Gheorghe

Jetzt is sie aa scho´ a oide Schacht´l was i xehn hab auf fotos.....

Oh I remember her, she was on one "Tatort" in the 70´s. A fine girl I must admit. I heard that her father was a crazy monster I think I saw pics of him. How comes it such an ugly and crazy guy has such a nice daughta ? Never would have guessed that, Natașa Kinski.......

I must admit the only Quincy Jones I had heard was when Herwig Wurzer , the Austrian Jazz DJ of the 70´s spinned a record of some straight ahead and very fine big band jazz doin "Straight No Chaser". It was very fine and I had it on caseta since I recorded each weekly hour of "Jazz Shop" on casetofon. It was a bit like the Thad Jones-Mel Lewis Big Band, anyway at that nivel of playing. But later possiblly zero, since I only listen to jazz jazz jazz. The last time I heard something done by him was on the 1991 concert of Miles Davis doing old music again....

usually I don´t listen with too much pleasure to trio records, I miss the horns, but for THIS one I´d risc it !

Oh, walnuts or how you call them. Well I can´t do harvest since our "nuc" (as we say to that tree) is about three years old, and has only leaves or right now nothing..... I don´t know how many years it will take that we can have a "recoltă” (thank you for teaching me the word "harvest" I wouldn´t have known it it is not written on album covers😄 who´s that nice girl ?

He recorded too much in the un-years. I don´t know what Norman Granz purposed when he recorded such a weak Bud. I have mixed feelings about Norman Granz, he sure did very very much for the wider reputation of jazz, but had not the most musical tastes, he prefererred older styled straight ahead playing drummers like Buddy Rich and Gene Krupa to players like Max Roach or Philly Joe Jones and often booked musicians together who did not fit in. Like this Tommy Turk on a Bird combo record....., But in general all his sessions are at least technically perfect. So I really don´t know why he insisted to spend money on sessions that never should be heard by anyone. But it is not only Verve or Victors that have erratic playing. The first side of the Blue Note that has Curtis Fuller on side B is more than erratic and without much musical sense. I mean he has it all together with Curtis Fuller, but falters on the trio sides. Besides his own unsure and uninspired playing he seems to be so off or drugged he doesn´t even notice when Paul Chambers takes a solo. He pure and simple destroys what Chambers does.....

The strange thing is I think Peter Nero must have been very popular in U.S.A., but maybe not well known in Europe, but a school friend of mine had one of his records, since his uncle was a bar pianist. They had a lot of Erroll Garner and one LP of Peter Nero. Here two albums I listened to yesterday: 1) The Album with Contrane is much more reprezentativ than the one "Monk with Coltrane" that was done in the studio. Here both really spread out. I like Trane´s solos on "In comes Bud", "I Mean You" and "Epistrophy" most, and Monk plays some of his nicest solos and plays beautiful chords, that really make another sound than most pianists chords. Monk´s are so rich and he can make so great and beautiful sounds. 2) No that´s also a marvelous album full of beauty. McLean has such a beautiful sound on all stuff he played, may it be more daring originals, or like here really old tunes. The only jazz standard here seems to be "Stable Mates" and besides the version Coltrane plays, this is my favourite of it. And that tune "Let´s face the music and dance" that really sounds great. It´s a harmonically and melodically really interesting tune !

That´s right , thats how I like it !

Great record of one of my favourite drummers of all times.

I have seen that bassists name on some session Bud recorded in Paris.....don´t remember there was too much material recorded in trio format.....

Apfelstrudel ! The only sweets I like !

Strange, I have never seen this or heard about it. Is it from about the same time (60´s) like the "One Step Beyond" which I have, where it is also Graham Moncur.

I have one of his records, it´s with a lotta ballads and a wonderful sound, I think it has "Gost of a Chance" on it, and it has a very rare Walter Bishop, many many years after he was on the scene with Bird....., I don´t remember the others, but it is a quartet and it´s really fine an album once, that starts with a ballad, rather than with the usual swing tune... With the exception of George Wallington they all are no unknown for me. Elvin Jones chiar a favourite of all of them in my jazz live. Idrees Sulieman who had played with Monk, seemed to live many years in Europe. Bobby Iaspar, is it possible he is from Belgia ? I have heard once that he is great. I think a similar career like Barneny Vilen or so, right ? Some of the older generation European Jazzmusicians I just got to knew when looking at the covers of some Bird or Miles Records done in the late 40´s in Paris. I think there was a lot of names I first had read there. My favourite of a European , France based pianist was Siegfried Kessler, but my mentor and all time favourite here in Viena was Fritz Pauer, when he was alive. There were times I saw him every day..... to meet him, to talk to him, to learn from him....

Oh, I love pianoless groups. I have only one records with Wayne´s Brother on it, it is my favourite Shorter album on BN, forgot the title of it. I have heard and dug most of the free jazz generaltions, but never had Roswell Rudd . John Tchicai I´m not sure...... But nothing can be wrong with Reggie Workman and Charles Moffett, they can make everything cook !

I must get some more of the Impulse records. I have of course the late Coltranes and the 2 Ornette Coleman, and the one Mingus "Black Saint". Of course I also have some Pharoah Sanders on Impulse, but no Shepp or Ayler. I think I got to get into that too, since Shepp I only heard from the later 70´s on when he played swing and ballads instead of Free Jazz. Is this Shepp together with Trane ? Strange I have only Garlands as a sideman on all those Prestige albums, and I think one or two under his name with name horn players like Trane or Donald Byrd or so...... I never had heard how he sound after his comeback in the late 70´s. But Philly Joe Jones means that no problem who is the others, it must be good. I´d say when I was younger and there were a lot of cheap Prestige records by european pressings, I´d buy anything thats round and has a hole in the middle, if it had Philly J.J. on drums..... It´s strange, among the jazz buffs I grew up with, but also later after starting my own musical activities, until now if there is music talk among us guys.....the name Ramsey Lewis was never ever mentioned. He seems to be unknown to us hard core fans and active musicans. When I saw him at a late 80´s Jazz Festival at Wiesen, because he was on schedule, I still had never heard his name before, couldn´t even pronounce it as non american. I said "Ram Sai Leh wiss" . Well I saw it, I thought he has a nice tehnique on piano, maybe a bit too neatly, he had a group with unknown to me electric bass with two (!!!!!?????) necks , an unknown drummer and I think another instrument, a guitar or a percussion, but somehow after some minutes I didn´t really like it. It sounded a bit pseude classical, it had a more "concertant impact" that usually a jazz quartet has. And then there was an endless bass solo by a very very frightenig and angry looking double neck bass player.....

Sounds interesting. I have some certain pre-bop favourites, one of them is Lester, the other might be Roy Eldrigde and from piano, of course Art Tatum..... From what period is the Savoy Ballroom ? It´s live, isn´t it ? I have only one live Lester that is from the Roost I think......

Oh what great records I have heard last days: 1) The Lee Konitz Nonet (I don´t have much Konitz, I think I have 2 albums co-led with Miles, and one with Tristano) is typical fine acoustic jazz from the late 70´s , partially using electric keyboard. Sy Johnson´s arrangements are great ! I always have the impression that Konitz had a vibratoless sound, else than Jackie McLean but also a bit sharp, maybe Konitz´ sound is a white sound, and Jackie McLean of course a black sound. 2) Tyner McLean is just one of those ideal records with favourites of mine. They all sound so great, and besides Ron Carter you have Marcus Miller on some tracks, and that´s also very fine ! 3) Maybe this was one of my favourite editions of the Jazz Messengers with Donald Harrison and Terence Blanchard. I think Donald Harrison should have been the next thing after Jackie McLean, he is great. And I love those drum intros Blakey plays here ! Anyway, the drums is my favourite instrument to look at and listen to..... I don´t have much with Joe Farrell, I saw him once in 1983 but I was a bit disappointed because it was scheduled to be Chet Bakers gig with Joe Farrell, and Chet didn´t appear, it was told he was locked in a hotel room in Roma since he had lost the key or some stupid story like there was so many. But I couldn´t watch nothin with such a personnel (Chick, Buster, Elvin) !!!!! In general if I listen to a record, I close my eyes.

I saw him with a hearing aid in 1980, but not while playing, it was before the gig. I have heard, that he didn´t use hearing aids on stage even when he was near deaf, because when you play you perspire a lot and that causes damage to expensive hearing aids. Well I understand what Blakey was saying he "heard" from the vibrations on stage. If I go to listen to someones concert I always make sure to sit as near to the drummer as possible, and it gives me just a sensation of extreme well-feeling, if I not only hear the drum solos, but feel them in my body. Thats such a pleasant feeling. As @mikeweil said, that bad hearing may impair also certain musical abilities: Sure ! But it depends on the music you play. If I´d have a fiddle player and he goes up into hi notes, well maybe I won´t hear them. If it is more kinda chamber jazz of the more western intellectual manner (maybe ECM stuff) and things maybe without drums done in pianissimo, you won´t be able to do it with bad hearing. But the usual jazz that most people want to hear to groove, like the Jazz-Messengers was, does not need extreme good hearing......

My hearing was a mess since I was born it seems. When I was about 8 or so, some young doctor (orelist, or how you say for ear doctor ? ) because he wanted to exame highly talented kids (me ! ) who have perfect pitch, and by examinating me he discovered that I have 20% hear loss. Then at high school there was an asshole doftor who made that test if I hear whispering which I plainly told him I wouldnt even try it because I never had understood if someone is whisperin. Then he made a lot of "tam tam" din asta and of course I didn´t pay no heed. Well at the Army, when I tried to get inapt for military service because I pretended I don´t hear well and had a certificat medical with me I was told I don´t have to worry, the trainers in the Army are yellin´ as hard that even if I´d be completly deaf I might hear it. Well, 47 years ago. Sure my hearing didn´t get better and sure I made them tests. But I never heard that playing louder is not good for fellow musicians or audience. Man, that´s jazz, and it is not "chamber jazz" like ECM music. People who want to hear some hot music, they know it is not a Mozard string quintet or what it is, it is jazz ..... Maybe, independent from Art Blakey whom I admire, but don´t have nothin common with him and he was a genius and I am a little Scheißer...., it seems that I always had thought like him, a bit stubborn, a bit "Wildfang", even before I got to know who he is...... He also didn´t wear hearin aids. As for people, I like women, but anyway the kind of women I have liked always had some deeper, smokey voices that I can hear well.....you know "femeia fatală” (fatal woman) 😄

Then....your hearing must be much worse than mine, because if I play a gig I hear everything the drummer plays. Dusan Novakov is a great and powerful drummer, as is Mario Gonzi with whom I also had played some concerts two years ago....(you find ´em both on wikipedia). If I listen to a record, okay if it´s a live record I feel better, because those always have better drum sound. If it´s a studio record, I´d listen to it with headphones. Until now I didn´t have the impression that my weak hearing impaired my active makin´ music. I have difficulties if someone talks and there is noise from "Pressluftbohrer" or something like that, or if there is many voices, but I am not in the situation where I HAVE to hear anything that´s spoken... Last time we wrote each other you told me you got no time to listen to my album since you doin 18th century stuff, but now, would you please listen to it, it has a dream team of drums - percussion, and your opinion of the music would count for me.

wow, had forgotten about that thread I had opened, (when ? Years ago!). I still don´t have a hearing aid though I might be among the first persons here in the forum, who would need it, if you ask a medic. They might highly recommand it to me. Still don´t have it. And as a complete dummy if it´s about electronics, apps, and stuff, I even hate cell phones that are not the old retro with buttons (old Nokia or in my case Emporia), I can´t consider it. But I hear music well enough, I mean very good if it´s played the way jazz is played, and I even asked Dusan to play Round Midnight with Sticks instead of brushes. By the way, if you play that tune a bit more bombastic, like the Dizzy Big Band, or that one trio record of Bud in Paris "Life at Café de Paris" or how it is titled, with Kenny playing sticks only, that sounds good. But I also like brush solos, if they really loud, I remember Philly J.J. or Max Roach could do that almost as loud as sticks...

Well thank you Mr. @AllenLowe, I was not so much aware of it. I have not listened to Bud Powell records for many years, I did when I was a teenager and remember I had such a 2 LP album titled "Best Years" and it was the greatest. It had one side from 1947, one from 1953, one from 1960 in Paris, and one from 1964 again in N.Y. The first one, well I always have a little problem if I don´t really hear what a drummer like Max Roach does, on those old records they always underrecorded.... About the ballads...... yeah but really the best ballads I heard from Bud are much later. On the second side that says is from 1953 (which by the way has a wonderful "Woody´n You" and "Bean and the Boys", the ballads on that, especially "My Devotion" I like much better than on Side A. Side C is very nice and sounds very fine, though Clarke plays only brushes, you really HEAR him and that´s best for me. On Side D I find the most lovely ballads, "Someone to watch over me", "If I´d love you" and "I remember Clifford" are superb, those chords man, it´s sooo deep that stuff ! And it has a wonderful version of "The Best thing you have is me" or how it is called. Guys tell me it´s "hard to play" but what´s hard, well it has 12 bars in the A section and 8 bars the bridge, so what ? "Conception" also has that form and you play it easily... What I try to say, I read the book of Pullman just as a guide line what really was the live of Bud about. That´s nothing you read for information, it´s what you read if you relax at the pool or before sleeping.... but special years if this was in this year or that year is not the really point for me, I just try to pick up the best from the music. I´´m not a collector but I have also stuff from let´s say 1955 1960 or 1965 and it sounds good, maybe not like the young Bud, maybe the very last records have one or two fluffs, but who cares? It all is Bud. By the way: As I get older, my hearing is not good and high frequencies don´t reach my ears, so on all those early stuff on let´s say Verve, those many tracks of some Get Happy or Tea for Two, I don´t hear that high note shit , those runs in the upper registers, but one octave more down, like let´s say the same stuff 10 or 15 years later maybe does not have that speed , but I can hear it and enjoy it..... and I like the touch of the keys from later Bud Recordings more than on the early stuff....

terrible idea.....😄 If I would own an album with a butterfly on the cover, Serena would urge me to through it away. She has a fear and HATES butterflies as much as all other insects.... but Butterflies mostly.

This is my favourite Lee Morgan album. If I might keep only one, which would be easy since I am not a collector and play more my own music, but I would keep only this one ! But what means Blue Note anniverary, is that better sound or bonus tracks ..... well I have the CD, bought it when the first bunch of BN CDs came out, I think it was pre RVG as most what I had bought.... As I got a compilation of all the Griff-Jaws stuff I never know which is which. Some of them have Monk tunes, some are live and the last ones have a completly unknown pianist called something like Fort Myers, on the others it is Junior Mance, who has a lotta technical stuff, but sometimes, especially on Monk tunes like the wonderful "Epistrophy" it´s too much, it´s like if Oscar Peterson would have had to play that tune which he sure didn´t do....

It´s strange I never saw him live though he might have been the ideal pianist for me when I was deeply in bebop piano. But in the CV of my wonderful trumpet player who plays in my band, it reads that he had played with Barry Harris (he also had performed with Lee Konitz !) .... It´s interesting that Barry Harris plays on several BN-recordings sessions but it´s strange that Alfred Lion never let him do his own album.