tkeith

frayed knot

I may try some sleuthing as the month wears on Dan, but I prefer to let the knowledge base flex before I do that.

Such Great Frenemies. [see what I did there, John?]

DAMNIT!

Alright, to be fair, I got an advance listen in on this two days ago -- sue me. That said, I've ID'd not a damned thing! A lot of interesting blues-leaning stuff in here. A few whiffs for me, but that's why we're all sharing our own stuff. Thanks for the listen, Dan! Track 01 - Straighten Up And Fly Right, but by whom. First thought was Gator, but it's more somebody trying to play like Gator to my ear (that will start a fight, but that's what I hear). Recording sure smells of Concord. Not sold on the spoken word. A fun ride, but not fully sold on it as listening music -- more party music. Track 02 - In. All in. Take my money. I don't know who, but I love it. Patient, just telling the story. Egos left in the breezeway, nothing but the blues in this house. Track 03 - Off the basketball court, I've always detested this tune. Almost a Zoot sensibility, but doesn't have that warm core that Zoot has. That's not a criticism (even though it sounds like it). It's cooking in its own right, I'm just not sure who it is -- but it ain't Zoot. Track 04 - Blue Moon, not sure who by. Someone of the correct era, but I'm not in love with that dry tone. At points I think I'm going to like, then it just sounds like it's missing something. Can't put my finger on what it is that doesn't reach me in the tone other than that word "dry". Clearly a real player of that era, though. Has that classic vibrato style. I'd guess mid-50s, or at least that was this player's prime (maybe even a bit before). Okay, is that the same guy on alto, now? Because that would help explain what I couldn't explain before. The ideas sounded like somebody like Marshall Royal, but the tone was... I don't know, part Arnett Cobb, part Al Cohn. But the ideas sounded alto to me, and that would explain what I was hearing in the tone. A round about way of saying I don't know who this is. Track 05 - I like the brass arrangement. The electric bass? Notsomuch. Can't say I know who this is, but I like it. It's understated. Track 06 - Somebody likes Cannonball nearly as much as I do. It's got what it's got -- no getting around that. Gets a little showy around 2:30, but it works. I feel like I should be able to make a guess on this, but I got nothing. Gets a little way from what it had around 3:15. Still works, but not something I'm coming back to. For a bit, I actually thought this might be Nat, but it's not quite there. I don't know it is, only who it is not. Track 07 - I don't care for Captain Growls in the least. The arrangement has the feel of a Peter Apfelbaum date, but this may be earlier (or at least concurrent). It's a conservatory boy, for sure, just not sure which one. Somebody who has listened to a lot of Coltrane, Joe Henderson, and Charles Lloyd. Can play is butt off, but I'm not hearing a unique voice in there. Rhythm section does less than nothing for me. It's an Austin Powers cut -- it's not my bag, baby. Track 08 - Again, the Concord sound. I don't know the player. Real guy, but more from the blues angle to my ear. Again, this is going to get me in trouble, but it feels like it *wants* to swing, but can't quite get there. Track 09 - Oh, this is SUPER familiar. This may actually occupy a shelf in my CD room. Pianist nearly tripped over his fingers, but totally understandable. Not sure who it is but reminds me of the dude that played with Art Pepper, Milcho, in terms of his aggressiveness. That left-hand almost has a Horace Silver thing going on. That right-hand is an absolute bitch! Could this be the Gene cut? Tenor has shades of Big George, but not him. This guy has all the technicque of Captain Growls on track 7, but this is far more musical to my ear. I should know this player, and I'm coming up oh him each time his car pulls away from the curb (it's an early 70s Lincoln, by the way). Track 10 - It's not over -- there's three more tunes after this! I don't know these players, but they are accomplished players to be sure. Some hints of James Spaulding in that alto, but I think, again, more of a blues bend. Could well be Pat Martino. Not sure about the trumpet. Aquitted himself well, but sounded like he was right at the edge of his ability to do so at this tempo (understandable). Sounds like Cedar Walton to me. Is this, perhaps, one of those Newport Jazz Festival Presents bands? If so, maybe Randy Brecker on trumpet. I'm a broken record here, but has that Concord sound (which always makes me think George Mraz). Hmmm... nope. Not brassy enough to be Randy. Almost sounds like George Adams beating on an alto. Track 11 - Alright, damnit, that's GOT to be Gene and it IS Concord. Hmmm... who IS this thick reeded, breathy saxophonist. Like if Jimmy Forrest and Von Freeman had a child. Track 12 - Recognize the tune but can't give you name. Lyrics are ALMOST reaching me. Let it shine is in there. I do not know who. This is an area that's pretty thin in my collection, the second-line neo-gospel feel. It works, though. Hmmm... a 2-Gene BFT? Track 13 - Hmmm. I wanted to say Jimmy Forrest, but I'm hearing later Illinois Jacquet (Black Lion years). Bad MF whomever it is. A whole lot more of this, please.

Love the subject header on this thread. Well played, sir. Heck, I'd sign up for a monthly foray into the Felser collection!

Jeez, Julian!

Listening to this again, and not sure what strain was involved, but this is NOT in 3, but 5 (so, I guess 'half three'?). Egad.

Agree on Caliente. Will find para Los Amigos. Thanks!

Great explanation, felser! I have pretty much all the Gato up to Last Tango (I forget the actual title -- live recording). After that it's spotty, because the vast majority is utter crap. So unfortunate, because he had such a beautiful sound. To my ear, Jeff Coffin owes a heavy nod to Gato for his tone.

I was confused by the Gato thing, too, man. I finally just accepted that I'd missed something.

Just a heads up -- where I referenced posting links, I did include them as hyperlinks on the word "this". Jim, with due respect, I'd say there's a great deal to appreciate about Mssrs. Brown and Barnes on the Parker cut, though I agree with your broader assessment. I kind of see Flip like Bill Hardman with Blakey's band -- not the guy who makes you ignore Lee or Freddie, but an integral piece of the band and what it does. Likewise Brown. Maybe a good comp to Odean Pope with Max.

Getting in early on this one. track 01 - FUNKY NASSAU!!! Tim Webb hipped me to this years ago. LOVE IT! track 02 - Sure sounds like Joe. Yeah, that's Joe. I have something equally weird and commercialish that he was on. No idea what this is, but that bass seems pretty prominent in the mix. Perhaps the leader? Love Joe, and this is a great listen, but man, those effects get to me quick. Oh, violin. There's a clue. Sounds like Urbaniak. Could me someone more out, but I'm not getting that vibe. Harp!? Is this an Alice Coltrane thing? Alright, curiosity got the better of me and I sleuthed it out. Not going to post the answer, because I didn't know it, I had to seek it. Very interesting. track 03 - Black Coffee, but by whom? Really like this version, though not entirely sold on vocalist. Oddly, Iwarmed up when she started scatting -- not usually the case. Yeah, this is a keeper. interest piqued. track 04 - Was thinking Lovano at first, but that's Charles Lloyd, Joe doesn't have that warmth. Gotta be from Hyperion With Higgins, but I haven't heard that in years. track 05 - I'm trying to find fault with this (beyond the attrocious sound), and I got nothing. What the hell IS this? It's banging, and while it definitey is derivitive, it is done VERY right. It's got edge, it's got Turrentine soul, it's got facility. What the **** is this?! Even when it goes all Coltrane-flury, it works. Sounds like what I always wanted Courtney Pine to sound like. I gotta have this. Drums are too busy, so I'm guessing his date. I'd guess Ralph Peterson, but the presence of the organ has me leaning towards Cecil Brooks, III. How'd I do, coach? track 06 - Little Sunflower, in an obvious sense. It's not Freddie, but someone who likes him a whole lot. Not Eddie Henderson, tell-tale signs are missing. Not Woody. Not Kenny Wheeler, though that feels closest. Could be later Kenny, I guess, but really doesn't feel up to his level. Okay, here's a weird thought. Not getting a clear shot to either guy, but given the instrumentation, I'm going to say Chuck Mangione's band with Chris Vadala. I'm either nuts, or I nailed it. track 07 - LOVE THIS tune! Man, she was SO hip! For my money, this is THE female Jazz vocal album. Do I need to put a link up? I mean, this fools no one, but is still a great call in this mix. Outstanding! track 08 - OH YEAH! Cactus dances to the radio! Never gonna get these guys by me. I would argue this is top 3 Jazz albums of the past 20 years, easily (though, I might be RIGHT at that 20 year mark, huh?). Leena is pretty friggin' hip herself. track 09 - This is the first miss for my ears (camned electric bass does it every time). I don't know this, but it's groovy. That's both the best and worst part -- it's groovy. Could be Harold Alexander, but I haven't heard him go this far in that direction. Latin/70s/vibes... Dave Samuels? track 10 - This just makes me want to get in a big, 70s car and try to outrun Roy Scheider. Oddly hip, oddly pop-ie. I want to like it more for some things, and I want to loathe it for others, but I can't quite get to either point. It's in 3, so... there's that. Curious. track 11 - This is one where I would crop right to the time section. I understand what they were building, but I think it stands fine without that piece. Can only tell you who the soprano ISN'T. Piano sounds somewhat familiar, but could be the sound (has that distinct India Navigation/MPS sound quality -- or lack thereof). That is a RAW trumpet. Seems like if Raphe Malik was flirting with hard bop. Love the drive of the feel, even though the individual components aren't totally hitting. Pianist commits, I'll give him that. Overall, I'm not in love with it, but it works. Could be one of Joe McPhee's things, but I tend to hear his soprano as stronger. track 12 - Who's that fighting the unemployment stick so hard? Sure sounds like McBee's bass. Could be Joe Bonner on piano. Okay, so he's a tenor player who plays soprano. That breathy vibrato should be a better clue than it is. Sticking with Cecil/Joe... although, are there TWO bassists? Now THAT's interesting. track 13 - Varitone bass clari? No, that's soprano and octavia. Has drive and energy and isn't afraid to take aim and let loose. Be that Mr. Young? Seems like [insert 70s rock drummer here] getting together with a Jazz jam. Varitone is dominating the natural sound of the horn -- not my preference. Decidedly Hebreic approach. I think there's a better vibe being laid down than one the sax player is doing with it. Seems too learned for what the rest of them are doing. Quite a mix, man. You do not disappoint.

Apologies in advance for somewhat terse commentary -- relegating to typing w/left-hand for the time being. Also accounts for late showing and typos. track 01 - no idea. Tune sounds familiar, style does not. track 02 - Has an odd feel to it. Doesn't seem to quite swing, though it wants to. Seems like a modern player than sound/style would lead one to believe. Not Lemmie, but adjacent to his style. track 03 - Recognize this. James Carter from Chasin' The Gypsy. Love James, but really he could forget who he is sometimes and just play. That said, La Danierre Bergere on this album is epic. track 04 - no idea. Not my style. track 05 - A little toomuch polish to my ear, bt still enjoy the general feel. No guesses. track 06 - Can only assume Django. Don't really have the ear for this style. track 07 - Not sure I' im the mood for this. No guesses. track 08 - Like the way the trumpets work against the arrangement. No guesses. track 09 - You and the night and the music. I think I have this. Hmmm... I do not have this. Feels European to me. track 10 - Well, that came out of nowhere. No guesses.