earl Coleman album, I think it was on Xanadu in 1977.

Though I don´t have many listening experiences of Stan Getz from the mid 50´s, I can imagine that Lou Levy must have been ideal for him. He was really a great, underrated pianist. He played with Getz in 1981 at Velden Jazzfestival in Austria, and then with Art Pepper, since Pepper´s own trio seemed to have missed the plane. So it was Pepper with Getz´s trio. Your impression of Peterson added to a horn player is easy to understand for me, since I have an Eddie Lockjaw Davis album with the OP trio from 1977, and always thought how fine it would have been with Tommy Flanagan, with whom he made a studio album around the same time... I know there is recordings of Zoot Sims with OP, but I didn´t hear them. Zoot was from the Lester Young school, and the finest combination I heard is on a date at the Parisian Blue Note Café, where he is accompanied by the Bud Powell Trio, and Bud really adapts his playing very well to Zoot´s style. He plays a bit softer than usual, a very very beautiful and relaxed set.

Have listened yesterday evening to "John Coltrane-Duke Ellington". Really nice after a day with lot working, just to relax. John Coltrane is masterful, great as ever. But I think it was done mostly for commercial reasons. The best parts are those, where the piano lays off and Coltrane plays trio. Only on one track , where they use another drummer, I miss Elvin, since it´s only a very simple, basic oldtime styled drumming. I´m more familiar with Duke´s tunes as playing repertory than his playing himself. I have Duke-Mingus-Roach, and now this one. He seems to have a very spare style, not like Basie or Dameron, but somehow to compare.....what someone called "arranger´s style". But on the last tune "The Feeling of Jazz" he really comps beautifully... Download.jfif Download (1).jfif

I bought the then available BN LA double album "Paul Chambers-John Coltrane" which has much of the "Whims" on it, then the whole session from LA with Kenny Drew, and those Transition side with Curtis Fuller on it. Whims of Chambers is one of the best hard bop BN albums, I mean, Philly J.J., wow, an allstar thing. I love it. The other stuff I bought later as a very expensive japanese CD I think it is called "Message from the East". Stablemates is my favourite track on it.

I love his work with Monk, that´s were I really can hear him. I heard Ron Carters Quartet of 1979 with Kenny Barron, Buster Williams as second bass, and Ben Riley, so I can say I heard the trio under the leadership of Ron. Very fine. And he is on the Electra Musician album "Sphere" from 1982, were they play with Charlie Rouse. But as it happens on studio albums, you hear the bass louder than the drums, so I don´t hear every aspect of what Riley does on it, since in studio he seems to have been underrecorded.....

I hope much. As a 1959 born I came in touch with his music in the 70´s, though the first album I had was from the 60´s and had him with Don Cherry, Henry Grimes and Billie Higgins. I saw Rollins live also for the first time in the 70´s and enjoyed his Milestone albums from that time, and never in my live I will forget things like "Don´t Stop the Carneval" ... Only once in Miami a strange thing happened to us: We arrived early in April 2000 and learned the next day, that on the day of our arriving Sonny Rollins was playing in town. Too late for Sonny , but then James Moody was scheduled at "Van Dyke´s" on Lincoln Road, and there we went. And during intermission, smokin a cigarette in front of the clubs, you know how it comes, you talk to other fans, and mention the missed Sonny Rollins event, and one of them who pretended he is from Switzerland but lives in Miami, said "I don´t like what Rollins did after 1975". Well, especially my wife was kinda puzzled, she said "we have now 2000 ......so don´t you thing you missed much, 1975 was ages ago....."

It sure must be ! It is possible that I don´t have all Milestones, since especially in the early 90´s a didn´t have much time for music, I was doin a second job to my main job, was fallin in love with the girl who became my wife.... Now I´m listening more to the live albums, but this here sure is fine, ballads I suppose.