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Gheorghe
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Posts posted by Gheorghe
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So much saxophone he played, I was a bit disappointed about the interview he gave Art Taylor (to be read in "Notes and Tones"). He´s statements read somehow in a blunt manner, but maybe that was his personality, the many times I saw him live he really played some great sax, and maybe had a bit of a businessman-personality, anyway I think he was Count´s road manager for a long time.
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Right, I thought about Terence Blanchard, thanks man.
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Hi Ted !
You are right ! That´s the club. I was a regular there in the 70´s and even played there some times.
The record done at the club is titled "Land of Dreams" if I remember right. The great guitarist Karl Ratzer is on it.
Art Farmer played there at least two times every year. His wife was from Vienna.
And by the way, as you can see on the foto, it´s a nice fancy place with that old church. Now we also got a nice little club on the other side of the river with some good sessions.
When I was a youngster, there was so many clubs in my town, we had "Jazz Freddy" (IMHO the best), "Opus One", "Jazz Gittie´s " "Jazz Spelunke" "Willie´s Rumpelkammer" are only some of them, and there was other joint´s were musicians just met to have some tastes, to hang out. You just might walk the few blocks near the market "Naschmarkt" and might meet some dudes who might say hello what´s up, you come jam with us this night ?
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Strange, somehow I had that impressions, that the younger generation, those who became famous in the 80´s and so on, were that kind of clean generation. I think, even Art Blakey who had his own stories with harmful stuff, said about the youngsters who played with him that they don´t even drink anything else but orange juice , and that drug´s totally out of fashion.
As I thought it, the so called young lions, those like Wynton Marsalis, Donald Harrison and that other trumpet player who played with Bu, don´t know his name now, and Roy, and Wallace Rooney and all of em, that they are that healthy generation .
Imagine: Until I saw him for the last time towards the end of his live, I didn´t even know that Woody Shaw was a user, he looked to me like that clean cat, the new generation, who was the next step after Fats, Miles, Lee Morgan, without them their habit. Like the album covers like Woody III, you see him the young star, his little boy, his father - and say wow what a big trumpet- star, but also a clean family man, that´s what I thought, and I was quite shocked when I heard that drugs had made him sick.
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I must admit I don´t really know much about Karl Berger, the only occasion I heard him (mostly on vibes, and some piano at one point) is on Don Cherry´s "Suite for Improvisers", which I dig and see it as a kind of advanced "Complete Communion".
But since Cherry and Moncur were in the forefront of the midsixties avantgarde, I wouldn´t be surprised if they might have played together and mutually using sidemen from their own sessions, as they did on records.
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Interesting story ! I remember Jaws very well, he was almost a regular in my hometown Viena, every year he played a few days at a well known jazz club.
Even if he never changed his style, he got his own, you must love his swing, his sometimes rough, sometimes softer sound, he odd way of phrasing, he´s one you can recognize imediatly .
The highlite was in 1978 when he brought Harry Sweets Edison with him.
One thing about him: Like Brew Moore, he always remained the same, and never had to change his style. Both played with Miles in the early 50´s and each of them stood his own. Jaws on that 1951 live session with Miles is just great. And how he manages to play the bop tune "Move" in his swing style with those shorter phrases, that sly humour......
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17 hours ago, Teasing the Korean said:
I hear you, but d minor is related to F major, hardly a strange key to jazz.
Now that you say it, I agree to you. That´s it.
I can play easily in d-minor but got headaches if I´d try in D major. Never new why, but now I can understand it.
But I hate keys like B natural major. One time I h a d to play it, cause the guest artist a saxophonist told us "I´m tired playin the usual keys, let´s start with "Moose the Mooche" in B major.
My luck was I heard so many Bird records where the speed is up so some tunes in B-flat sound like B, that´s how I managed to get thru, just having in my mind those that are too sharp because of incorrect speed.Miles´ Nature-Boy in G yeah I think that was the first version I ever heard, when I was a kid. Then I couldn´t do much with that tune, it was the abstract arrangement. Strange record anyway, that´s Mingus who somehow sounded more "western abstract/cool" in 1954/55. Complete different to the "angry Mingus" that we love so much, the Mingus with Dolphy/Byard or later with George Adams/Don Pullen.
Got another version of Nature Boy by Jackie Mc Lean which I got from my wife , got to listen to it again, if I remember right, that was in f-minor, strange I don´t remember.
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In my head I hear it in E minor.
But I think I might play it in Eb-minor even easier. It´s strange. I´m a piano player and should not have too much problems with keys like E natural, D natural, A natural and so on, but I think since I don´t play anything else but jazz, those keys are quite strange to me, since they are unusual keys for horn players and I think much more like a horn player.
It´s only if I feel that a certain tune is supposed to be heard in a certain key.
Maybe if I hadn´t perfect pitch I might be more flexible. But that way, the way how I hear it, I got it in my head and it sticks.
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Thats sad news.
I´ll always remember him, since I was very impressed by his playing when I saw and heard him with Archie Shepp in about 1979 (78 or 79). That was a helluva band, Shepp, Kessler, Cunningham and Clifford Jarvis......, the best he ever had.
I too wondered why I didn´t see him more, just that one gig with Shepp, but never forgot it. Really solid bass work.
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Great musician and a key figure of the music of the ´70s, period.
I don´t have too many records cause I don´t know whether the royalities go to him or to that............
One thing I always would have liked to state, maybe I´m wrong, if so, I just apologize, but...... , I always had the impression that on the live dates with Miles from 1969 he just goes too far out. I don´t have nothing against new thing and free music, but he just tries to "outfreak" the whole proceedings on that electric piano, and at some point it leaves me exhausted. Those Bitches Brew/Kilimanjaro/Miles in the Sky tunes were pretty tunes as Miles and Wayne do them, and what Chick does on the records is really okay, but the live stuff just get´s to a point where I loose it after some minutes of FenderRhodes solo from Chick.
And, on video material, Miles is one thing, he don´t pay no attention to the audience, but it´s part of his game, you can "buy" that from him and say he´s into the music and that´s work, and no entertainment,...... but if you look at Chick (and Dave Holland) on those videos, it seems they try to "out-miles" Miles concerning their stage manners.....
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medjuck: I have it on the Spotlite LP "Yardbird in Lotusland"
It has some tracks Bird´n Diz from their LA trip late 45/46, then those AFRS with Ernie Bubbles Whitman als MC, with Bird, Willie Smith, Benny Carter, and the Nat King Cole Trio, and one number I think Cherokee just Bird with the NatKing Cole Trio, but I think it´s cut off before the piano solo starts.
Then there´s some from spring 46 at the Finale Club with Miles (sounding verly much like Diz), and Joe Albany.
Try to find "Yardbird in Lotusland", I think it was also on CD, but maybe this was not quite a legit, anyway the Spotlite was the best source for rare ´40´s stuff when I was young.
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oh I love those Steeplechase classics. They was the music we heard in our youth, Dex, Jackie Mc Lean, Griff, Bud, we were on vacation and had rented a small house near some Mountainlakes and rivers and during the day we might go troutfishing, and the nights was with some beer some booze, and "live jazz" from the Montmatre, the Golden Circle. Man, we brought those giants in our living room.
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Always loved him, especially when he set in with Bird an Bud, mostly in 1953 at Birdland. What he does on the tune " Broadway" is just fantastic, like on that date of Bud with Bird and Candido. The 4´s between Art Taylor and Candido is really something......
Saw him on a video of Dizzy´s Dreamband around the early 80´s, it seems he never aged, he looked just the same and did fantastic things on Manteca
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I always wondered how Bird and Art Tatum might have sounded together, since I had read "Beneath the Underdog" when I was a boy. Mingus describes a session where Bird plays with Tatum, and I want to belive, that at least the musical parts of that bio was not fiction.
I remember I heard one date Bird with NatKingCole and it was supposed to be nearer to what might have sounded a Bird/Tatum collaboration.
About the "Bird" from that Verve Recording (together with Repetition) .
I think I have it on that album called "Jazz Perennial". As much as I love Bird, this is one of the more forgetable albums, "The Bird" and "Celebrity", and the unhappy stuff where they added this Tommy Turk to the classical quintet, terrible.
The only things I like on that album is "Repetition" and the stuff with that vocal group "In the Still of the Night" etc......
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Same here.
And yes I remember the liner notes on homecoming.
Dexter had that thing, the way he announced to tunes, the musicians, and I think a part of it was a mild manner of puttin on the audience, just in that nice and funny way.
Like when he announced Benny Green´s simple blowing vehicle "I want to blow now".
Now we all know that this is nothin more than a blues riff....., but Dexter announced it as "the very very IMPORTANT COMPOSITON, written by the very very .........slippery...... trombonist.....Benny Green, and this one is called " I ..... want...... To BLOW........ NOW"-
When we were kids we used to try to imitate the way he talks considering it "super cool".....
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Thanks mikeweil, that really answers my question. That´it. Blakey would have talked Alfred Lion into giving Sabu a record date of his own. Many BN records happened that way.
And thank you for reminding me of the Blakey-Sabu Duo from 1953. Should listen to that again. I think I have it with the original cover titled "Horace Silver Trio + Spotlite on the Drums". That always amused me, as the using of the same cover foto on that album and on the album "H.S. and the Jazz Messengers". One is red, one is blue I think....
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Anyway a good choice, especially if someone is not a collector and doesn´t feel the need to have all his BN recordings. They are all fine albums .
About the Prestige albums: I really like "Tangerine" and "Ca Purange" with the very young Stanley Clark, its a nice idea to add a new face to the older stuff.
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I also wondered about how "Palo Congo" came out, since it´s not a typical BN album, it´s more strictly latin roots without jazz connection, so it´s different even to the Blakey "Orgy in Rhythm" or "Holidays on Skin"
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R.I.P. He was really a great stylist on the piano. Was really aware of how he sounds even before I knew he had a semi paralised right hand. Always wondered how he got that sound and bluesy touch.
I think he was the natural pianist for Mingus. Even after he had left the states, he would play some Mingus.
Like "Duke Ellington´s Sound of Love". This was written in 1974, right ? And Parlan played it in Europe on several occasions. And his version is the deepest, the best. If I listen to "Duke Ellington´s Sound of Love", I have Horace Parlan in my mind.
And he was such a nice person.
One of the albums I like most is one little thing he did for Steeplechase around the time I saw him live, with the really really great Jesper Lundgaard on bass and my favourite Dannie Richmond on drums. Oh, I love that album.
Strange, though I´m really a BN-man, I can´t find the same inspiration in his BN stuff, that I find in the earlier Mingus stuff and the later work. I think it´s cause Harewood might not be my very first choice as a drummer...... -
On 01.03.2017 at 7:01 AM, sidewinder said:
He was a youngster when I was just getting into jazz so have always and still think of him as a youngster !
Never seen him play either but wishing him an enjoyable retirement.
Same here ! Herbie, Chick, Gary, Tony Williams was youngsters, Sonny Rollins was in his late forties, so really in his prime, McCoy was just 40, Tony Williams in his early 30´s was a baby, that´s how I felt it even if I was a teenager. I must admit I wasn´t so much aware of Gary Burton, thought that´s more kinda ECM music, maybe that´s how I didn´t get so much involved with it as I would have with Sonny Rollins, McCoy, Dex, Diz, Freddie Hubbard etc etc etc.......
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On 21.03.2011 at 3:31 PM, Enterprise Server said:
I saw them in Chicago at the "Jazz Show Case" on Rush Street back in the late 70's. And before that, when I was in school, I went to see a good friend who was a professor at Youngstown State University, I walked to his new office (he moved from an old building into a new one) and there was a guy sitting in a chair with his legs crossed looking at a magazine. I really didn't notice him until the professor came out of his office and said, "Hey, I have someone I want you to meet.....". He introduced me to the man who put down the magazine, stood up and extended his hand. It was Max Roach......
Great story !
I think, the group with Cecil Bridgewater, Billy Harper and Reggie Workman was really a steady unit for a long time. I also saw them in the late 70´s maybe 1978. Fantastic and IMHO the best band he had.
It was at a concert hall, but the day before the concert Art Farmer played in a small club and in walked Max ! We coudn´t believe it. Too bad I was to shy than (18 years old), see those people were living legends, my heroes and I would have been scared to death to try to greet them.
Heard the next edition with Bridgewater still on trumpet, and Odean Pope and Calvin Hill replacing Harper and Workman. Also a great group, but I didn´t like Pope´s sound so much, he sometimes sounded more like a bassoon than a tenor, at least that´s how I felt it. And Calvin Hill though he played an acoustic bass, it was maybe the way how it was amplified, the acoustic bass and a more ugly plastic sound than the warm sound Reggie Workman had......
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Time flies. Dexter was some kind of hero of our youth, me and a fried of me we would make long trips just to catch him live, and played his records and even tried to imitate his stage annoncements, which we considered super cool.
The last time I saw him on stage was round about his 60th birthday, that was in february 83......
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The funny thing is, Oscar was one of the first jazz musicians I heard, cause it seems a lot of people who usually didn´t listen to jazz, would eventually buy the one or the other OP album. OP or Garner, so maybe that´s how I got to know him, when I was a kid.
I think the two albums I heard then was the above mentioned "Night Train" and "We Get Requests". Those albums are not so "overplayed" like later stuff would be. I like some OP if he doesn´t exagerate the pianistic thing.
I like the more subdued stuff, a nice thing if the often critized "In Tune" with the Singers Unlimited, that was in fashion then , and I recently got the CD as a Chrismas present from my wife. That´s nice stuff, not so overplayed.
And lesser known, there´s a nice Pablo album Eddy Lockjaw Davis with the Oscar Peterson Trio at Montreux......
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8 hours ago, JSngry said:
I remember I heard both Sonny and Larry in the summer of 1979, just 2 months after they had recorded together. The Album wasn´t out yet, so I was not aware of it, but thought much about it afterwards.
On that festival they didn´t perform together, maybe they were not scheduled on the same day or it was for contractual reasons, but it was a beautiful period, when all those masters were in action and you were eager awaiting the next time they´d record.....
Lockjaw
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Yes, that´s one of the questions Art Taylor laid on him, if it´s true that he gave up playing for a while and didn´t even touch his saxophone.
Must have been after the collaboration with Johnny Griffin. Those "tough Tenors" Griff-Jaws sold very well. Well, Griff went to Paris after that, and maybe Jaws became a booking agent.
By the way , that "Oh Gee!" is really nice. As I remember it, it´s a simple medium blues in Ab , he played it often.
But otherwise than Lou Donaldson (who also never really changed his style ) , Jaws didn´t seem to play the same numbers at every show. As I remember, his repertoire was quite rich, there were bebop-oriented tunes like "Rifftide", there was wonderful ballads, some bossas, yeah like all great tenorsaxists, he also was a great ballad player.
Oh yeah, and my favourite record is a Pablo thing from the 70´s with the Tommy Flanagan Trio, it got some nice tunes on it "On a clear day", "Wave", "Watch what happen´s"".
And......... he signed it for me !