What jazz have you been listening to today?

Wayne Shorter Quartet & Imani Winds on July 6 at 8 PM, at the Opera:

Wayne Shorter, now at 72 years of age, with more than 45 years of exersizing the tenor and the soprano saxophone. First with the famous Miles Davis Quintet from the middle of the 1960´s, counting names like Ron Carter, Herbie Hancock and Tony Williams, and later with the electric jazz band Weather Report in the 1970´s, founded by his friend on the piano and keyboards Joe Zawinul also from one of Miles Davis´ groups in the late 1960´s. Since Weather Report ended Wayne Shorter went solo and did one remarkable album called "Native Dancer" with the Brazilian musicians and composer Milton Nascimento, since then continuing in his own groups which for instance gave the international breakthrough for the female American drummer Terri Lyne Carrington and the pianist Danilo Perez, late in the 1980´s.

But in Denmark at the Opera Wayne Shorter Quartet was a thrill, not to mention his co-musicians, each of them picked carefully by Shorter.

The concert howeever misplaced began with Shorter introducing the classical horn quintet Imani Winds, something we all easely could have been without. Shorter´s song "Terra Incognita" built over the Astor Piazzola song "Lieber Tango", did not make much noice or interest among the audience, though three of the female horn players looked quite good, they should have chosen another concert hall to exercise their missing skills. It was, in plain english, 30 minutes of wasted time and not at all proper for the Copenhagen Jazz Festival 2008.

But then his own new hardcore jazz quartet appeared, and we were all lifted way back in the day to some of the best songs by Miles Davis, for instance "So What" and "All Blues", which made the audience to get up from each their chair to applaude Shorter and his musicians, and from then on we were all focused and in the heavens of eloquant jazz. Shorter´s own composition "Footprints" on the night almost 12 minutes was the best suggestion next to the old standards and songs by Miles Davis.

The musicians:

Wayne Shorter - tenor and soprano saxophone
Danilo Perez - piano
John Patitucci - double bass
Brian Blade - drums

A very homogeneous jazz quartet, obviously to the audience like had they´d done nothing else all their lives than playing in this quartet. It was AWESOME and this exquisite jazz quartet of Wayne Shorter´s should have been given the whole time on the stage - without the Imani Winds.

John Patitucci probably among the top 5 double bass players in the world for the past 20 years, and Brian Blade inflamatory exploding at times on the drums, at times in particular dueling with Patitucci almost DeJohnette alike, so refreshing in this quartet.

The final solo from Wayne Shorter on the soprano saxophone only with the piano "whispering", made me wonder if Shorter should have chosen classical music in stead, since he introduced the last song as originally composed by good ole´Johan Sebastian Bach.

The Wayne Shorter Quartet on a scale from 1 to 5. A convinsingly 3+.

Saxophone Summit on July 7: Joe Lovano (tenor and soprano saxophone), Dave Liebman (soprano saxophone) and Ravi Coltrane (tenor, alto and soprano saxophone) with Phil Markowitz (piano), Cecil Mcbee (double bass) and Billy Hart (drums).

The group Saxophone Summit was originated years ago by the legendary tenor and soprano saxophonist John Coltrane. His idea was to have a saxophone trio, presenting only saxophones in a jazz group.

But to all of us at Tivoli, who attended the concert I guess we were more than happy that the group also had the classical jazz piano trio on the stage.

Had the concert only been with Lovano, Liebman and Coltrane, I would not have remained in my seat, paitiently waiting for some cool hardcore jazz. These three saxophonist did not have to show off soloing in to the extreme.

But then taste in jazz are different, and according to most of the half empty concert hall, who seemed to be rather pleased, unlike your´s truely, with the performance on the stage, I guess most of the audience either playing the tenor, the soprano or the alto saxophone themselves - I´ll characterize the show on a scale of 1 to 5 to a 1+. I have heard each of them playing in various groups, much better playing than this night, which became more of a competition of who of them could play the longest weird solo.

*The Out-Of-Towners* by the Standards Trio.

The Ornette Coleman Quartet at Tivoli on July 8.

Ornette Coleman, the originator of the phrase and musical style "free jazz" or "avantgarde jazz", born in 1930 down south in Fort Worth, Texas, USA.

I have always felt quite uneasy and unfamiliar with his music, at times reminding me of the 8. Symphony by Gustav Mahler with the extended percussion section, with three choirs and added up with solo voices, aprox. 700 people on the same stage. But with the conductor missing - leaving the musicians and the music in totally musical chaos.

But since, Ornette Coleman was here for the first time in two decades - again, the last time being bullied by the danish musical media, I had decided up front, I would attend his concert - no matter what.

I figured, perhaps a live performance would make me enjoy his music, knowing that both Jack DeJohnette, Charlie Haden, Billy Higgins, the late Don Cherry, Ed Blackwell and Pat Metheny have played, performed and recorded with Ornette Coleman, and "worse" both Pat, Charlie and Jack D. have stated: Ornette Coleman and his music always is a challence for each exellant musician in any of his bands. Ornette Coleman being a constant inspiration to any jazz musician, according to Pat Metheny in an interview with www.allaboutjazz.com . I could never be on that level before regarding Ornette Coleman and his free jazz.

It has certainly been a challence for me for years to keep his double album "The Complete Science Fiction Sessions" reciding on my musical shelves in stead of using the CD´s for the substitute of a dysfunctional Freesbee or even given as a present to someone, I did not like. But I still have it.

But this night on July 8 2008 the Ornette Coleman Quartet completely turned me in to his music and I was, like the rest of the audience, overwhelmed from the first song and throughout the entire concert - mesmorised.

Picture this. An old very black guy at 78 years of age wearing a suit of clothes better au-cutured for a Scotsman from the highlands up north or for a Circus performance as the sad clown - like Charlie Rivel - than a top notch jazz musician carrying to the stage his demonstrative white alto saxophone hanging in front of his chest, a violin and the bow in the right hand and a trumpet in the left hand, to be seated on a chair in front of the drums, played by his son Denardo Coleman, the two of them flanked on each side by two double bassists. It can only be pronounced and visualized as a weird instrumentation for a jazz quartet. I am still wondering, why he brought the violin at all, since he did not even at any time actually play it. In stead the trumpet was in play freequently, when the alto saxophone was disquallyfied by Ornette.

The music, at first it seemed very disorganized, as expected, and as fast as a Formula One racer during the Montecarlo Grand Prix, but for the first time in my jazzy years attending a concert, I had decided to leave any whatsoever negative expectations and my brain, before the concert, at home or rather outside the concert hall.

Beside this my buddy Rene´ had given me a verbal lecture on Ornette Coleman in the morning, his upbringing in a part of the south of the USA back in the day before the WWII, where black people yet are still at risk of segregation and diskrimination, including false criminal accusations and are overall downsized by the caucation whites according to an education and a future job in the public offices, or even being alowed to educate themselves. Ornette Coleman was 29 years of age, before he could read and write the english language, and only after he had left Texas the first time.

So Rene´ said to me: Do not regard the jazz and re-edited classical music for jazz, we´re going to listen to, to any other jazz style or jazz individual or group you favour. Just enjoy the quartet and notice the interaction between the musicians playing free jazz.

So I did. It was never a question of whether, who was in charge on the stage. Ornette Coleman every time another of the three musicians did a solo, he would simply remove his chair to the side of the stage, sit down to rest his old body, perhaps even his own ears and wait untill he, for whatever reason, moved the chair back to the center of the stage to continue, where he left off in a higher velosity than before.

I was overwhelmed by Denardo Coleman´s drumming and in particular with the two bassists each of them interacting with the drums on each their side of the stage.

First song was Stravinsky´s "Sacre du printemps", Ornette telling a story about why Stravinsky made such an impact on him, followed by the first movement of Bach´s first cello-suite, both songs re-edited for the jazz quartet. Also Ornette seemed to love to make sounds on his alto saxophone to resemblence the sound of wild ducks.

The blues inspirated part of music from down south, while Denardo Coleman at times more pretending to be a Rock drummer using the high-hat like rock drummers typically do, or pretending soundwise more copying playing a washing board than the jazz drums, made the whole scenario somewhat confusing and unfamiliar, but the overall intensity between the musicians was obvious at all times.

For the untrained ear to "free jazz", one could easely suggest it was completely improvised, but don´t be mistaken. Nothing with the Ornette Coleman Quartet that night was improvised, except perhaps his heartfelt speech to the audience before the end of the original show, up to the encore, where he told how difficult it still is for black musicians in Texas to be respected equally to white musicians, and how both his parents as late as in the 1960´s were hospitalised after a KKK attack at the house of his parents, which was burned down to the ground.

Among the rest of the repetoire, we heard typical Ornette Coleman compositions like "Theme From A Symphony" - "Lonely Woman" and "The Good Life" and we had three extra songs for the encore.

The audience and I were all standing up, when Ornette and his three co-musicians finally decided to end the concert.

The musicians:

Ornette Coleman - alto saxophone and trumpet
Denardo Coleman - drums
Gregory Cohen and Tony Falanga - double basses

My total impression of the Ornette Coleman Quartet 2008, the concert on a scale of 1 to 5 - equals 5. Overwhelmingly and completely surpricing to your´s truely.

Check in on www.ornettecoleman.com and you will find numerous albums recorded by Ornette Coleman in various groups with highly regarded jazz musicians.

Gee, Intet, you're like a machine with all those super-damn-long posts:grin::grin::grin:.

You should consider getting yourself a job in a local jazz review paper:lol::lol::lol:


Respectfully yours,
Mat:tiphat:

Mat said:

Gee, Intet, you're like a machine with all those super-damn-long posts:grin::grin::grin:.

You should consider getting yourself a job in a local jazz review paper:lol::lol::lol:


Respectfully yours,
Mat:tiphat:

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You´re welcome Mat :tiphat:

Like I spoke it in another thread about Neil Young, I actually did some handwritten notes close to 100 pages during different concerts of the Copenhagen Jazz Festival 2008 - all for you guys to bring you in to the different concerts and more so up-to-date.

Wonder what you jazz freaks would have said, if I only had written - Very good?? :grin::crazy::smirk: I or it would not have been me, right?

"Very good" would sound more like me. And besides we both know you:grin::grin::grin:. I really do appreciate your work, don't worry about that.

I'd like to see this situation: Wayne Shorter is just playing his solo on the "Summertime", and somewhere in front is sitting our Intet, focused on what he's doing, writing his insights down on a piece of paper.


A romantic dinner for two in a 5 star restaurant - $200

A picture of our dear Intet making his notes during the concert - priceless:lol::lol::lol:

Mat said:

"Very good" would sound more like me. And besides we both know you:grin::grin::grin:. I really do appreciate your work, don't worry about that.

I'd like to see this situation: Wayne Shorter is just playing his solo on the "Summertime", and somewhere in front is sitting our Intet, focused on what he's doing, writing his insights down on a piece of paper.


A romantic dinner for two in a 5 star restaurant - $200

A picture of our dear Intet making his notes during the concert - pirceless:lol::lol::lol:

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Dear Mat :tiphat::clap::banana::trp::lol::lol::lol::lol:

I accept and thank you on your offer. The dinner at a 5 star restaurant at any available french cuisine, at 200 Dollars per head (does it include the wine?), without any conditions or reservations :lol::lol::lol::lol:.

You´re such a delight to read and further more you DO know how much I personally treasure you talents. I might even bring my note-book. :grin::grin:

Just one question. Did you mean pierceless (that would be right, even if we never discussed this) or priceless? :grin::grin:

Of course I menat "priceless" <edited>. :grin:

And the dinner. Yes, the wine included of course.

So, french cousine is your fav?


On topic:

Sonny Rollins - Sonny Side Up

*Up For It* by the Standards Trio.

Mat said:

Of course I menat "priceless" <edited>. :grin:

And the dinner. Yes, the wine icluded of course.

So, french cousine is your fav?


On topic:

Sonny Rollins -Sonny Side Up

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Mat :tiphat::clap::banana::trp: "So, french cousine is your fav?".

Not nessesarely, I would leave it all up to you, the proudly spender.

But let´s purchase your Hammond B3 organ first at the Musik Messe next year, and whatever is left of your hard earned savings, we´ll spend on a typical Polish bisquit night in a typical Polish bisquit restaurant. :grin::grin: and then you leave the wine and the tip for the waiter for me.

About the local jazz magazine, you spoke about for me to do the jazz reviews, please give me the adress here? I haven´t heard of such magazine in the northern Denmark, perhaps because we don´t have any authentic jazz clubs in Jutland at all. They only have jazz clubs around Copenhagen, but to benefit your idea, I could move back to Copenhagen to make a competition among the rest of the traditional jazz reviewers, not a scary idea to me.

Remember my friend, not long ago when I first went to a huge record/CD store in the city of Aalborg across the water from Nørresundby, where I live and asked for the latest at the time Pat Metheny album: "Metheny/Mehldau Quartet", they boy behind the desk responded: "Who is Pat Metheny?". It should end any intellectual thoughts about jazz in Jutland.

However, they did have Frank Sinatra - Greatest Hits 1971 :grin::grin::grin::grin:

intet-at-tabe said:

But let´s purchase your Hammond B3 organ first at the Musik Messe next year, and whatever is left of your hard earned savings, we´ll spend on a typical Polish bisquit night in a typical Polish bisquit restaurant. :grin::grin: and then you leave the wine and the tip for the waiter for me.

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That's gonna be hard thing for me to do. Because now I'd probably afford to buy only one octave of the instrument. And not one key more:lol::lol::lol:. Well, unless you're doing the whole price-negotiating thing:grin:.

intet-at-tabe said:

Remember my friend, not long ago when I first went to a huge record/CD store in the city of Aalborg across the water from Nørresundby, where I live and asked for the latest at the time Pat Metheny album: "Metheny/Mehldau Quartet", they boy behind the desk responded: "Who is Pat Metheny?". It should end any intellectual thoughts about jazz in Jutland.

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Poor guy. He didn't knew who Pat Metheny was...
I hope you bought the "Metheny/Mehldau Quartet" album somewhere else. Ya know, I've never been a big fan (well, small fan either) of Pat's music. But when I found this (jazz) forum and saw how popular he was here, I thought I'd get to know his music. Well, I did. And I still can't get to like the guy. It's just not mine type of jazz. There are few recordings of his I like but that's all.

Oh well, I guess I'll stick with Sonny and the "Sunny Side Of The Street" (we both know why:grin::grin::grin

So we´re now moving 48 hours ahead for the Cassandra Wilson Band on July 10, same stage as Ornette Coleman, who I unfortunately had put on the wrong stage in the wrong concert hall, in my former post on Ornette Coleman. The right concert hall for both Ornette Coleman and Cassandra Wilson 48 hours later was the Royal Danish Theater, the old stage placed at the Kings Square in a concert hall originally built for the theater and acoustic classical music and opera in 1694, which meant the acoustics/the sound of the hall itself was perfect for her.

Cassandra Wilson, born in the holy year of 1955 in Jackson, Mississipi, USA. She studied both for the clarinet and the piano, but only in the beginning of the 1980´s, when she orditioned for the well known conductor in jazz Quincy Jones, she found out that she could sing much better and more convincingly than her piano and clarinet studies.

Her breakthrough in America as the new Lady Day (nick name for the late diva in jazz, Billie Holiday) came with the album from 1986 "Point of View", and since then she has developed her own quite unique style in jazz.

She enjoys to take already known jazz standards or top hit-singles from other jazz, rock, blues or folk song writers and then turn each song, like for instance Bob Dylan´s: "Lay Lady Lay", from the very old Dylan double-album Blonde on Blonde or The Monkees hit-single: "Last Train To Clarksville" or STING´s: "Fragily" - each of them turned in to a groovy slow southern blues.

The greatest force as a singer, she has IMHO is her dark mellow alto-voice. But she can go to the high register as well. Someone should make an effort to research how many octaves, she actually covers. I almost fell in love with her during the show, though I normally prefer older women, that is - a bit older than myself.

The show began a bit later than the program had announced, and with no Cassandra Wilson on the stage. But it was sceduled that way, like the known entrance of the late Frank Sinatra at Cecars Palace in Las Vegas, when playing with the Nelson Riddle Orchestra. They would always begin as the Big Band alone, and then some minutes in to the music ole´ Blue Eyes - Frank Sinatra would enter the stage bathing in the applause from the audience, like had he just dropped by to detect, where the sound came from.

Excactly what Cassandra Wilson copied at the Royal Danish Theater on July 10, though I have to admit that her 5-men band could easely had continued alone. Rarely in my life have I listened to such equillibrism from the guitar player, here on the night in the shoes of Martin Sewell - Can this guy play guitar? Wow - AWESOME acoustic/electric guitar player, also on the slide or also called bottleneck guitar as well, and even on the pedal steel guitar often used with country music, but here playing some sort of calypso-latin-jazz-guitar.

So the black Cassandra Wilson entered the stage as always with bare feet in a long colourful african looking dress with bare shoulders and her very long afro-jamaican hair, like another copy of the late male Godfather of reggae music Bob Marley.

One song after the next served by highly professional musicians and the vocalist knowing exactly, where she had the audience and her musicians backing her, with a drive both individually and as a group - rare for any jazz concert in Denmark, while Cassandra in her very own, but typical for her way, dancing with slow movements on the stage, in some sort of transcended meditative universe, like Keith Jarrett has done so many times behind his beloved piano.

The musicians:

Cassandra Wilson - vocals and acoustic guitar on two songs.
Martin Sewell - heavenly acoustic and electric guitars etc. etc.
Jonathan Batiste - highly offensive piano
Reginald Veal - double bass with a lot of bow playing, two songs on electric bass
Herlin Riley - drums (the next Brian Blade)
Lekan Babalolaayne - percussion (anything worth hitting on including the floor)

We listened and cheered for every song in the almost two hours straight on show with no intermission at all. They were all there the songs, which has made Cassandra Wilson what she is today - an incredibly vocalist/jazz singer with so much blues in her soul and voice, that another black female singer comes to my mind, the late Ms. Ella Fitzgerald.

Duke Ellington´s "Caravan", followed by "Here Comes The Sun" by the Beatles in a 5 songs medley, continued in "Around Midnight" by Thelonius Monk and then with the New Orleans classic "Sweet Lorraine" and to end it all with her own copy version of the song made emortal by Louis Armstrong "St. James Infirmary". 5 songs in all in a medley without a break. Never heard something like this before.

No wonder the audience, in the sold out Royal Danish Theater concert hall cheered Cassandra Wilson an her incredibly professional hardcore and particularely hard driving jazz/blues musicians, probably returned the biggest standing up exit applause during the entire Copenhagen Jazz Festival 2008, and by God she came back for one more song "Strange Fruit", originally composed by Billie Holiday with only the double bass by Reginald Veal using the bow and the acoustic guitar by Martin Sewell for accompained music to guide her through this very beautiful song, though the lyrics are historicly condescending to the Black Race.

AWESOME concert. In a scale of 1 to 5 equals IMHO 6+.

For more info and albums from Cassandra Wilson - www.cassandrawilson.com

Mat said:

That's gonna be hard thing for me to do. Because now I'd probably afford to buy only one octave of the instrument. And not one key more:lol::lol::lol:.
Well, unless you're doing the whole price-negotiating thing:grin:.



Oh well, I guess I'll stick with Sonny and the "Sunny Side Of The Street" (

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Don´t ya worry Mat :tiphat::clap: about the Hammond B3 organ with more than one octave and one key - I got plans....cooking.

On topic "Sunny Side Of The Street", played by Sonny Rollins as we speak.

I thought, I was an expert on jazz going back to the late 1950´s, where I live. Of course making this assumption, I had no idea that my old buddy from school Rene´ lived around here too and like me had falling in love with jazz.

Like I told Mat on a pm here at the MIMF, Rene´s contribution to this festival of jazz was like a gift send by God. We mostly went to the same venues, but he never stayed in the chair beside me for the whole concert, there would suddenly be someone he spotted during any of the individual concerts we attended, he just had to talk to.

I soon became aware of his incredible list of contacts within the musical industry in Denmark, not to mention his personal knowledge on Ornette Coleman, which almost took my breath away leaving me for an illeterate amateur on the biographies of US jazz musicians. He has been to the USA five times, since we parted in the beginning of the 1970´s, he has even been to the Montreal Jazz Festival in the year 2003, while two danish musicians participated and made an improvised trio with the el. bassist Steve Swallow.

I had no idea of neither his jazz knowledge nor his list of people involved in jazz. Sometimes during the day time, we would sit in a cafe on the "strøget", which is a long street, but only for pedestrians - no cars, busses or motor bikes are alowed, not even bicycles or skate boards. Then suddenly someone would stop at our table: Hey Rene´ how are you doing......and before I knew it we would be six or seven people at this small table at the size of a chess board having to bring new chairs for the new guests, and everyone would talk about music in particular jazz. Such a great experience for me, who mostly kept my mouth shut completely overwhelmed by this repeated scenario.

As I spoke of we actually visited his parents, but had decided before we arrived that Rene´ would invite his parents for dinner in a fancy restaurent, and tell them: You can not deny me this, and I have a huge surpice for you, when we meet.

The surprice to his parents would be me :grin::grin: but they were mostly smiling, what I remembered from back to our teenage years, and we had a great dinner talking most of the evening about anything between the earth and the heavens. I almost had to entertain with important issues during my life, not excactly my favourite issue of all, but being polite and of course having my buddy interupting all the time - it was quite an evening, which ended when we drove them home in a cap and Rene´ suggested we would re-enter Christiania, a part of Copenhagen where the center of dealing drugs used to be back in the late 1960´s and early 1970´s, but also some great underground rock music would be played that particular night - A copy band called: The Pink Floyd Project.

By God, danish rock musicians quite authenticly copying the english PINK FLOYD and the songs, I used to whistle from "Dark Side Of The Moon" - It was amazing.

Quite honestly this whole trip to Copenhagen with Rene´ from the July 3 to 13, almost incomprehensive even now two days later after my returning home. Strange, I almost miss his company, because we had such fun during the train trip, he is very good at telling jokes as well, realising the both of us how many equal interests, we still share in each our lives, but mostly that the close friendship, we shared as boys and teenagers, is still on.

He used to be the always fresh one verbally towards other of our common acquaintences or enemies of the same age, always assuming I would defend him physically? Then, when he understood, he had crossed the thin red line towards other boys calling them names, he should not speak - often a small group of them - which he often did, then he would point at me staying some 90 to 200 feet away out of hearing range, for his defense and he would treaten them: "Ya all see the tall heavy guy there? This is my big brother, so if ya want to take the discussion outside this establishment, please feel free, but you´re going to fight my big brother. The last one, who dared this ...is still running.".

Of course I never knew, but it did seem to save him a lot of anoyd remarks and physical repercussion and no one ever came to me to fight with me physically. The only person in my life, I have ever layed a hand on physically was my Dad. I was nine years of age, but I must have hit him so hard in his belly, because he stumbled backwards and landed on his back completely surpriced. It never happened again. I felt ashamed though he had asked for it one of these nights where the whiskey completely took over his ordinary sound reasoning.

On one account though, Rene´ and I are totally different and I am a bit chocked. I stand for monagamy, when in a loving relationship to one woman. He does not know the excistence of the words or the meaning of the words - monogamy or faithful - towards any of his women. I do mean any of his women.

I could never live with myself this way, and somehow I do understand the mistrust his current "wife" south of Aalborg had towards the idea presented by him and I at their house, the two of us going to Copenhagen.

Well that´s another story, but we realy had a great time during the jazz festival, never to get drunk or stoned for that matter, and he introduced me to everybody as his old buddy from school, anybody he acccidently spotted somewhere, or they spotted Rene´. He would introduce me as a Keith Jarrett and Pat Metheny fan and connesseur.

Now I only miss the review of the David Murray and the Brad Mehldau concerts. See you gators later!!

Mat said:

.........I hope you bought the "Metheny/Mehldau Quartet" album somewhere else. Ya know, I've never been a big fan (well, small fan either) of Pat's music. But when I found this (jazz) forum and saw how popular he was here, I thought I'd get to know his music. Well, I did. And I still can't get to like the guy. It's just not mine type of jazz. There are few recordings of his I like but that's all.

Oh well, I guess I'll stick with Sonny and the "Sunny Side Of The Street" (we both know why:grin::grin::grin

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Mat buddy :tiphat:

Whether you enjoy Pat Metheny or not?, is as important as whether I enjoy Prokovjiev or not? Which, I incidently do from what I have listened to at a friends house. It does not matter. What matters is that you have been born with a musical talent beyond anything known to me.

You also happen to enjoy jazz music like sir Corno Dolce, who is also like you into classical music, which to me, on both your accounts, was surprincing.

That matters - in all - to me.

What matters too, is that you´re on a well deserved holliday now also known to me as well after a victorious winter and spring time, preparing for the one unfinished.....ya know. So: Don´t worry, be happy!!

I also noticed re-entering the MIMF that this thread seemed to have had a sudden death, when I left on July 2.

What happend to our Canadian friend, who offered to send in reports from the Montreal Jazz Festival? But I guess, he could do it like me, sometime after the whole deal has finished. It´s been one day of excitement and jazz meeting new people, after the next day and the next....

A wise guy once said: Live while you´re alive. I guess this is excactly, what I have done for the past 10 days, and honestly from my innermosts, I should have done this years ago and kept doing it, because of the simple fact we all know of, whether we enjoy or play classical or jazz music - It make us all happy!

Somehow, I am still in Copenhagen in all that jazz.

The David Murray Black Saint Quartet at Glassalen in Tivoli, July 11.

David Murray (tenor saxophone and bass clarinet), another old American jazz acquaintence of mine from way back in my younger years to the old Jazz House Montmartre in Nørregade, Copenhagen. I attended a jazz concert here with Jack Dejohnette in 1981 or so, the very night I profoundly (again and again) understood having found my own match as a drummer, already in 1973 in Carl Palmer (the english classical(rock band ELP equals Emerson, Lake and Palmer - only in my never realisticly fulfilled dreams though.

The drumming, I saw and listened to by Jack DeJohnette and his Tin Can Alley Band in 1981, again and again convinced me to forget anything about becomming that kind of drummer.

Well David Murray was in this band as one of two saxophone players. The other was Arthur Blythe (alto saxophone) with Peter Warren on the double bass.

Somehow in Copenhagen 2008, he had evolved to the kind of leader in a jazz quartet, where there is one obvious star in the band, and the rest of the musicians are not alowed to be individuals.

The musicians:

David Murray - tenor saxophone and bass clarinet
Lafayette Gilchrist - piano
Jaribu Shahid - double bass
Hamid Drake - drums

David Murray is a terrific tenor saxophone player though, no doubts about it, having kept the old traditions from the former tenor giant Coleman Hawkins, who as we all know was replaced, or put to rest so to speak, by Sonny Rollins back in the day.

On a scale on 1 to 5 - a small 3.

For more info and albums on David Murray - www.davidmurray.com

Hello Intet,

Pat Metheny's music spends more time on the shelves these days - with the exception of a few tracks. Keith Jarrett's musicianship as you know, I can't get enough of.

Cheers,

CD :up::up::up::up::up::up::up:

Corno Dolce said:

Hello Intet,

Pat Metheny's music spends more time on the shelves these days - with the exception of a few tracks. Keith Jarrett's musicianship as you know, I can't get enough of.

Cheers,

CD :up::up::up::up::up::up::up:

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Hi Corno Dolce :tiphat::clap:

Well sir, I haven´t even thought of Pat Metheny albums, nor played him yet after returning, but neither Keith Jarrett has been on the CD player as of yet.

In fact, I haven´t realy got to the point yet, where I understand I only have to check my music shelves to find, whatever I want to hear.

From January 1 to this day, my CD collection show I simply, but seriously, need a bigger apartment. I am up at 701 CD´s now and counting........

Hi Intet,

I know the feeling with having lots of cd's occupying wall space. With over 1500 cd's, there will always be something different to listen to.

Cheers,

CD