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. BFT #220 reveal

    Huge kudos for at least four tracks of people I'm familiar with and feel I should have gotten and didn't. All four will need to be added to the collection. Well done.
  2. BFT#220

    Not yet, bud. Still in the think of it. Anybody tells you it's just a bad cold can go stuff themselves. #thisAintNoJoke True, but I'm probably closer than most!
  3. BFT#220

    Apologies for the delay in getting to this. I had a good start, then life through curves (including Covid), but I finally got my ears to the rest of it. Track 01 - Yes, please. Sound is a little strange (VERY strong channel separation), but music is spot on. Drums have that light sound of a Theresa Records recording. Not much in the way of effects on the vibes, a very clean sound. Patient improviser, as well. Pianist is a bit over-zealous at times, but this really works. Hmmm... who it isn't: Joe Bonner, Cecil McBee... who it is? Having a bit more trouble there. Almost wondering if this might be Embryo doing another crossover project, but this sounds definitively like a group of Jazz players. Track 02 - It's interesting, but I don't care for that bass. Electrified of some sort. Doesn't quite hit the mark, but it IS interesting. Track 03 - Like the understated trumpet, but unsure who it is. Something very Brubeck about the piano. Like the use of the arco bass on the melody, too. Nice cut, but I can't put a finger on it. I don't think I know these players. Track 04 - This is pretty tasty. A bit busy, but works quite well. Writing makes me think Jerry Sabatini, but that doesn't sound like his trumpet work. The setting is nice for the soloists, but feels like they didn't really make the most of it. I wanted the tenor player to cut loose, but all I'm hearing is the practice room, and I'll never understand why this happens. Overall, this seems like it wants to be in the vein of Old and New Dreams, but to my ear, doesn't quite make it (despite the stellar bass work). Track 05 - First impressions were 70s Messengers. Then the horns came in and it felt almost like Elvin's Jazz Machine. It's neither of those, but seems heavily indebted to both (not a bad thing at all). Maybe Franklin Kiermyer on drums? I like this better than the last cut, but the tenors, particularly the second, seem to suffer from the same issue. There's a great energy built up for them to plug into, then they just don't. By the time the second guy digs in, he's lost me. If you cut the first section of his solo out, you've got a pretty good solo. As it stands, it just misses the mark, despite the drummer absolutely kicking their ass. Some definite McCoyisms from the pianist, but I don't think it's the Master himself. Still, nice open chord voicings, struck convincingly, and it fits the mood built by the drums/bass. Really like this pianist. Like McCoy on decaf! Oh wait, the espresso just kicked in. If the tenor players could match this fire, this cut would have been something intense. As it is, it's a good track, but it had the potential to be epic. That surely sounds like Kiermyer going full Elvin. Track 06 - Almost has me thinking Hank Jones when he gets into the stride feel. No idea, but this is very nice. Track 07 - Actually really appreciate Tuvan throat singing, but frustrated that I can't do it. This person clearly can. I'm not convinced it works, here, but neither am I convinced it doesn't. I like the understated trombone work, but I'm not fully feeling the mix of these two voices. It's neat, but not sure I need it. Track 08 - Certainly has an ECM feel. Not as flashy as Michel Petrucciani, maybe Bobo Stenson? It's nice, but that's also where it's problems lie -- it's a bit polite. Track 09 - Wait, I have this. I know I do. AH! At 2:17-2:38 it reveals itself distinctly. It's from this, one of my favorite albums from my early teen years. Of course, if it hadn't revealed itself, once the big guy comes in, you'd know it. Track 10 - Quite reminiscent of a tune from a Connecticut band in the early oughts called The Jazz Aesthetic. They showed up on one of my BFTs. I will guarantee this is NOT them. Something about the feel has me leaning Vijay Iyer. A bit mathjazzy for my liking, but I know a lot of folks I play with would love it. Given that statement and the busy drumming, I have to wonder if that's Brian Blade. Track 11 - Nice voicings. I desperately want this to be a Mal Waldron cut, but it isn't. Surely has his feel, though. Wait! At 2:14, there's no way this ISN'T Mal! But what? Digging through my Mal stash, I don't have it. Perhaps just a sycophant's take? It's excellent, whatever it is, but now I'm going to not sleep.
  4. BFT #219

    Oooooo! Usenet! I wasted a LOT of time in that neck of the woods back then (not that group, but others). Miss those days. Seems like the text interface made for better conversation. :/
  5. BFT #219

    Or my ears are (very distinct possibility). My mind was blown about all things string when I watched a kid playing an acoustic hollow body through a distortion pedal. I've trusted nothing since.
  6. BFT #219

    I believe that is correct. Just to make sure we're on the same page, here -- it may be amplified, but I believe it to be an acoustic bass guitar from what I'm hearing (as opposed to electric bass). I'm not string guy, but that's what I'm picturing from what I hear, and yes, that is rare.
  7. BFT #219

    On a limited basis. If DeJohnette is present, very much so. George Adams' Sound Suggestions, the first Special Edition (w/Murray and Blythe) are both favorites. I actually always liked the sound of the recordings (placing me very much in the minority), but when they lean too George Winston, I'm out.
  8. BFT #219

    Gottlieb was not who I was thinking, but Jesus it's obvious, now. I remember Downbeat did a feature on him in the late 80s (I subscribed through one of those school magazine drives). I sought him out as a result of the article. He did not resonate.
  9. BFT #219

    Track 01 - Welp, that's Clifford Jordan on tenor, right away. And KD. It's track 1 from this. Gawd I love Clifford Jordan! Track 02 - Hmmm. The tune is Gospel Trane. I have it on A Monastic Trio by Alice. This doesn't sound like Alice, but I can't name a whole lot of harpists, and this is NOT Dorothy Ashby. Intriguing. Digging that beefy bass. Keep thinking I'm hearing brushes, but this is a duet, isn't it. (Laptop speakers) Track 03 - That melody is very familiar. Pharoah tune? This definitely hits a mark with me, but the sound is a bit wonky (again, laptop speakers). Has the sound of one of those early 70s Ibrahim dates, but the chord voicings are wrong for him. I know it's going to be somebody like Michele Petrutiani, so I have no chance of IDing it, but I SHOULD get the tune. Grrr! That bass is striking the balance between the bottom and teasing the LaFaro zone (but not getting carried away). Maybe Gary Peacock? I think I need this. Track 04 - Recently dumped every version of this tune I have onto an iPod trying to "study" the different perspectives. This was not one of them. Something about the phrasing has me thinking Kenny Barron. Whomever it is is, for sure, a heavy weight. Track 05 - Organ Grinder's Swing though I can't fathom who by. I know it's always associated with Jimmy Smith, but I've always associated it with Milt Jackson because of the Kosei Nenkin record on Pablo. Some sleuthing suggests Jimmie Lunceford. Recently read a funny anecdote about a young producer looking to make a name for himself lamenting that the drummer couldn't get that "Lunceford sound." The drummer, as it were, was Lunceford's drummer. I like this just fine, though I'm not crazy about the arrangement, I think a lot of that has to do with the limitations of when it was recorded. Track 06 - Liked this right away, but wasn't looking for the unemployment stick. Tune is familiar, but I don't have a title. I'm a sucker for this feel. Sure sounds like Harold Vick, but I don't think there's much HV I don't have and I don't know this. Track 07 - Oooo... tasty. As a rule, not an effects guy, but this is working (though, it would work as well if not better without). Definitely a Jarrett influence in that piano... kind of waiting for the tenor to come back because this is losing what it had. Meh... it lost me. Track 08 - Has the time feel of an Albert Ayler tune, but that sure sounds like Dewey Redman. Nope... not Dewey. It's almost in the happy zone for me. Jan Garbarek? I have limited JG in my collection, and this sounds a bit edgier than what I have, but I can't find that cross-section of Dewey and Gato without arriving at him. Now that he's in the mid-range of the horn, I'm nearly certain it's Jan. Don't know what this is, though. My U.S. Jazz bias shows through here -- I just don't hear the blues in this. Track 09 - So our theme is clearly Latin influence. Flamingo, no? Credit for a different arrangement, but those drums (bolero?) just don't do it for me. Like the double-octave piano, but this doesn't feel like it goes anywhere because it's busy trying to be different. I appreciate the mindset that got it here, but it feels like it misses. There's a lot of learned lines in here, but I don't hear the soul. Track 10 - Despite the effects, this has all that the last tune lacked in the first 10 seconds. If you've seen the Hans Groiner video on YouTube (if not, Google that name and Monk... you're welcome; and yes, that is who you think it is) this makes me think Hans Groiner's version of Equinox. I am not well. Oddly, I like it, anyway. A bit David Friesen for me, but I am enjoying it. Not enamored of that guitar, and I'm starting to get a sense of who this may be. That's got to be Pat Metheny because I'm dozing. Echoey recording suggests ECM, so... Burton? Swallow has to be in there somewhere. Can't think of the drummer that's on the stuff that's NOT DeJohnette (who, I'm realizing, is kind of my litmus test on purchasing music on that label). This is that 80s period where Jazz went off the rails and lost me. Can I blame Reagan or is that violating a rule? Track 11 - Big drums. Seems like a crossover -- rock guys working with some Jazz players. Nothing poppy about that tenor. Okay, I'm in. Great feel. Definite Rahsaan influence, but not him. Tenor is a little raw, like early McPhee without the anger. Not Michael White but I want it to be. Definitely owes a nod to Pharoah's early stuff, but also it's own thing. It's rough, in a good way. It's on the same trajectory of the previous two tunes, except that it gets everything right. Somebody means this music. Odd guess, but maybe Greg Bandy on drums? Track 12 - Uh-oh... somebody just announced last call -- drink up! A bit toward the commercial side, but I secretly wish I could play piano like this just for my own enjoyment (and maybe the occasional party). Has that tinge of the learned, but also seems to be aiming (and hitting squarely) for a specific feel. Cool test. Even the stuff I didn't dig made me listen (not always the case). Curious about what some of this is. Definitely a trek from where it began.
  10. 2022 Blindfold Test Signup

    Alrighty! Last spot for 2022 (September) has been claimed. Dad's gonna step up now that I've got time to help him learn to navigate the site. Says it's already done, so the pressure is on me to play tech support. I'll start a thread soon for 2023.
  11. BFT 218 - May 2022

    Track 01 - Sounds a lot like Booker Ervin's Scoochie, but it's not that. Burning tempo, and a player not overly beholden Coltrane. Not a player I'm overly familiar with, but definitely not a slouch. Awfully fast track to open the BFT -- I'm intrigued. Bassist is the least interesting of the first three soloists, pianist and saxophonists both aquitting themselves very well at this break-neck pace. A good cut, but I can't help but wonder where this test is going. Track 02 - Moose The Mooch. And that's gotta be Barry Harris. Yeah, it's from this, which was one of the first dozen-or-so Jazz albums I ever bought. Love this record, particularly side 1, track 2. I saw Clifford Jordan explain meeting Moose. "I was playing with Barry Harris, and he said, 'Hey Cliff, Moose the Mooch is in the house!' and I said, 'Say what?' I met him, he's a real guy." To me, this is one of those albums that NEEDS to be in a Jazz collection. Track 03 - Man, nice, warm sound. Facility, as well. Okay, that's Kenny Barron, and definitely Buster Williams now that I can hear the bass better, so this is a Steeplechase date. Could be Billy Hart, but he's keeping it pretty controlled. Yeah, there's the toms. Hold on, now, that's a different voice, isn't it? Okay, put the headphones on, and yes, different channel, so two trumpets. I can sleuth this one out, for sure. I'm assuming it's John McNeil, so it's got to be this. Oh, man, so glad I put the phones on -- Buster! And Billy is unmistakable, now. A tune I frequently overlook -- I'm glad they didn't. Beautiful. Track 04 - Needle drop says what? Ah, that intro changing octaves is a gimme. This is from this. Love that stride feel he gets going. There's really not a lacking track on this. Track 05 - Bluesette. I've heard this version, but I don't have it. Nice, patient, lyrical approach. Like somebody gave Pat Martino a cup of chamomile tea. Oh, nevermind. Suddenly we're into bop line land, but I don't recognize the phrasing -- kind of on the front side of the beat. Drummer is kind of pushing the tempo to my ear. These guys can play, just not sure this is the tune to take in this direction (just my preference). Something about that bass doesn't sit right -- is it electric? It's not a miss, but the rest of this test has set a pretty high bar, and I'm not sure this met that standard. Track 06 - Dense arrangement. That alto is mighty familiar. Almost Dolphy-esque, but later. We're straddling the tradition and the avant garde here. Definitely a gritty listen. Tenor player doesn't seem quite up to the level of the first two. It's good, I mean, it's honest and they're all working and listening, but tenor's execution is just a tick off from the first two. This works because the bass/drums hold it together (sometimes one at a time) regardless of what else is going on. Piano is off on his own trip, and they're holding it down for him until he comes back. This is really good. Very intrigued. Don't break my heart and tell me it's Braxton. Track 07 - Someday My Prince. Don't know that guitar sound. Very raw. Love the bass on this. Drums aren't making a huge impression, but that bass! Something is... how to put this... the "swing" in the guitar isn't quite right. Again, like he's playing toward the edges of the beat. This track is all about the bass for me. Approach reminds me of Barney Kessel, but doesn't have his feel. Man, I could listen to this bassist alone. Drummer comes along a bit on the fours, but still not quite sold on his feel. Track 08 - I was thinking this was I Got It Bad at first. This is REALLY familiar. Oh! That's Sam Rivers. Got it. That's Reggie Workman, so this is from this (man, Sam is KILLING it on this!). Man, helluva test! Great stuff throughout. Thanks for the listen. As you said, man, ALL the stars.
  12. 2022 Blindfold Test Signup

    Webbcity is going to take November. Added to schedule. May Dmitry June Dub Modal July Pim August Ken Dryden September October JSngry November Webbcity December. felser
  13. BFT 217

    Wasn't expecting you to slide quite so far back, but man, this test covers some GROUND! RANDY! My browser keeps singing that there are responses, so I decided to get in early on this one. Track 01 - I mean, I assume Louis. No idea beyond that. Not opposed to it, but don't really understand it relative to later music (I mean, I get it as a building block, but the recordings and what they're playing are always underwhelming to me -- get ready for the shit storm!). David Murray had a live recording of Bechet's Bounce where the reviewer said, "Murray's solo is silly." I felt entirely the opposite -- I felt he absolutely captured the feel of Bechet. Because of things like that, I'm never sure what I'm supposed to say on this this stuff. It's admirable for it's time, but I'll never reach for it as my first choice. Track 02 - That would be Mr. Edward Kennedy. Can I name the tune? No. Maybe Creole Love Call, now that I think about it. I'm positive I have this in one of the massive box sets. I really appreciate the vocalist on this. BT dubs -- happy birthday to Harry Carney! Track 03 - No clue. Is it just me or are these recordings SUPER quiet? I've got the headphones on with the volume jacked, and I'm struggling. The one thing I WILL give all music of this period, is that they err on the side of melody, which is a good thing. Track 04 - No idea on this. Not enamored of that saxophone style. Period-appropriate, but doesn't really speak to me. The trummpet has what I refer to above -- stays within the tune, and I really enjoy the arrangement behind the soloists. Funny that the flute solo could easily be from the 50s, but the other horns are so antiquated. Track 05 - This is probably not even ten year's forward, but sounds so much more relevant to my ear. Lots of finger embellishments. Maybe Fatha Hines? Track 06 - Surely seems to have a Hawk bent, but doesn't seem so cocky as Hawk. Warm tenor sound and beautiful ideas with a solid rhythmic foundation. Possibly early Illinois? Track 07 - A little Woody'n You. One of the first tunes I learned upon purchasing my first fakebook. Assume a Dizzy project, but that sure sounds like Hawk, particularly on the outchorus. Upon second listening, not at all convinced that the first tenor appearance is Hawk. Sounds more like Don Byas to me. That second tenor, just before the outchorus, that HAS to be Hawk. Track 08 - Giant leap into the future, here. Mr. Jefferson, for sure. So Hawk is the semi-theme. Pretty sure this is from this. Despite the horrible sound of the piano on this recording, that sure sounds like Barry Harris. I know this is in my collection, so I'll commit to the ID. Track 09 - Nice ballad, nice tenor sound, though perhaps a page forward from my usual happy zone. I can only say who it is not. It's NOT Bobby. Has that mid-late 70s feel. Feel like I am warm on the tenor, but I have no guess. Something about that glissando movement. Sounds close to My One And Only Love, but I'm wondering if this is a contrafact. Given that, perhaps Jerry Bergonzi? Track 10 - We've traveled some distance from where this BFT began. I'm hearing a lot of practice room, here. Bari is the standout voice (to the point I'm thinking Bluiett is a possibility). Tenor in the right channel is a Trane-disciple. Given that and the Bluiett comp, could this be a Fred Ho project? Not overly excited about either tenor voice. I don't know, man, this feels like it falls apart pretty quickly after the 3-minute mark. Was just listening to something from Dave Binney (with Potter) that struck me the same way. I admire the technical prowess, but I'm left asking a famous Miles' question: So what? The Saints seem to have little interest in what is going on here. Track 11 - Took part in a session once where a joke was made about playing Girl From Ipanema in 7. The guitarist lit up and said, "Let's DO that!" It, predictably, sucked. This is better than that, but I'm struck the same way. There's a lot going on in terms of the printed page, but I don't feel the gut in this music. Is this the same band as the last track? Just not feeling it. Track 12 - This seems in a somewhat similar vein, but a lot more going on to my ear. Man, this music has BALLS. Angular piano, but it's working. Drummer has me thinking Europe, but then he locks in and swings like hell. Sort of like Han Bennink, but better swinging feel. LOVE the piano, man. It's crazy, but it works. Almost like Sonny Blount, but the sidemen are all wrong. Whatever IT is, this has it. Hmmm... no doubt, that's Bill Barron. I thought I had ALL the Bill Barron, but apparently, I do not. Chance to name-drop a cool photo, though. I'm going to sleuth this, afterwards. I need this -- completely in my happy zone. Wait... about 6:20... is that Cecil!? How do I NOT have this!?!? I've gotta find that Track 12! Oh! No WONDER I liked track 12!!!!
  14. BFT216 Revealed

    Welp... it's been released as an EP, but that was for the RPM Challenge. I would not have released it had I that option, because it's unfinished. Let me monkey with Bandcamp and see if I can make those tracks free, and then I'll send you a link. I can't say for certain. I know it's on YT, and I can't for sure remember where I got it (I purchased a digital collection from someone way back and it may well have been a part of that). Well, shoot! That was easy. Missed that when I first listed it. For any interested: https://thomkeith.bandcamp.com/album/the-second-message-moonlight-in-san-marcos
  15. BFT216 Revealed

    Track 1 Thad Jones April In Paris (1956) The Magnificent Thad Jones Thad Jones - trumpet; Billy Mitchell - tenor saxophone; Barry Harris - piano; Percy Heath - bass; Max Roach - drums So, on the nights I can't sleep (most of them), if my wife has to get up early, rather than thrash about and keep her up, I'll move to the futon in a room upstairs. I have a little Bose mp3 player set up there, and sometimes I'll turn that on to help me sleep. I was in and out one night when this track came on. I should have nailed it sooner than I did (I've had this record for years, but it's fallen into that stack of "classics" that don't get enough attention), but I got up and hit the screen to see. The next day I found a transcription of this solo, because I couldn't stop singing it. Not to geek out too much, but it's epic in its simplicity, only to be matched by it's beautiful melodicism. Thad Jones is a vastly underappreciated GIANT. Track 2 Clifford Brown All-Stars Alone Together/Summertime/Come Rain Or Come Shine (1954) The Complete EmArcy Recordings Dinah Washington - vocals; Clifford Brown, Maynard Ferguson, Clark Terry - trumpet; Herb Geller - alto saxophone; Harold Land - tenor saxophone; Richie Powell, Junior Mance - piano; George Morrow, Keter Betts - bass; Max Roach - drums So, personnel is wonky on this one. Not 100% sure who fits where (though Maynard is quite obvious), so just providing the album info. Any clarity provided by the hive mind of the BFT greatly appreciated. I was late to the Clifford game. I didn't like the brass much when I was young, and slowly got there. This was in the collection because it had to be, but finally laid my ears on it appropriately, and this whole medley completely grips me. Track 3 Chico Freeman You Don't Have To Say You're Sorry (1979) Spirit Sensitive Chico Freeman - soprano saxophone; John Hicks - piano; Cecil McBee - bass; Billy Hart- drums; Famoudou Don Moye - percussion Had to get my guys in here. This one came on in the car one day and absolutely floored me. For the two people who don't yet own this album, here you go. Track 4 Mal Waldron ChangaChangaChanga (1973) Up Popped The Devil Mal Walron - piano; Reggie Workman - bass; Billy Higgins - drums I forget who said it, but I probably read it here, someone saying, "I'd listen to Mal Waldron set his drink down." I've always felt the guy was pure soul. This is no exception. Every so often, he hits with something you just can't clear from your brain. This, IMHO, is that. Track 5 The Second Message Horacement (2022) Moonlight In San Marcos Derek Kwong - trombone; Thom Keith - tenor saxophone, sequencing; Rob Gerry - bass; Mike Walsh - drums; Hal - electric piano, trumpet section Had to sneak it in. February is RPM Challenge month for me (challenge is to record/produce album, start to finish, in the month, all original material, never released before). This year's effort proved a huge challenge because of world events as much as anything. Sadly, never was able to get the entire band in the same room at the same time. So, in the words of Frank Zappa, "All that interesting interplay between the bass and drums never actually happened." Not my preferred way of doing things, but it's what it took for this year's project. Further complicating matters, the regular bassist (Tim Webb) was not able to do this tune, so I had to reach out to an alternate (and he nailed it). This is a tune I wrote over a decade ago, inspired by Horace Tapscott. Many thanks to those who participated in this project, and to you for listening. Track 6 Adele Sebastian I Felt Spring (1981) Desert Fairy Princess Adele Sebastian - flute; Bobby West - piano; Rickey Kelley - marimba; Roberto Miranda - bass; Billy Higgins - drums; Daoude Woods - perc Really love all of the work that Tom Albach has done getting this music out there. I owe thanks to my buddy Ken Eisen for introducing me to the world of Horace Tapscott. A very sad story behind the untimely passing of Adele Sebastian, but this is incredible music. Time for the Kamasi generation to dig a little deeper and find this stuff. To my ear, it's a lot deeper than KW. Track 7 William Parker The Wall Tumbles Down (2021) Mayan Space Station Ava Mendoza - guitar; William Parker - bass; Gerald Cleaver - drums I mean, William Parker is in that same class as Mal Waldron for me. Every time I think he can't possibly bring it on strong one more time, he blows me away. Had the privilege of meeting the man one time, and I'm not a big believer in the ethereal, but he has an aura. There's something about that guy, you know you're in the presence of something greater. Kudos to Tim for linking me up with this one. Track 8 Horace Tapscott & The Pan African People's Arkestra Motherless Child (1995) Moers 1995 Horace Tapscott, Nate Morgan - p; Arthurn Blythe - as; Michael Session - as,ss; Jesse Sharps - ss,basson,cl; Charles Owens - ts,bars; Steve Smith - tp; Fundi Legon - frh; Thurman Green - tb; William Roper - tuba; Roberto Miranda, Davide Bryant - b; Sunship Theus, Fritz Wise - dr,perc; Dwight Trible - voc I love Tapscott. But when you check this lineup, there's not a name here I DON'T love. Funny side story: Back when I had my radio show, I would add/tag musicians who appeared on the playlist. Typically it was fairly obvious if you had the right guy. Sometimes you just look at your mutual acquaintances. So, I added/tagged Nate Morgan. A couple of years later I read about his untimely passing decades earlier. I immediately contacted the guy I had added, apologizing for the error in identification. He responded, "No problem. Appreciate the add and thanks for the friendship." We've communicated since. #NewWorld Track 9 Mwata Bowden Praising Mama Ann (2019) 1 Foot In 1 Foot Out Mwata Bowden - reeds; Ari Brown - tenor saxophone; Leon Q. Allen - trumpet; Discopoet Khari B - spoken word; Avreeayl Ra - drums; Harrison Bankhead - bass Tim Webb laid this on me doing his Santa impersonation in December. My mind was blown. I wasn't sure right away what to expect, but even the foot that was out had my attention. If you've known me more than 4 minutes, you know I'm a sucker for the Chicago scene. This album leaves me wondering how many Mwata Bowdens there are out there that we've not heard of. Thanks to all who participated -- marks were high on this one.