tkeith

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About tkeith

  • Rank
    Groove Merchant
  • Birthday 02/03/1970

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  • AIM APBAinMaine
  • MSN bayviewsax@yahoo.com
  • Website URL http://www.thomkeith.net
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  • Gender Male
  • Location New Hampshire
  • Interests Music, Food, Baseball, all things Horace Tapscott

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  1. Welcome to BFT 210

    I'll speak only for me -- I'd LOVE to. I just repeatedly prove incapable. If I could get that Shepp thing in my playing, I could get by on one leg.
  2. Welcome to BFT 210

    Limited knowledge, nowhere expertise. I'm basing this on a combination of my ears and my own studio experiences. Every GD piece of the drum kit is mic'd by it's own mic. Go look at the videos of Monk's band being recorded (with Rouse). Couple of mics above the kit (which is how I STILL do it when I record drums). I went into the studio with a rock band, we laid down one take (which could have been a rehearsal if they'd just done a couple more), taking about 5 minutes. This was after watching the engineer putz around for nearly two hours. For the next eight hours, I watched this guy play reindeer games with everything from compression to digital manipulation of individual notes on individual tracks. Finally got fed up and offered to play him a scale and let him construct his own solo for my part. Music isn't heard from the surface of the instrument, it's heard within the ambient setting. That's why RVG's work was so great. Everything now is hyper-polished and completely unreal. It's like we record in virtual reality. I freely admit to being a curmudgeon, but my ears tell me I'm also right. Case in point: Name ONE recording that is better than Kind of Blue. #IsNotPossible Mind you, I'll listen to someone with expertise explain all of this, but that's what I hear. I loathe recording engineers as a species.
  3. Welcome to BFT 210

    Must be Brian Blade, then. Me, too. I'm now "semi-retired," (meaning I got sick of the BS and walked). We shall see.
  4. Welcome to BFT 210

    Track 01 - Loving that tenor sound right off the bat. Gut instinct says it’s Reverend Frank. Has an edge of David S. Ware (speaking in terms of technique, here). Digging this tune. OOoooo! A full band! Tim, sounds like Traveler of Tomorrow a bit, no? Man, I love the in-the-tradition stuff (listening and playing) but THIS, man… this is where it’s at for me. Too structured for Reverend Frank. Thinking someone out of Bowie’s neighborhood. Has the drive of some of Johnny Dyani’s stuff, but I believe this to be a little later. Not entirely certain what this is. I AM certain I don’t have it, and I WILL need it. Track 02 - Not enamored of that snare sound. Vijay Iyer comes to mind, but I don’t think it’s him. I like it, but it tends toward busy structure. Drummer needs some decaf. Love the bass, but wish it was more out front. Ah, there we go. Could be a Holland project (loving bass, finding frustration in the music). I’d probably like this more live or if it were recorded earlier. Those drums reek of an overzealous engineer itching to prove how much he knows about Munson curves. Split decision. Like the idea better than the execution. Love the bassist. Track 03 - Early feel has that heavy McCoy influence. Then it felt like a Woody Shaw date from the early 80s. Trumpet is more towards Freddie to my ear. I like this. Not sure how unique it is, but it sure is done well. Has enough fire to be real. I need to know these guys. It’s too close. Man, that sure sounds like Avery Sharpe’s bass to me. Not McCoy, but owes him lunch for a year, at least. This is pretty bad ass. Again, don’t have it, need it. Feel like I’ve got big holes in my collection because I was a Hank Mobley snob when this stuff came out (guessing mid-80s). Still don’t think it’s McCoy, but it is SPOT on. Maybe Al Foster on drums? Seems a bit tighter, but the general feel and touch is right. 7:35, that piano line! Not Avery. Really sounds like Ron Carter about 8:05. Gotta be Ron. Man! This is a bitch! Why do I NOT have this? Not Al. Almost sounds like Tony Williams in the 4s section. Man, this is WICKED! It’s not Hannibal, but has that feel. MORE!!!! Track 04 - Alright… who’s mellow mixed with Sonny Fortune? Wait, no mistaking Booker Ervin. Not going to lie, had to sleuth the hell out of this. I knew it was Jaki. SHOCKED that that’s Alan Dawson! It’s Track 3 from this. Don’t own it. WILL fix that. Track 05 - Of course recognize the song… but a title? Nope. Chick Corea tune, right? This works, across the board. Oh! Wait! No, Kenny Wheeler. ‘Smatter? Wait… GAH! WHAT IS THIS!? Aw, man… sure hope somebody nails the title or I’m not sleeping until September 30! Fourth listen — I’m going to say Roy Haynes is the drummer. I know that bassist, but I don’t have him. Pianist could be many guys. I’m starting to think this is an “original” taking from all the sources I guessed above (hell, we ALL do that). Track 06 - Okay, yup… recognition, but no name for the track. iTunes has ruined me. Obviously not the original. Recognize the tenor, not Wayne. Pre-conservatory guy, but not quite the facility of Wayne. I know that sound. HOLY! Took some sleuthing, but I found it. Mainstream! My mind took me to a Miles tune. Man… couldn’t BE more wrong. Side 1, Track 2 from this. Track 07 - Man, I like this. The Brass Company meets John Handy! With a touch of who-knows-what mixed in. That left hand. Is this possibly an early John Hicks date? I don’t know of anything that early. Oh, wait. No, that’s Joe Bonner. Beautiful tune. Feel like I know it, but again, I probably don’t. This test is going to cost me money. Track 08 - Wanted to like this, but it seems to devolve into an angry Eastern European frenzy. Was leaning towards Cecil, but then it got silly. Loved the opening bass work, but I got lost thereafter. Track 09 - Electric cello? Has a very call-to-prayer feel. 11/4? Like the feel once it gets into it, for sure. No idea what it is. Part Threadgill, part KVM, part Masada. Like if Barney McAll wrote for the Little Huey Orchestra. I’m in. Not sure how you categorize this, but I sure would love to be there as it’s happening. Runs long when the guitar starts in, but that’s probably my snobbery as much as anything. I’m intrigued. Definitely music to be witnessed more than heard. Track 10 - Stafford James, without a doubt. Oh. Side 2, track 1 from this. Had a chance to see LH a few years back, but my damned cousin got married the same night. From all reports, I missed an event. Track 11 - Bang! Track 5 from this. I didn’t miss Bang. He played as part of the Waterville, Maine film festival. A friend helped organize it and steered the them towards Vietnam in large part to bring Billy in to perform. It was epic. One of the most compelling musicians I’ve ever watched perform. The dude was as real as it gets. Frank Lowe and Ahmed Abdullah were with him. Mike Carvin, too. REALLY miss this guy. This is the “sequel” album. Between the two, to my ear, there’s not a lost moment. Track 12 - I respect the musicianship, but this just misses for me. It’s close, I mean it’s right there. A former student used to tell me, “Keith, you know Klezmer started as a defense.” Made me laugh every time. Man, I’m KIND of in (it really is RIGHT there… I just miss hearing the individual in this). Track 13 - I was half way to asking, “What in the f—?” Obviously a very busy version of What Is This Thing Called Love (and not sure one I needed). Okay, that’s Kenny Garrett being Kenny Garrett. He sort of suffers from James Carter disease. Just *play*, man! No getting around his ability, but two minutes in, I have serious listener fatigue (again, engineer’s syndrome). I just don’t hear the love in this music. Track 14 - No doubt. Reggie. Opener from this. This album always gets lost in the shuffle. I know I’m a broken record, here, but to my ear, it’s because of the way it’s recorded. If this had been recorded 20 years earlier, there would be some breathing room in the sound. There are some great moments on this, but I’d really like to kick the engineer in the shin. Man, there was a LOT to like in this test. Didn't realize how long it was until I finished, but lots of smiles for my ears. This friggin' guy! MAN you have ears!
  5. Welcome to BFT 210

    210! (don't want to live in the past!)
  6. Welcome to BFT #209

    Started thinking about what I like about track 3 and what I don't like. The don't like is that Ben Monder sounding guitar. After a couple of more rounds, I'm going to throw out a guess based on this criteria: non-obscure guitarists I do NOT like. Mike Stern? Track 10 took some sleuthing, and I'm 95% sure I've got it. It started with the realization that it's Robin Eubanks on trombone. Worth adding that the saxophonist is not as well known as an alto player in most circles. Am I warm?
  7. Welcome to BFT #209

    Getting in early on this one before life explodes. Track 01 - First impression was Bud Shank, but then he got a little angry and I was thinking Art Pepper. Then I put the phones on and went all Bojack Horseman on myself ["you stupid s$%^"]. Jazz Me Blues from Meets the Rhythm Section. Nice start. Track 02 - A perfect example of why this is my all-time favorite writing tandem in the standard vernacular. Not sure I’ve heard a bad version of this song (though Chico Freeman’s is my favorite). Not sure who this is. ‘Bone comes out of J.J. (as they all do). Tenor is a more recent voice, out of the Lovano school. Not sold on the tenor, but love the cut. Sure it’ll be ID’d by the time I post, but this is It Never Entered My Mind. Track 03 - Has that Scofield sound on guitar, but overall sounds newer. That leads me to think it’s maybe Ben Monder. It’s a nice track. I don’t usually gravitate towards this style/feel, but this works. I don’t know this trumpet player. Track 04 - Angel Eyes. Something about the chord voicings have me thinking Tommy Flanagan, but I’m sure this is later than TF. Definitely not Tommy. Player has command of the language, but I’m not sure I’m buying the story. I don’t dislike it, but it fell into the background. Almost drifts into Mal territory at the end, but not quite. Track 05 - Teased an Ibrahim feel in the beginning, but didn’t go there. Didn’t care for the bass-drum exchange, but man, when the band comes back in, THAT’S nice. Not fully loving the guitarist — plays more like a rock or blues guy playing in this style. Alto has the perfect flavor. Makes me wonder if it’s not something like a Ry Cooder project. Track 06 - Sure sounds like Wayne to me. That vamp… why can I peg it? Elvin-flavored drums with a Gil Evans band feel. Too sane to be Elvin. Could be Joe Chambers. Thinking it’s not Wayne, but whomever it is owes him royalties. Almost sounds like Charles Lloyd at times, but too angry. That cetainly sounds like KB on guitar, but from the CTI period. If that’s accurate, I have no shot, as I was largely allergic to most of those recordings. Digging that bass. Want to say Art Davis, something about that tumbling thump. I mean, thsi all works. I like this. I don’t have it. This track is the class of this BFT, thus far, and that’s not an easy feat. Track 07 - Are we altering Monk’s tune and giving him royalties, or just lining our own pockets? Heavy handed drumming. Maybe Franklin Kiermeyer? Not a thing wrong with it, just doesn’t grab me. One of those recordings that’s so clean it’s distracting. The whole thing feels tepid. Track 08 - Opening drum riff felt like Pharoah Sanders Love Will Find A Way. Clearly, it’s not that, but now I want to go hear that. Not feeling this one. Can’t put my finger on it. Kind of feels like they said “let’s do something really awkward just to be different.” Track 09 - Impressive musicianship. Not my thing. Could be Kenny Garrett on alto. Okay once it gets going, but takes awhile to get there. Again, nothing wrong, just does’t connect. Track 10 - Nice arrangement. Really like the instrumentation, a lot. No idea who this is. Track 11 - Not sure, but man, it’s hitting right off. Well, that’s Yusef. Curtis Fuller — that follows. Oh, wait! That’s not Yusef, it’s Hank Mobley. This is from The Opener. Track 12 - John Lewis Tune. Afternoon in Paris (GREAT song). Definitely liking the turn this test has taken. It’s John Lewis on piano, for sure. Dolphy fools nobody. That narrows things down just a bit. Jim Hall. Benny Golson. So this is from Evolution. Man, I say it constantly, why is Golson NOT in the converation of saxophone giants? An absolute beast. Track 13 - This one works, but I have no idea who it is. Maybe Jim Alfredson? Seems to be a good guys around these parts when I can’t peg the organist on something I like. Man, that track 6 needs to find it's way into my stacks. [After reading] I'll be damned. Should have trusted the ears. Likely have the Gil. How did I miss J.J. on track 2? #FFS Third listen -- something almost Joe Henderson in that tenor. But this guy is his own voice. Liking it more on the third listen. A lot of story here. I hope I have this and am just brain cramping.
  8. BFT208 The Reveal

    Looking forward to December, as well! For clarity's point, when I refer to Tapscott, other than as a composer, but as a concept, I'm referring to the greater community for which he was largely responsible (Billie Harris, Dadisi, Bias, Session, Miranda, Wise, Trible, et al). I knew about the close association with Blythe, but on later realized David Murray and Komasi were both disciples, as well. Love everything about the Tapscott story save for the very end.
  9. BFT208 The Reveal

    Track 01 - Jane Bunnett, Dewey Redman, Dean Bowman, Larry Cramer, Stanley Cowell, Kieran Overs, Mark McLean - Illusion Suite: Maimoun - Sprituals and Dedications Dean Bowman - v; Jane Bunnett - fl, bass fl, ss; Stanley Cowell - p; Larry Cramer - tpt, flg; Mark McLean - dr; Kieran Overs - b; Dewey Redman - ts; Cowell has long been one of my favorite composers. I’m only slightly familiar with Bunnett’s work outside of this recording. I know this version didn’t hit for everybody, but I like that it’s a different take on a tune that never leaves my mind. Also, Dewey. Track 02 - Children's Blues -- Donald Washington -- Uknown what this is from! Donald Washington - Children’s Blues - Album? (recorded off of radio in 1990s) Donald Washington - clarinet, James Carter - contra bass clarinet, Cassius Richmond - alto flute, Faye Washington - flute, Sam Favors - piano, Jeff Bailey - bass, Kevin Washington - drums Okay, so back in the day, if I couldn’t be home for my buddy Ken Eisen’s radio show, I would record it and listen to it the next day. As I was in my late 20s/early 30s, this happened with some frequency. While cleaning through some stuff, I found this tune. I can find ZERO info about where this came from. I know that Washington was one of James’ teachers and mentors, and reached out to James. He was extremely accommodating, but is also a VERY busy guy. Thus far, the closest I’ve found is an album of material with similar personnel who seem to all have been students of Washington, but this song is not on it. Something about this tune just grabs me. Track 03 - Eddie Henderson - Shuffle And Deal - Shuffle And Deal Eddie Henderson - trumpet, Donald Harrison - alto saxophone, Kenny Barron - piano, Gerald Cannon - bass, Mike Clark - drums Wanted to have something straight ahead, but new-ish, enter Eddie. Personnel alone makes this interersting for me. It’s not going to make anybody’s desert island collection, but it’s a pretty good record in a sea of mediocrity that I’ve heard coming out recently. I’ve seen Eddie and Donald with The Cookers a few times now, and never been disappointed by either. Track 04 - Barney McAll - Release The Day - Release The Day Gary Bartz - alto saxophone, Peter Apfelbaum - tenor saxophone, Fabio Morgera - trumpet, Clark Gayton - trombone, Kurt Rosenwinkel - guitar, Barney McAll - keys, Tony Scherr - bass, Joey Baron - drums Barney McAll is absolutely one of my favorite composers. I’ve oft heard the feedback that his recordings are “too slick,” but I think there’s more to them than that (sorry, Dad). Maybe it’s the sound, maybe is the precision, but this is NOT the music of glossy covers that couldn’t find it’s way into my playlists when I had the show. McAll’s horn section has included, at various times, Billy Harper, Gary Bartz, and Peter Apfelbaum. In my book, that solidifies him as for-real. Track 05 - Roberto Miranda’s Home Music Ensemble - Faith - Live at Bing Theatre, Los Angeles, 1985 Thom David Mason - as/ts/bcl, John Carter - clt, Bobby Bradford - tpt/cnt, James Newton - fl, David Bottenbley - g/v/perc, Horace Tapscott - piano, Roberto Miranda - bass, Cliff Brooks - perc, Louis Miranda - perc/v, Buddy Toscano - perc I saw this pop-up in one of my various feeds, clicked the link, heard about 30 seconds and bought it. REAL music by REAL guys. The sound was a very pleasant surprise, as well. Track 06 - The Jazz Crusaders - Freedom Sound - Freedom Sound Wilton Felder - tenor saxophone, Wayne Henderson - trombone, Joe Sample - piano, Jimmy Bond - bass, Sticks Hooper - drums Love me some Crusaders. Wilton’s voice was so unique without being in the innovator class. Always felt he didn’t get proper respect. This band made some VERY good music in the 60s that deserves a second listen. The Mosaic set is excellent. Track 07 - Anthony Branker & Ascent - Sacred Song - Blessings Steve Wilson - alto saxophone, Ralph Bowen - tenor/soprano saxophone, Clfford Adams, Jr. - trumpet, Bryan Carrott - vibes, Johnny King - piano, Belden Bullock - bass, Wilby Fletcher - drums, Renato Thoms - conga Second time I’ve included a track from this in a BFT in the past three years. I knew nothing of Branker, though this album was one of the few to break through it’s glossy presentation into my playlist. I couldn’t find him in the personnel list of his own album and starter doing some searching. He suffered a brain aneurysm and had to give up playing the trumpet, but continues to write and arrange. This record really speaks to me, specificaly his writing, though the solos are rather standard fare. That’s probably not a fair assessment (I mean, it IS good music, even if it’s not going to bump Kind of Blue in the rotation). Track 08 - Vandermark 5 - Stranger Blues (for Lester Young) - Acoustic Machine Ken Vandermark - tenor sax/clarinet; Dave Rempus - alto & tenor sax; Jed Bishop - trombone; Kent Kessler - bass; Tim Mulvina - drums Vandermark is an enigma for me. Sometimes, I love him. Most times, I don’t. I think it’s absurd he got a McArthur grant, but that’s not on him. When he’s hitting, he’s terrrific. A lot of his stuff doesn’t hit for me. This one does. Track 09 - Sonny Rollins - A House Is Not A Home - The Cutting Edge Sonny Rollins - tenor saxophone, Masuo - guitar, Stanley Cowell - piano, Bob Cranshaw - electric bass, David Lee - drums, Mtume - percussion Newk fools no one. Bacharach is one of my favorite composers, particularly pre-1980s. The combination is stellar, in my opinion. Such a great tune, played by SUCH an absolute master. Track 10 - Gary Bias - As Children Play - East 101 Gary Bias - flute, alto & soprano saxophones; Rickey Kelly - vibes, David “Eric” Tilman - piano, Roberto Miranda - bass, Fritz Wise - drums A lot of guesses off the mark on this one, which is always good in a BFT. This is just a good record. That LA scene of the period REALLY produced some excellent music. Initially I was going to include Dadisi Komalafe’s Round Midnight, but it got bumped for time. Track 11 - Horace Tapscott & The Pan-African People’s Arkestra - Little Africa - Why Don’t You Listen? Dwight Trible - vocals, Phil Ranelin - trombone, Michael Session - saxophones, Horace Tapscott - piano, Alan Hines, Louis Large, Trevor Ware - bass, Donald Dean - drums, Bill Madison - percussion, The Great Voice of UGMAA - choir Continuing with the LA theme, had to go to the boss. This, as noted towards the end of the comment thread, is one of the most accessible albums of this band I’ve come across, and I have most of them. Oddly, it was not released until recently. Horace was a remarkable composer, and this album bears all of that out. Put Dwight Trible on an album, I’m probably going to like it. Thanks to all who participated!
  10. Welcome to BFT208!

    Later contemporary of Joe, on a different path. Definitely Bluiett adjacent. This one is going to give fits on the ID because it's incomplete. Agreed, and correct. I wanted to include a track and needed something uptempo -- this seemed to fit. This missed for several folks. This guy is one of the few "modern" writers I really enjoy (keys). I'll agree to disagree on all of the horn players on this, but especially on the soloist (though it is NOT his best work -- not ALL of our work can be that, right? ). Correct. This is a newer release, ID'd above. I took this from the Mosaic set for this band, ID'd above. THAT's the response I was looking for! It *was* ID'd (which gave me fits -- I figured this was one of the tougher ones). Band leader has an interesting story. Neither, but certainly a band content with either of those comps. Indeed! I remember not caring for this album outside of this track (which I bought separate in this digital age), but may have to revisit it. Just felt it wasn't any of the players "best" work (to refer back), but I should give it another shot. It is not. This album has made multiple appearances in BFTs over the years. Agreed. I find much of this album more accessible than a lot of the stuff that was released earlier, which seems odd. No matter -- LOVE me some Tapscott. Thanks! Will post the reveal tomorrow AM. Great blog, by the way!
  11. Welcome to BFT208!

    Yessah! This, obviously, is a digitized copy.
  12. Welcome to BFT208!

    Randy's post sheds some pretty serious light.
  13. Welcome to BFT208!

    No, but a much closer neighborhood. This guy is far less known than Joe, Bennie, et al. To be clear, it is the BASSIST who appears elsewhere. Although, on second check, the saxophonist ALSO makes multiple appearances.
  14. Welcome to BFT208!

    No, sir. Not Joe. Later. It is not. I suppose, the misfires are a clue of their own on this one.
  15. Welcome to BFT208!

    Nay. At the risk of putting some off, I would list this player as more serious. He also appears elsewhere on this test. Correct, sir! Nyet