tkeith

Correct, Jim. I was going from memory and added a beat at the end. It is in 9. My bad.

Call of the Wild and Peaceful Heart is, I believe, written in 10/4

Correct, sir!

Basically new to me. Stuff I didn't even know was out there. Sometimes, that's stuff that's 60-70 years old. In this case, it's newer than that.

Quite correct. A fun story accopanies the reveal on this one. You may know the tune, but unlikely the version. My guess is you DO know all the players. Indeed. He is not. Negative, but I'm glad it's got your mind working. This one has a great story to it. It's an album I was slow to warm up to, but it always captures my attention. A bit outside of my normal sphere. Mmmm... could be.... I will be shocked if both are not true. Agreed. You likely know some of the personnel. Was listening to another cut off this album today and it knocked me out. Perhaps I chose poorly. I will be surprised and impressed if you get this one. Glad you enjoyed, sir! Not Hutch. Definitely a name I have seen in these parts, though. The reaction is no surprise. A terrific band with terrific personnel. Unfortunately, a recording slightly off the radar. Smiling Billy is correct (and now Felser will nail it). Not Jack, but I'm sure he is an open influence. Not the guitarist's date. I can see why your ears would take you there. I think Jimmy gets less credit for his influence on the modern style. A lot of guys, I would say, have him as an influence-once-removed; he influenced someone they consider a direct influence. I mean, I WANT to... but that takes a lot of other options for a test out of play if you're trying to create a cohesive listening experience. The last track has been a pleasant discovery for me. Actually, true of 10-12.

Not Burton (though I'd LOVE to have included some of his stuff -- THE guy of his generation of tenors, IMHO). I see where the instrumentation on #4 would lead you down a Shaw path, but I don't hear the trumpet player from that side of the coin -- definitely more out of the Freddie side.

Correct tune on track 3, and you are correct that it is not Mingus. I'm wondering what you're wondering. I hear what you're hearing, and it's a good, on-point analysis. You are correct that this is someone lesser known, at least lesser known than Freddie.

Welp, since Ken has posted the answers to #183, I'll go ahead and unleash the beast for #184. Download and online player are in the usual place: http://thomkeith.net/index.php/blindfold-tests/ There's a range in here. I expect a number of folks to do very well on this one. Hopefully, there are some surprises, as well. Good luck!

Not chancing that I'll be able to get to this later -- had a little time tonight. Don't usually sleuth but had to on a couple and had a moment. Track 01 - Not sure who we are listening to, but accent sounds French (thought it was fake at first). Thought I heard S’wonderful before Time After Time started. Busy fingers, but I’m not sold. Okay, so we’re full on medley, but I can’t give you this song. Oh, I Get a Kick Out Of You. Tea For Two. Track 02 - Sounds like a Harold Land head, but then the tenor voice sounded like Rouse on the head. Now that we’re into the improv, no idea, but it’s neither of those guys. Good ideas, but that tone doesn’t click with me. Sound of the recording reminds me of a later Don Byas record I have, but this doesn’t have the “it” that that has. Sounds like a modern recording going for that sound to me. Don’t recognize the trumpet at all. I like the piano best of the rhythm section. Drummer is kind of bugging me with his fidgeting. Nothing wrong with it, but I’m not feeling like I’d go back to it. Track 03 - Wind bass. Doesn’t seem in full agreement with the piano, though. Could be early Jackie, but I think it’s someone aiming for Jackie. These drums probably fidget just as much as the last cut, but it totally works here. Hmmm… Bill Hardman for sure. Wait a second. That’s Mal Waldron’s left-hand, so that has to be Ray Draper. It IS J-Mac! A little checking the collection and it’s track 1 from this. Man, I love Mal Waldron! Track 04 - Seven Steps To Heaven, but by whom? Nylon-string guitar. Not sure who it is. It’s busy, but it works, particularly the bass. No guess. Track 05 - It Had to be Who? Not digging the vocalist. French horn? Cut misses for me. Track 06 - I want to say Zoot, but recording sounds too new. Also the guitarist is very quote happy. Not Zoot. Good player, but I’m missing the story. Duet breakdown is cool. Track 07 - Well, it’s not by the composer, but this is from The Queen’s Suite. Sunset and the Mockingbird. Glad to hear this song covered, but man… the original is just SO incredible. These are not people I know. Track 08 - Harold Arlen tune? Uh! No. Frank Loesser. If I Were A Bell. Flyin’ vibes! Ah! Tommy Flanagan for sure! That left-hand is unmistakeable (almost as much as Waldron). Okay, sleuthing occurred — tried to think of vibists in my collection who worked with Tommy. It’s from this. Track 09 - Recognize the tune, but can’t name it. I don’t know the tenor. Some Marsh-like feel in there, but no way. More recent recording. It’s just not clicking for me. Obviously a helluva player, but I’m not feeling… “it”. Track 10 - Different sounding guitar (steel body?). Darn That Dream. And a second guitar. Second sounds like nylon-string to me. That tells me one thing for sure: I have no idea who this is. Appreciate the general, laid-back feel, though. Track 11 - Bird tune… Segment. Beyond Daryl Harper, I won’t even hazard a guess at most clarinet players. However, I do know Ed Bickert, and the association makes me think Terry Clarke (perhaps a Concord recording?). So, I’m going to hazard a guess: Ken Peplowski. Track 12 - Goodbye Porkpie Hat. Niiiiiice bari. I can name everybody it ISN’T! Loses me a bit as we move into the improv. Too choppy, not enough story. Like the sound, but disagree with the ideas. Nothing wrong with it, just a matter of preference. Porkpie in 3? Interesting. Always thought if you sped the tune up you’d have a bitchin’ Blakey tune. Track 13 - I *have* Met Miss Jones. She was NOT a Blackbird. Two bitchin’ musicians for sure. Alto sounds a bit more out of the later in-the-tradition guys than I’m familiar with. Perhaps Herb Geller? Time is pretty impressive. Not sure on the pianist. I hear the accomplishment, but I also hear some strange ideas. Track 14 - Creole Love Call. Digging this. About 2:45, it occurs to me who the alto is — gotta be Lee Konitz. I don’t have this, but I sleuthed and this explains why I like it — LOVE the ‘bone! It’s from this. Track 15 - I’m in. I’m ALL in. Can’t tell if this is one piano, or a looped piano. My first thought was Ibrahim, but it’s way too agressive. I’m diggin’ it, though. Going with looped. It's cool, but doesn't quite swing. Some neat stuff in here!

Thank you!

Trouble Finds Me by Ross MacDonald

Do you have the dates on Amherst?

I have a chart for Croquet Ballet (that blew my mind, and showed how bad my transcription sucked!). I've learned Priestess, but never wrote it out. Another great tune. That guy has magic when he writes.

Love this answer, but I'll be more specific: There's a Small Hotel, Soon, Isn't It Romantic Also, Wives and Lovers, anything by Billy Harper, anything by Pharoah Sanders... basically, please just give me a hip audience. (Recently ended a set with Pharoah's Greetings To Idris, and as we were breaking down, sound guy put on a live recording of You Gotta Have Freedom that I was not familiar with. That's a good night.

Body & Soul, Recordame, Blue Bossa, All of Me. Leave the chestnuts in the bulk food section, please.