tkeith

DL, please.

Track 1 - I like this instantly. Mean to Me, if I’m not mistaken, in a decidedly different take. Needle drop. Don’t recognize the trumpet. Like the arrangement. As much as I enjoy music that stretches, there is certainly something to be said for the constricted format of the solos here. Not a lot of wasted energy. Really enjoying the tenor. Track 2 - In six, and I’m in, but then, you knew that. Not earth-shattering, just driving, honest feel. Could be Harold Alexander. The multiphonics are a bit affected, but this still works. Track 3 - Nothing wrong with it, but I don’t typically take to this honky-tonk style of saxophone (Maceo notwithstanding). Reminds me a bit of some George Braith I have. Song is familiar, but I don’t have the title. Track 4 - Odd. Trumpet seems to be an older style, but the rhythm section has that late 60s feel (playing that late 50s style). The whole recording seems a bit off (the recording, I think, more than the music). No guess. Track 5 - Stardust, though I can’t fathom by whom. Track 6 - The moon does, in fact, look lonesome shining through the trees, but I’d rather it had a different soundtrack. Goes on a bit, too.

Yeah, I agree that's odd phrasing. Though, musicians have to be careful how flat the state things in that setting. I recall Bill Evans (saxophonist) ripping that Bill Evans/Harold Land album Quintessence. He back-pedaled hard after the reveal, but he NAILED precisely what was wrong with that album. (Incidentally, I don't care for saxophonist Bill Evans.)

Fixed. ;)

Track 1 - Hmm… odd that this is the first track on the section entitled “Freedom Principal”. This seems too rigid to me. A lot of the conservatory in play here. Not sure who it is, but seems to be a saxophone quartet-plus setting. I know who it ISN’T, and that’s the WSQ. Seems like these guys are just a tick below the top tier. It’s not as free and gruff as it wants to be. Track 2 - I’m not feeling this one. I think they’re achieving the abstract feel they’re going for, but not in a way that makes me care. Kenny Werner’s stuff strikes me this way. I’ll pass. Track 3 - A nice nod to the Ornette feel. This is not that, but it’s honest in what it is trying to accomplish. There’s an actual discussion taking place here (which was not present on the previous track). This is based enough in the blues that I’m buying it. The alto player has that rumbling, tumbling attack kind of like Sonny Simmons (not him). This draws me in. Free, loose, but seems to have a point. Somebody cares. Track 4 - This is the kind of thing that, seen live, could be fascinating. I’m not getting much out of this, though. I’ve seen stuff like this live that I thought was bullshit, too. This is not that, but it’s not resonating. Track 5 - I’m out. Not into shape-shifting keys.

Track 1 - This is pretty filthy. The tone is very Kamuca, but the ideas are more inline with Golson, Billy Mitchell. I’m not sure who this is, but I’m very much in tune with this. Doesn’t seem quite as beefy as Billy Mitchell, but sure has his approach. Track 2 - This is very sedate. I like parts of the arrangement, but the vibes and guitar are giving a very Muzak feel. Track 3 - I’m liking this a lot. I realized I wasn’t rigidly listening, but the bass solo sucked my total attention. This seems to be someone of a more recent vintage playing out of that traditional style, but it really works. Bassist is a bad man. Track 4 - Blackberry Winter. Not a huge believer in that heavy-chorus 80s guitar sound, but it works here. Not sure who is on the unemployment stick, here. S/he has control of the instrument, though, which is a plus (if a rare occurrence). Tasteful guitar solo, but really… can we can some of the effects, please? Ben Monder tends to get carried away with those, but I don’t think this is him. Though, that could certainly be Donny McCaslin on soprano, so I’m not sure. It’s nice, but I wouldn’t label it a keeper. Track 5 - Okay, I’m old school. This one just works. Nothing special going on here, but it swings, and sometimes, that’s enough. Nothing about the solos is really wowing me, but that’s not the point — on the whole, it works, and as a group effort, that’s what you want.

I like the way you set these up. Even though I'll make a fool of myself, I'm going to participate in all four. I got nada on this one as far as guesses. Musicianship was impressive throughout, though the odd numbered (older) tracks resonated more. Track 1 - Neat and enjoyable. No idea who or what. This is the sort of thing of this era that my ears warm to quickly. Track 2 - I’m less interested in the “remake” stuff of this era. There is certainly nothing musically at issue here, I just feel about it the way I feel about modern players playing bebop. It had it’s time and place, but this is tribute rather than creation. As tribute goes, I quite enjoy this, though it tends to drag on. Track 3 - This one resonates more with me. Has that spark, whatever I mean by that. No idea who or what. Track 4 - Again, it’s good music, but I’m not getting that natural feeling that tracks 1 and 3 gave me. Track 5 - Another fun one. The way everything sort of moves around everything else. The modern musician is probably more capable, but maybe it’s that slight chance of not executing that gives this music its beef. Track 6 - And this one passes me by. Musicianship is there, but doesn’t seem to have the bite of the odd numbered tracks. Clarinetist is certainly in the moment, but I’m not hip to the rhythm section.

Late to the game, here. In for a DL, please.

Rivers confounds me. There are many times when I love him and in general I think extremely highly of him. There are other times where his work just falls flat with me. I've read where others have complained about engineers inability to capture his sound effectively and wonder if that is part of the issue. I would not have guessed this was him.

So, at work, a one-time listen. Some I liked... some I didn't. All new to me. Track 01 - Man, I had an instant negative response to this. Then it softened, then returned. Very edgy alto, but not in a way I find appealing. Has the cerebral attack of Bennie Green, but the rhythm is not there. And the keys are just... just... don't. Melodica? I mean, kudos for originality, but this one isn't really working for me. I want to like the bass, but it's more like it rubs me less than the rest. Drums are cooking, but I'm fighting with the rest of it so much that I really can't appreciate them adequately. The articulation/rhythm have the element that drives me nuts about Rudresh Mahanthappa. Track 02 - This has my interest instantly. Has that cerebral feel of great solo piano (Waldron, Tapscott), but it's someone new than that. Ah, now some tasteful addition from the rest of the rhythm section. Seems to lose a bit of the originality it had in the intro, but I like where it's going. Very reserved, but tasteful in what develops. The conversation between the piano and bass is quite lovely. Track 03 - 3/4, I'm in. Mix is strange (both horns in the right channel), but digging that piano comping. The muted trumpet with the tenor playing the unison line really creates a nice effect. Oh! Wait, that's a Varitone! NICE! And an alto if my ears are correct... yes! Capable player but s/he is being too controlled (part of the varitone experience) for the atmosphere created by the rhythm section. Man, I'm DIGGING this tune. So few guys I can think of who played the alto-varitone combo. Paul Jeffries? Track 04 - Beatrice, but a bold-bodied tenor. Odd, there's a Getz influence, but there is also an influence of those fat-toned guys (Webster, Golson... even Mark Shim), as well. Guitar isn't doing much for me, but the arrangement of piano-guitar-sax is interesting. Pianist has that right mix of classical influence to make this work nicely (such a GREAT tune). Was that a pocket quote of In Walked Bud from the tenor? Something about the rhythm/articulations leads me to believe this is a European saxophonist. Maybe somebody like Jesper Thilo. This one sticks with me. Track 05 - This will get me in trouble, but, white guys trying to play a native American motif. That's what hits me. It doesn't really work. Good players, but it's just not working. Track 06 - This one works. Needle drop that has that organic feel of one of the Cadence dates. I like the way the bass is working independently of the drums, but still being complementary. Honest trumpet work, very thoughtful. Swings with a hard edge to it, kind of the way Andrew Cyrille would do it, but it's not him. This has the feel of the early Ornette quartet (not them). This is nice. I could go back to this a lot. I feel like I know this alto player, but I can't peg him. He's a border guy (not completely inside, not complete out). Track 07 - Something here sounds decidedly Getz, but it's not him. Nice ballad, but the saxophonist is trying too hard to be Getz on the head, to my ear. Loving the rhythm section. Saxophonist isn't really saying much, to my ear. Track 08 - Has that late-70s feel (think Muse Records). Can't ID the soprano, but very positively representative of the period I described. Could be someone like Rene McLean. Can't tell if that's another varitone in the other channel, or just a deeper horn. I'll throw out a guess -- Mike Carvin on drums. Track 09 - Is that melodica, AGAIN? Sounds like In A Silent Way... or am I nuts? Ooooo! Tasty! A touch of the middle east, but that bass vamp with the violin over the top really grabs my ears. Heavily orchestrated/arranged... but it works. I'm really waiting for it to break free, though. Reminds me of some of the later John Handy stuff (no doubt the instrumentation is contributing to that). Not sure if it's maintaining my interest. I'm getting frustrated with the arranged aspect of the tune. It seems to be trying to maintain that feel with a disorganized looseness... it may even be working, but I think I'm going to have to come back to it. One listen isn't going to be enough. Track 10 - Electronica is simply not my bag. This might be very creative, but I'm just not into it. Track 11 - Overdubbed horns? Doesn't really grab me. I like when we switch over to a clarinet choir, but the lead clarinet is still, well... a clarinet. Meh... doesn't really work. Track 12 - Aaaaah... a return to something that flows. Feel works well, but I'm on ear buds, and that pianist is just jabbing my left ear. The guitar is tasteful and right in the groove. Drums are busy, but in a good way for the tune. I'm struggling to hear the bass, but he's really holding down the harmonic progression for the tune, which is quite lovely. Just twisted my left ear bud, and this is great! Once the piano stopped dominating, the rest of the band is really cooking! Track 13 - Gives me the distinct impression of Sonny Blount's band. Not sure which album, but I'm pretty confident with the Arkestra guess. Track 14 - Snappy brushes Jazz... nothing "wrong" with it, but not my bag. Even when we get into the "free" section, that's not really grabbing me. Clarinet is hard. Track 15 - This definitely owes a nod to Peace Piece, but I'm all in. Loving it. Gutsy flute. There is NOTHING not to love here. It's neither Yusef nor Fathead, though I hear elements of both. Man, what happen to guys playing like this!??!?! Track 16 - Aw yeah. Rhodes! Nice! Bitchin' trumpet. Can't quite place the tenor, but I should have better idea... lots of trademarks, but I'm missing the ID. Maybe that's it... lot's of trademarks that belong to others... hmmm.... This works, though. I'm down with it. Thanks for the ear challenge!

Found this one pretty frustrating. Not so much in the inability to ID anything (though that's certainly in there) but just had a negative visceral reaction to much of it. Feel like I'm being a negative @$$hole with the comments, but this didn't really grab me. Perhaps it's the end-of-summer blues doing me in. Apologies in advance. Track 1 - I want to like it, but as I try to embrace this shrieking 'bone, it's a challenge. I think I chalk it up to a DO like, though. No idea what we have here. Track 2 - Black Orpheus, but the rendition is not resonating. Too... I don't know... Liberace? Get's better once we get beyond the intro. Some of the comping has me thinking it could be Harold Mabern, I just can't imagine him playing something as unhip as the intro; perhaps one of his students? The same link has me thinking of another specific recording, but I can't quite nail it down. Still thinking of the HM link, though. Track 3 - Fun. No idea what it is, but it IS fun. Track 4 - This doesn't seem all that musical to me until about a minute in. Pianist is very capable, but I'm not really caring. I saw Hilton Ruiz play like this one night (he was COMPLETELY wasted) and I walked out (4-hour roundtrip). I'll call this one fun, once it gets going, but I'm not all that much interested in hearing it twice. Track 5 - This is more like it. More for atmosphere than sit-n-listen, though. Track 6 - Much more in line with my ears. Could be Gator on tenor; whomever it is, I'm digging him. Rudolph Johnson? He's a bitch, whoever it is. Track 7 - A Night in Tunisia, with a very Hodgesesque flavor. Touches of Criss, but not so fleet. It's a player, but I think it's perhaps someone just off my radar. Either that or the alto isn't his main horn. Track 8 - Not a lot of interest here. Track 9 - An odd little arrangement of Caravan. I applaud the unique approach, but I'm not returning for more. Track 10 - Predates my guessable listening, but I love the feel. It's a little grimy and makes its point. I could listen to this easily. Track 11 - Almost sounds like Eddie Jefferson to me, but if so, earlier than I'm familiar with. Love the tune and always have. There is nothing not right with this. Track 12 - This is somewhat interesting to me, but I'm almost two minutes in and waiting for it to go somewhere. I like the tenor's sound, but there is something indistinct about the approach; very much out of the practice room, or so it seems. Flawless playing, but I'm getting much of a sense of grit. Sounds like someone who likes George Coleman a great deal. Based on the playing, I'm guessing this is mid-70s to early-80s, but sounds like a needle drop. I'm guessing not an American player because it seems like a skill level I should be acquainted with, but there is nothing pinging as far as an ID. Track 13 - Very solid playing, just not an era that particularly resonates with my interest. Love the time of the alto player, but besides a passing interest, the boogie-woogie feel just doesn't grab me. Track 14 - Things Ain't What They Used To Be, and I think I blame the organ. Okay, that was just mean. It's just overpowering my ability to concentrate, here. I'll pass. Could actually be Edward Kennedy himself on an off day on the piano. This one is just rubbing me all wrong. Track 15 - After Hours, one of the few rusty razor tunes I never tire of. Perhaps because I've rarely heard a version I didn't like. This is in the vein of much of the rest of this test, but I'm digging it, completely. It's totally subjective, but this just works on every level for me. Track 16 - I'm in. Again, it just works. Something about the whispering theme just sucks me right in. Nylon string guitar? Oh! Growl at me, baby! Love the way the alto just ATTACKS the horn. Could that be Eddie Vinson? Doesn't really strike me as him, though my mind wants to hear him shout at me next. That FILTHY woman! She did NOT do that to you! I'm all in, here. Track 17 - Whatever "it" was that the last track had, this lacks it... for me. I don't know, I just don't buy this at all. Mr. Tenor is going to try to save it here. Somebody likes Big Ben a whole bunch (and that's not a bad thing), but I don't believe it's the man himself. Pretty convincing take on him, though. The tenor definitely carries this to a level of respectability before it's over... I'm luke warm. Track 18 - I was about to give up on this before the tenor arrived. Now it's bad ass. Sounds like Hawk to me, but I'm probably wrong. This is all about the tenor for me -- the guitar could be edited completely out, just gets in the way. Sounds like he's not even in the same room with the others. Track 19 - *Yawn*. Just don't. Track 20 - Not crazy about the rock-n-roll shuffle stuff, but this one works. The band has a nice drive and the singer is convincing. This is the sort of thing that would be great to see live -- really ramp up the audience. Is that Big Mama? This one's a keeper. Track 21 - Right off the bat sounds like a Concord recording. Uber compressed. Again, the "it" that was in the last cut is just not here in this one. There's nothing "wrong" with it -- it's pleasant and well played -- it's just not making me care... at all. Sounds like George Mraz on bass, but that could be the recording. I'm not buying the vocalist at all. Track 22 - Glad this one is here. I'm guessing a good chunk of this was Cuban, as this reminds me a lot of Abraham Ferrer. This track is a definite keeper, though I have no idea who it is, but I never tire of this sort of thing. Sorry for the harsh opinions on some of this, but it really didn't fetch me. Thanks for the time prepping it, though, as it is always good to challenge one's ears.

Sorry, but that makes no sense. "Dancing girls and entertainment" in whatever form are exactly what constitutes professional interest. Professional means getting paid for the gig, which means getting your target audience to give up their money. Now, if you want to talk about whose target audience is who, go right on ahead. But don't say it's musicians playing for other musicians, because musicians are loathe to pay anybody for anything, and I say that with equal parts pride and contempt, it depends on who's asking for what for whom, and why. Self-defense or self-destruction, the answers determine the questions. I've got to agree with you, here, Jim. Though I have been on the occasional gig that turns into a circle jerk for the benefit of teh musicians. I think it's equally important that the musicians are buying in to what is happening (another part of that target you're referencing), if not, it devolves very quickly. Musicians who are sensitive to what is happening will recognize and avoid this as much as possible.

Once again TK proves himself a very perceptive hearer. And I should come clean on this one, because I realize today that something I posted about this tune in haste yesterday might be misleading. Several people have thought they heard Jimmy Smith on this one. It's because they did. It's him. You are the third person I've played this for to pipe up, "Billy Harper!" That's because it's him too. Now the task is to identify the band. Just when I think I have completed my quest to acquire ALL Billy Harper... I had no idea he had worked with JS. Not Kenny, or Everett. (Wait a minute -- have you heard Everett anywhere but on Billy Harper records?) I have not. Helen Scott told me that he'd had some woman trouble and had stopped playing. I believe he was preaching at last count (if he's still with us). Why that guy never got more well known is beyond me. Him and Hannibal. Glad to hear. The tune was written by a friend. Now I *AM* intrigued. Track 10 - It has a bit of that Blue Note sound, but it's later. Not Johnny Coles... Carmell Jones? I don't have this, but I need it. Again, like to know if the whole thing is like this, because this is right on. Wish I weren't on the laptop because I like what the bass is doing, but can't really hear it. TK busts me again. It's Carmell. Very impressive!OH! Sweet score! I was nervous about that one. I was confident about the guess, but equally confident I was full of sh*t!

Well, only got one full ID. Some great stuff in here! Track 1 - Obviously Cherokee. I know it's blasphemy, but I've never cared for the tune. I know it's Jazz standard 101, but the melody does nothing for me and the lyrics are quite silly and dated. Rant over. Digging the guitar solo, though I have no idea who it is. There's a touch of Roy Eldridge in the trumpet, but I don't think it's him -- seems too controlled. Good cut, in spite of the tune. (In fairness, I have the same reaction to Giant Steps from a compositional standpoint.) Track 2 - Hmmm... I like this. A lot going on here. Seems very familiar (like, probably in my collection familiar). A post-Miles player with a debt of gratitude owed, but also someone with his own concept. Seems to mix that Yusef Lateef world-approach with the tradition and does so well. Liking this a LOT. I love the way he's working that simple motif and gradually building the tension. Rhythm section is following (though the drummer is a little off compared to the others). Snare sounds like it could be Idris Muhammad. That's Horace Parlan on piano. OH! I *do* have this. Wow, egg on my face. I believe it's the title cut from this. Track 3 - Cruisin' in my El Dorado, white on beige... aw yeah. Ah yes, and the requisite unemployment stick solo. This is terribly 70s, in a very good way. Ooooo! Billy Harper! Tasty! I assume Gil Evans, but which album, I lack clues. Billy is *so* bad ass! Huh... could be Thad/Mel, actually. That was my first thought when I heard the soprano. The band parts seem more Thad & Mell while the keys seems more like one of Gil's projects. Whatever it is, it cooks. Almost sounds like Jimmy Smith on organ, but that doesn't follow. Color me intrigued. Track 4 - I'm a product of the 70s -- my mind sees a cartoon (not a bad thing); maybe a drunken duck walking along a boardwalk. No one I'm familiar with. Track 5 - This is a quirky arrangement but it's striking a chord for me. Almost sounds like Harold Vick, but man, this guy has some furious running outbursts that are knocking my socks off. Everything here works for me. Man, that trumpeter is hitting some Kenny Wheeler lines like I've never heard anyone else hit. I don't think it's Kenny, but this guy has definitely put some time in with the man. He's more agressive, though -- like Everett Hollins ripping Kenny Wheeler lines. The sound of the drums is thin, which bothers me, but musically, this is absolutely killin'. It's almost frenetic, but holds itself together well. VERY interested to learn what this is (and if the whole album matches this level of quality). Track 6 - Overdubbed or three trumpets? It's interesting, I'm just not sure it's going anywhere. Doesn't seem like an avant garde guy (cherry, dixon, et al), but seems like a more straight ahead player (or players) looking for that feel. Track 7 - I want to fault this for it's intentional drag, but I'm totally buying it. It's very unique and it absolutely works. I don't know if you'd all this 4-over-3 or 3-over-4, but man, it absolutely works. I need this. Track 8 - Grapelli? No idea. Pleasant, but no lasting desire that requires ownership. Track 9 - I like this for its Messengers feel, but it doesn't have that *bite*. I'm wanting to hear a little more grunt, in spite of how much I like the tune. I thought it was George Adams at first, and I was thinking, "here we go." A little like Golson and a lot like Teddy Edwards, both of whom I like. The sound is Teddy but the ideas are Golson without the polish. This guy is going to drink your beer and leave with your girl -- in short, he's a tenor player! I feel like I should get closer to him than I did, but I can't get him. Has the sounds of one of those Muse dates, but seems newer than that. I'm in on this one, as well, even if it seems to try to cover a bit too much ground on the head. Track 10 - It has a bit of that Blue Note sound, but it's later. Not Johnny Coles... Carmell Jones? I don't have this, but I need it. Again, like to know if the whole thing is like this, because this is right on. Wish I weren't on the laptop because I like what the bass is doing, but can't really hear it. Track 11 - No idea. Great feel. Track 12 - No idea. Egad! "Wonderful"? Let's not overdo it! (Have I mentioned how much I hate the feature that combines your posts?) Oh, HELL yes! *THAT'S* why that tenor was so familiar and bad ass! I was right! He WILL drink your beer and leave with your girl!

Track 1 - She's Got It - Buddy Tate - (1968) Buddy Tate And His Celebrity Club Orchestra Vol. 2 Ben Richardson - alto & bari sax, clarinet, vocals; Buddy Tate - tenor sax, vocals; Dickie Wells - trombone, vocals; Dud Bascomb - trumpet, vocals, Skip Hall - keyboard; John Williams - bass; Billy Stewart - drums My Dad actually saw Buddy perform this with Arnett Cobb, Eddie Cleanhead Vinson and others in the 80s. I discovered this in my collection and had to include it. What can I say, I'm a sucker for dirty old men singing about a bad girl. Track 2 - 5/4 Thing - Art Matthews - (1978) It's Easy To Remember Archie Shepp - alto sax; Bill Pierce - tenor sax; Dizzy Reece - trumpet; Art Matthews - piano; Charles Fambrough - bass; Alan Dawson - drums I was very excited when I saw this record as a kid. I loved Shepp, loved George Coleman (his tune), loved Dizzy Reece, and was very excited to hear the young Billy Pierce on tenor. The album doesn't quite live up to what my expectations were, but it's interesting anyway. I don't know of any other albums by Matthews as a leader. Track 3 - The Chooch - The Fringe - (1981) Hey! Open Up! George Garzone - tenor sax; Richard Appleman - bass; Bob Gullotti - drums The original version of The Fringe. Most people don't realize that John Lockwood was NOT the original bassist. After I saw them perform this at the Portsmouth Jazz Festival (including vocals by Garzone), I had to have this. This was back when The Fringe were self-producing everything (not sure if that's still the case) and it's a needle drop. I'm torn on Garzone. Sometimes I love him, most times I don't. No denying he's a beast, though. Track 4 - Snake and Pygmy Pie - Bob Moses - (1979) David Liebman - tenor sax; Terumasa Hino - cornet, percussion; Steve Kuhn - piano; Steve Swallow - electric bass; Bob Moses - drums Heard this tune on the radio one night called Autumn Liebs and totally dug it. Encountered this album later and really liked the whole thing. This track was a bit of a discovery. Not sure when Liebman stopped being this guy, but I miss it. Track 5 - Light on the Path - Edward Wilkerson, Jr. - (1992) Light on the Path Edward Wilkerson, Jr. - clarinet; Rod McGaha - trumpet; Harrison Bankhead - bass; Reggie Nicholson - drums Throwing people off with a cut featuring the dreaded clarinet. This track is all about Rod McGaha on trumpet, for me. I love the guy. Love him on Jeff Coffin's Go 'Round, too. I picked up one of his own releases and it was awful. Heavy on the synth and "R & B" stylings. Again, don't know what happened. Track 6 - Queen of All Ears - The Lounge Lizards - (1998) Queen of All Ears John Lurie - alto & tenor saxes; Michael Blake - tenor sax; Steven Bernstein - trumpet; Evan Lurie - keyboards; David Tronzo - slide guitar; Jane Scarpantoni - cello ; Erik Sanko - bass; Calvin Weston - drums I had this folder of unknown tunes on my hard drive. No idea where they came from, no idea what they were. I finally was able to figure this one out, and had to include it here. Track 7 - Chris Klaxton - Exospheric - (2014) Starcode Chris Klaxton - tpt; Mark Small - saxophone; Taylor O'Donnell - vocals; Tim Jago - guitar; Kendall Moore - trombone; Mike Effenberger - keys; Josh Allen - bass; Michael Piolet - drums This is an odd cut from trumpeter Chris Klaxton -- I love it. He released two albums last fall and this is from one of them. He lives in my area and is really an impressive musician. He made a huge impression on me when he called an obscure Johnny Hodges tune on a gig at the now defunct Barley Pub. The guy REALLY knows his stuff. This is a little contemporary for my usual tastes, but he's really *doing* something, to my ear. Track 8 - Afrisong - Muhal Richard Abrams - (1975) Afrisong Abrams - piano I was going to include a different song from this album -- a more consistent ballad -- but this song was just too damned beautiful. I was slow to come to Muhal, but in the past couple of years, he's really making my ears happy. Track 9 - Do It To It - Richard "Groove" Holmes - (1980) Good Vibrations Groove Holmes - organ; Houston Person - tenor sax; Bob DeVos - guitar; Idris Muhammad - drums; Buddy Caldwell - congas I've always loved this adaptation of Santana. I used to gobble up these Muse albums as a kid, often for $3 a pop, on trips to Boston with my Dad. Not a lot of desert island classics, but some pretty consistent music from the period. Track 10 - On Green Dolphin Street - Buddy Tate - (1981) The Great Buddy Tate Buddy Tate - tenor sax; Warren Vaché - trumpet; Hank Jones - piano; Milt Hinton - bass; Mel Lewis - drums My second favorite version of this tune (Miles' Jazztrack being the first). Buddy Tate is just such a Jazz guy; straight to the point and always swings his ass off. Warren Vaché is the perfect compliment on this album. Good stuff. Double shot of Tate, so I was shocked when this one when unidentified. Track 11 - Brother Ed - Larry Willis - (2002) Sanctuary Larry Willis - piano; Joe Ford - alto sax; Ray Codrington - trumpet; Steve Novosel - bass; Steve Berrios - drums Larry Willis composed a song on my favorite Junior Cook album, Somethin's Cookin', called Illusions of Grandeur. I've been interested in him ever since, and he never disappoints. Most of this album is really unique and interesting. Several other tracks include strings, but in a very original arrangement. Larry Willis needs more appreciation. Track 12 - Jakubu's Dance - Dick Griffin - (1974) The Eighth Wonder Dick Griffin - trombone; Sam Rivers - tenor sax; Ron Burton - piano; Cecil McBee - bass; Freddie Waits - drums; Warren Smith, Leopoldo F. Fleming - percussion I was thinking, "Gee, I really need to include a Dick Griffin cut on one of these." I went back and checked and saw that I've done that two times, already (including the song I'd decided to include here, so I had to change that). I also found that someone else had included a track from this album on a previous test. Still, this is just such a great track, I had to include it. Track 13 - Song for the New Man - David Fathead Newman - (2003) Song for the New Man Fathead - flute; John Hicks - piano; John Menegon - bass; Jimmy Cobb - drums I didn't figure on confusing anyone with this track, but it came on in the car and it's just so damned choice, I had to include it. This is most of the band David had with him when I saw him (Yoron Israel as on drums), and this was pretty much what the night was like. Such a soulful player, and I really like the way this track plays out. Also, I really do need to include John Hicks more often -- my absolute favorite pianist. Track 14 - A Dream For Rahsaan - Dick Griffin - (1985) A Dream For Rahsaan Dick Griffin - trombone; Gary Bartz - alto sax; Stanley Cowell - piano; Cecil McBee - bass; Billy Hart - drums Speaking of favorite pianists and composers, why not a little Stanley Cowell. Another great Dick Griffin record (they're all quite good), this one just burns so hot. These are my guys. Track 15 - Debonair - John Handy - (1966) The 2nd John Handy Album John Handy - alto sax; Michael White - violin; Jerry Hahn - guitar; Don Thompson - bass; Terry Clarke - drums I'm a sucker for songs in three (in case you hadn't picked up on that), and this is a great cut from a remarkable album from a largely forgotten player. John Handy ALWAYS had something going on.

Sorry for the initial delay in getting things started, but everything should be up and running. Let 'er rip here with comments, discussion and guesses.

Damn me, I should have got Buddy Tate! That's mid fifties, I think. Never heard any of Tate from that period. In fact, I think he only did two sessions between about 1950 and '58. This really shows he shouldn't have been left out in the cold. MG 1968.

Ding! Ding! I'm surprised more folks didn't get Tate. I added this late. I realized when people started to post about the double numbers that I did not change the ID3 tags. It seems that people are getting them in the correct order, though.

This one is tricky because you can't over think it. When you think, "sounds like something these guys might do," it's probably them. I'm surprised only one person has gotten the tune. Check the hints about the players I gave in recent comments. Hint: Not sure you can. But if you do, you'd be buying it direct. I love this record far more than I love the players. Same trumpet player. Not well known, but this is his second appearance in one of my BFTs. Ding! Ding! Very surprised so many people heard Jarrett in this. You got it all except the names! Hint: This tenor player is royalty. Hint: This is a well-known label, lesser known player. Now readily available. Not always the case (hint). ID'd above. This is one of the few flutists I could peg. Yeah, that. Major and forgotten. ID'd above.

Well, not a modern player, by any means. Interestingly, the alto player's voice is one of the most unique in the music, but (and here is a BIG hint), alto is not the horn he is noted for. Trumpet was a lesser-known contemporary of Woody, but actually predates him. I like the description of the tenor, but he's actually the one administering the hard lessons. (HUGE hint) This one is going to be a surprise. Not AI. Ding! Ding! Bitch of a tune! Well, you're half right. These are the guys from that vintage. (I think my choices have you over thinking here) Ding! Ding! You knew John Hicks had to make an appearance on my BFT. It is a John.

Most definitely featuring the same musician twice in the same BFT is allowed! I have done it several times! #8 is a Keith Jarrett composition which I have heard by Jarrett many times. I can remember Jarrett's soft vocalizations behind certain parts of this, on the original recording. But I can't remember which Jarrett album it is from. It's maddening. It could be an excerpt from "The Koln Concert", which did not have song titles. I do not know who is playing this Jarrett piece. Perhaps inspired by KJ, but not his. Pianist is the composer.

I sure hope so. Dick was going to teach me this song when I met him back in '06... he didn't. He *did*, however, teach me The Queen.

George's tune, but not George. It depends on who "we" is, but definitely a well known band in certain circles. This one is going to surprise people. Yeah, right? Semi-ID'd, but this one deserves more recognition. It is not. This one is one I expect no one will get, but I'm hoping some people will be interested enough to seek it out. It is neither. A hint, this is somewhat more "inside" than what this player is typically noted for. Very definitely based on a Santana influence. Needle drop. I'm surprised that nobody has bagged this one. Perhaps one of the two most recognizable players in the test. Ding! Ding! Correct. Originally released on The 2nd John Handy Album.

Not Stanley, but I'm sure he wouldn't have minded the paychecks. He's more associated with another big tenor. Not overseas. The short songs are in keeping with the history of the leader. It *is* the pianist's date, but he goes back further than the stock you mention. James Wiliams is probably the closest of that bunch. I'm very pleased by the response to this track. Good ears. Trombonist IS the leader, and yes, this guy listened to a LOT of Sam Rivers -- every time he played. That would be the man himself. Excellent ear! It IS John Hicks, but not with the missus. I don't know about the quote. Yes, it IS Dick Griffin. I hadn't intended it, but this BFT could really be centered around people deserving more appreciation. The great thing about this group is the way they function as a unit. A very unique tribe. Glad you enjoyed it!

Hello all. I know I'm starting this a tad early, but I'm going to be vacationing the last week of the month, so I wanted to get this started. I'll make sure Bill has the link and send it to whomever has signed up before I leave. I won't be starting the discussion thread until I return, however.