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This must be interesting too. Never heard about that label but I think somehow I lost the trace. When I was younger and could memorize more, there were not so much labels, you had CBS, BN, Prestige, Impulse, the more conservative Verve and so on, and nowadays there is such a little fan community we are like rare whales in the ocean and don´t meet others like it was or browsed through the records in the shops. I sometimes think there are much more labels but less people who listen to that music..... But those were only thoughts that came to me, the point is that I´m sure those two volumes must as same interesting as the Uncle Pö´s . I heard there is a Timeless record also. Timeless is a wonderful label, but the shortness of a studio album, only 40 minutes could not capture the impressions I got from those two hours live music. Maybe this was also to big big disappointment, when I bought the 36minutes Studio VSOP, having been used to the live double albums....

The Trio Barron-Williams-Riley was also part of the Ron Carter Quartet that played in 1979 at Velden Jazzfestival. Carter played the piccolo bass only on that occasion.

I love it. And Buster Williams is one of my favourite bassists.

Hello friends, Before our last record shop in Vienna closed, I purchased this double CD since I allready have some from this series. Now I had the time to listen to it and what can I saw, it´s fantastic. It´s some of the best all acoustic jazz I heard in the last months. I must admit I hadn´t paid so much attention to Junior Cook until then. In my memories he was a solid hard bop tenor who had played with Horace Silver, but I hadn´t known he can play as great and daring as he does on this one. They all are what I´d say is my idea of perfect musicians. With the exception of Junior Cook I had them seen live separatly: Louis Hayes with Diz, Ronny Matthews for some years with Griffin, Woody with his own group, Stafford James with Woody. Great tunes, maybe the most exiting is "Itchi-Ban". Listen how Louis Hayes really lifts up the stage as a great drummer must do. I just closed my eyes and listend to every aspect of it, each phrase of the soloists, really exiting. And Ronny Matthew was a fantastic pianist, maybe too underrated. He was the highlight of the Griffin Quartet of 1978-80. I just saw that this group also made a studio recording for Timeless, but I see it´s very short recording time, so I think I´ll keep listening to that 2 hours of live performance. Highly recommended.

Exactly like me. Never was a fan of them, since I always thought a standard type piano trio is a step back during a time where things start happening.... away from the old hard bop clichés , slowly opening up things like McLean or Hubbard or Shorter would do. But I have the LD+3 and think I listened 2 or 3 times to it when I wanted just to have some fun with some easy music. The thing I don´t really like on trios like this is the lesser implication of the drums and the bass also. Just timekeepers don´t make me happy, especially on drums....but also on bass. So you have a high and mighty piano player and two supporting musicians......

Why I didn´t ask him...... well I heard things that he is not the kind of guy who likes to talk to fans. So I thought he might refuse me or they wouldn´t even let me get inside to "meet him". And at that venue they had a completly separate area for the artists , you wouldn´t meet them at the bar like in other clubs. I got autographs from Art Farmer, from Dave Liebman, from Eddie Lockjaw Davis and from Curtis Fuller. I didn´t ask Woody Shaw for an autograph since I had heard he is nearly blind and thought it would be unpolite to ask him.... All the above mentioned musicians asked me my name and wrote dedications..... really wonderful human beings...

This together with "We Get Requests" are the only Peterson albums I listen to sometimes, they are really nice and if I´m exhausted and don´t want to "figure out" much things, just close my eyes and relax, it´s okay. Oh , and I have also "In Tune" with the Singers Unlimited with Peterson, it was somehow en vogue when I was a boy....

Thank you very much for that interesting remark ! Yes I did, because one of the guy also had "Steamin´" the old Prestige Album, and another one borrowed me the 3 LP album "The Great Concert of Mingus" (America Label, Paris 1964, with Dolphy) because he didn´t like it (too far out he said, but I loved it and was allowed to keep it). So I got back to Bird by reading the liner notes of Prestige, and hearing "Parkeriana" on the Mingus-Dolphy stuff. I thought "who must be that Charlie Parker if stuff can cook like that "Parkeriana" and "Salt Peanuts" on the Prestige album. Through Parker I got in touch with Bud, Fats, Dameron and all those. And last not least. I was an aspiring piano player and wanted to learn the music, to understand what Bud did, what Monk did....., so I really have a spectrum from Bop to Electric Jazz , others might say it´s too narrow, but I think for one of my generation it´s large enough, in any case for playing some music.... And I got a lot of encouragement from the late, great austrian jazz pianist Fritz Pauer. I´d be around much and during intermissions or after gigs he had, he was very very kind to me and was not bored if I told him about my efforts, and eventually he let me sit in !

The "Live at the East" was my first LP of him, bought in the 70´s. I saw Pharoah on several occasions. The last time I had the LP with me and thought maybe I let him sign it for me after the concert, and I would tell him that I bought it when I was a teenager, but then I thought he might do autographs and went home with the album unsigned....

I saw Sonny Stitt in 1980, it must have been in March. He traveled as a single artist but was supplied with a fantastic trio for that evening. The great Fritz Pauer on piano, the great hungarian bass professor Aladár Pege , and I think Fritz Ozmec on drums, really a superb trio. But Sonny Stitt was quite juiced. He still played well on the concert, though he did silly stuff like lecturing those three great musicians. And at one point he shouted to the audience "What do you want to hear" and one guy shouted back "Salt Peanuts", and Sonny made that grimasse and played something else (I think "They can´t take it away from me"). After the concert it was planned he would play more at the defunct club "Jazz by Freddie" with the same rhythm section and two other great austrian tenorists Harry Sokal and Roman Schwaller, but it went completly out of controll and after one jam, a Blues in Bb, where he had to sit down, he went to the piano and fooled around on the piano and tried singin.... Really a sad memory....., but the next day a three day festival "Jazz Frühling" started, with Dex, Griff, Chet Baker, McCoy Tyner, Sun Ra, Sam Rivers, heaven on earth for 3 days....

There was a change in Miles´ music in 1973: It started with a band still similar to the "Miles in Concert 1972" and early in 1973 Miles after having broken his legs in a car accident still was unconfortable on stage and had a cast, and keeping Balakrishna, Badal Roy and Lonnie Listen Smith from the "1972 Style" with slight indian touch. Then later he created the style that would last until his retirement in late 1975, where he had the group formed by Lieb, Cosey and Lucas, Mike Henderson, Al Foster and M´tume. So the Vienna Concert late in 1973 was another music than the group in early 1973. After Lieb left, it was Sonny Fortune on alto sax. But the repertory of the group from late 73-75 was quite similar, about the stuff you hear on "Dark Magus", "Agartha" and "Pangaea". That was "our" music when we were 14-16 years old and during school intermission we would do percussion patterns on the tables and seats and one would imitate the wah wah trumpet sound with his voice and bend down, and the others jumped around until after intermission the next lesson would start and the teacher would yell at us to stop. And we bought those huge sun glasses and tried to "act cool". It must have been like the kids in the 40´s imitating Diz and so on..... I remember how all came by when I told at school that I had got "Pangaea" while the others "only" had "Agartha"...... My mother was a bit desparate , she would say "why can´t you bring neatly dressed boys who play nice instruments like let´s say a violin. So, sometimes it was a shambles after they left, and she was unhappy when she saw the signs of beer bottles on the good old Bosendorfer Piano. But...... despite of my livestyle I was blessed to be very good at school so things like that.....loud music, long haired older guys, beer bottles and cigarettes were tolerated. I told you that to give an idea of how it was to be a fan of the so called "New Miles" as older people called it.

Well about Elvin we know much: He was married for decades to his japanes wife Keiko. She was always there and tuned his drums before the gig. I saw her on stage doing that before Elvins group started. In Laurie Peppers book about her husband she describes here very well, and that she lectured Laurie how you might "handle" a husband who is into drugs, to keep him off the bad guys, to take care of his money and buy him "presents" like jewellry, sharp threads, expesive watches and so on, to keep them reasonable happy.... Pharoah, as much as I know, married a much younger woman and they lived on the Coast and I think they have a child too. There was an interview with Pharoah were he said that, but he also said he hated the place were they lived.....

Thanks for posting those three classic BN albums which are among my favourites. And they are "Island Recordings". I had a period, when I thought I must get all albums, but let´s say if it´s about Hank Mobley I seldom listen to something else but Soul Station, Dippin, and together with Griff and Trane on "Blowin´Session". I spin all the Herbie Hancocks, maybe the one without horns not so often as the others. And of course Dolphy. In general, I have a lot of BN unspinned, and certain albums I listen to on repeated occasions...

Brings memories back, those wonderful festivals in the late 70´s, Ron Carter was on Schedule, and since you mentioned Woody Herman, he was the Finale of the Festival, his "Thundering Herd 1979" very very modern, with an electric bass, and some tunes composed by Chick Corea. George Cables first with Dex, later with Diz...... such a great pianist....

Yes, the great band with Dave Liebman. Vienna late in 1973, it was on TV also and since I was still underage and couldn´t go to the concert at least I saw it on TV. Those were our heroes, "Lieb", Al Foster, Mtume, Michael Henderson......

His album Rhythm X or how it was titled, was one of my favourites when I got deeply into 60´s avantgarde as a teenager. During that time it was rare and completly unknown to me but the guy who had a lot of "Free Jazz records" let me make a cassete, together with Don Cherry´s album "Complete Communion". I was a fan of Don Cherry and had asked him to give me as much Don Cherry stuff as possible. I later bought the Mosaic Box of Cliff Jordan mostly for the including of Charles Brackeen´s album.

Klaus Ignatzek played in Vienna also, I saw him at the defunct club "Jazz Spelunke" here in Vienna. He also was famous for his collaborations with Romanian singer Anca Parghel. great

Interesting that now reading this I thing we know very little about his personal live. He seemed to keep it off publicity, that´s really okay. Other jazz wifes were pretty well known, like Lucille Rollins for example...

Considering @Big Beat Steve answer to something I said...... thinking about it know and comparing his role with Howard Rumsey, sure they had a talent of getting groups together and especially Chubby Jackson´s additional role of a kind of "cheerleader" and sure Chubby Jackson kickin´them Herman Herd´s asses @JSngry assured his role in "jazz history" from a larger point of view....... Nevertheless, or is it my mistake of looking back at things that happened before I was born, I doubt jazz bass students of my generation would have been lecturedmuch about Chubby Jackson at those "Jazz Conservatories". Maybe that´s why our disc collections are a bit smaller than those of big listeners. At some point even I played bass and would have developed further but my "first love" as an instrument (piano) let me abandone that plan. I´ll write a new separate topic about that period when I get it together with my poorer writing in english... For the students or among the "gang" of guys I was part of, 40´s jazz bass was mostly O.P., Ray Brown, and so on. And for straight walking and keepin time maybe Tommy Potter, Curley Russell, Al McKibbon... When I look at so called historical DB Reader´s Polls, some who were "top" then, are not mentioned much today or sometimes I don´t even know their names. It happens also in more recent periods where sometimes young artists get top billing for short periods and then they disappear ....

Thanks for sharing.

I forgot I have this one too. It was a strange Bootleg label "Queen Disc" obviously with Boris Rose tape recordings. So I have Chubby Jackson on this and on the second side of the LP "Saturday Night Swing Session" which I bought because it has Fats Navarro. And as I read your posts, he probably was more a showman and a guy who got bands together. So in the history of bass from now looking back maybe his role is not the biggest.

Now my impressions after listening to the two CDs : The first CD is wonderful. Indeed there is more material from the Billy Berg Gig, this was Diz and Bird at it´s best, like the Town Hall 1945. And it´s well enough recorded. Only one thing: Sometimes it sounds like if Stan Levy does the bass drum all the time so you can´t hear Ray Brown´s bass, especially on Groovin´ High, in the old style like Gene Krupa, am I right ? Al Haig is very well recorded and it´s a great thing to hear all soloists. Al Haig in 1945 already had a great tehnique but still sounds a bit stiff. The Finale Club 1946 was already on Yardbird in Lotus Land. Very fine Bird and Miles, Miles muted all through and very very Gillespie influenced at that time. Joe Albany......well that sounds really strange. Somehow it sounds like I sounded when I started and after listening to it on tape I always was puzzled, I wanted to sound like a bop pianist, but what came out was not what I would have liked to hear or to produce. And more experienced players told me to "get that edge off". It must have been the same situation, and now reading the liner notes and reading that Bird was not pleased with it and called Dodo Mamorosa for the studio date, it becomes very clear for me. The 3 tunes from Shrine Auditorium 1948. Many said it´s very very weak Bird. Well, it sounds exactly like on "Bird on 52nd Street" also from 1948. Bird sometimes plays shorter phrases and seems to have fun with it or joking a bit. I was not aware that it means Bird was drunk or stoned or whatever. I like it and my opinion is that you could imagine that this way of playing influenced Ornette Coleman. Tell me if you share my impression. The Rhythm Section on the 1948 tracks is wonderful !!!! Al Haig again, but listen how much progress he made since 1945. Here he is perfect and I really enjoy it. He got it all and it´s clear why Bud said that "Al Haig is his idea of a perfect pianist ". Tommy Potter sounds wonderful and is very well recorded, and his solo on "Out of Nowhere" is just beautiful. He didn´t solo often, but he is the ideal bassist of the bop era. And J.C. Heard is a great drummer. He played with Diz in 1946 and I witnessed a wonderful re-union between Diz and J.C. Heard in 1983 when Diz used him as drummer. That was the best Diz I ever saw live with a moving version of Round Midnight, together with the fantastic Ed Cherry and Mike Howell. The second CD was very very difficult to listen to. I´m not the kind of collector who might listen to all stuff. That´s the worst recording sound I ever heard. At least you can hear Bird well, and the rare occasion to hear Frank Morgan. Don Wilkinson is very fine and seems to have been a bit influenced by Wardell Gray. So the line up is great. But you virtually can´t hear the bass and it sounds like a duo of Larence Marable (who was a very good drummer I think I heard him on better recorded sessions with other musicians, also in LA) and the horn player. And sometimes it seems they are not together at all or is it the fault of the terrible recording quality ? Instead of the bass you hear such a deep blurred sound that really hurt me and let me feel like if I had a Tinnitus. There is one short item with a drum beat that reminds me of the rhythms Ornette Coleman´s "Prime Time" did, with some short phrases by Bird. Very interesting to hear such a similar to rock beat as early as 1952. Only the last track recorded 2 weeks later has a much better sound quality . I´m not an audiophile, but if a recording sounds really painful, I mean literally painful for my ears that anyway get worse, I say I will spin CD 1 very often but I doubt I would ever spin again the CD 2.

oh yes, how could I be so wrong. Dizzy Reece was with the "Paris Reunion Band" in the late 80´s , right ?

I don´t know about his personality, I only heard him on record on the "Saturday Night Session 1947" with that mixed group of swingers and boppers including Fats, and I think I have one of those gold cover Xanadu-LPs with a "bop Group" around the era when Woody Herman did some boppish lines like "Lemon Dropper", and also played "Dee Dee´s Dance", I think Conte Candoli was in that group, it might have been one of those "Bop Revisited"...... On "High On an Open Mike" on the 1947 Broadcast he does some "bass solo" alternating with Buddy Rich, but as a soloist he cannot be compared to Pettiford, Ray Brown or even Tommy Potter who sometimes did short but wonderful solos like on "Out of Nowhere" .... In my youth, I heard from other guys, that Buddy Rich was quite a tough leader and did not tolerate guys with long hair in his band. I had very long hair and they said to me "you coudn´t look like that if you had to play with Buddy Rich"

This sounds very very nice ! Thank you Jim !