tkeith

No promises, Bud. Heck, there may even be a Lou Merloni if I wasn't careful.

Okay, with apologies for the slight delay, here is Blindfold Test #216 for March. Nine songs, quite all over the place, so first, a word about my process. Throughout the year as something really grabs me, I'll make a list for what to include in the BFT. Before compiling, I search to make sure the songs haven't already appeared in a BFT* (*this is an imperfect science as it HAS happened several times, but I DO try). With apologies in advance to Jim, I promise man, I'm not trying to send you over the edge with the length of these tunes -- it's just the way it worked out. However, since Jim laid a Rusty Staub on me, I'm going to ask that you think of these tracks as a Juan Marichal or Luis Tiant outing, not this "opener" crap. Test can be found for listening or download here: http://thomkeith.net/index.php/blindfold-tests/ There is at least one "gimme" (probably 2), and at least one "is not possible" (probably 2).

Yes, go ahead (didn't even realize that had happened).

Thanks, Mike. I know Bill tries to space them by a calendar year whenever possible, so, my pinch-hitting performance notwithstanding, I'm going to do my level best to respect that.

I'm going to jump in as I don't have a month scheduled, yet. Seems Bill is quite under-the-weather, so I'm going to pinch hit on that side, for the moment, as well. Please allow me a day to pull this together.

I might as well stick with July, Bill, though in a pinch, I'm not opposed to taking a different open month based on need.

God I love reading Jim's reactions! I hear tell there may be a March opening.

Your self-assessment was correct -- I don't think I had one relevant guess. Enjoyed much of this test. A couple, not at all. Either way, all new material to me, which is a good thing. Track 01 - Thought I was on this at the outset. Turns out, I am not. Very peaceful, though. Don't hear this mix often, and it's nearly enough to get me past my disdain for the clarinet. Track 02 - Odd, Ran Blake sort of feel. Like if Ran Blake played Mingus' Jelly Roll. Enjoying it, though. No clue who it is. Track 03 - Sheesh. Speaking of, this really reminds me of the Clifford Jordan/Ran Blake split bill on Mapleshade. It's not that, but very much that feel. Very strong alto tone with a heavy nod to the bop language while being decidedly not that. Bassist sounds like John Lockwood at times, but I don't believe it is him. Track 04 - I know this -- it was prom night! I want to dislike this more than I do. She can sing, and there's something happening here, if only to spite me. So, it actually loses me a bit when she drops out. Just not a fan of that compressed, chorus-laden guitar style. That said, once I get past that, this is pretty danged good. Damnit, I think I like it. [Listening on the back porch taking advantage of a 59º day, and the neighbors do not agree. That just makes it better!] Track 05 - Not sure what the piano is so angsty about, because the bass/drums are laying down some beautiful sh*t. That said, it still works, though keys are harshing my buzz a bit. Once we get going, works really well, though. Oooo... happy tenor time when we get there. I'm liking the tenor. Not sure I'm hearing a unique voice, but it's close. There's a lot of those omnibook lines wokring in, but overall, very melodic, seemingly honest approach to what is being said. Very curious who this is. Modern recording because the stick hitting the cymbal is flat annoying (please stop mic'ing every damned inch of the kit!). This one also works, but the tenor seems to carry a large chunk of what makes it work. Seems to my ear to be a Chico Freeman-adjacent player. Track 06 - Sorry, but why. Nothing wrong with it, just has an air of 'who cares?' to me. Excellent musicians who aren't creating anything. Could be Kenny on trumpet, but more likely someone influenced by him. This is that period I just don't really access. It's not out, it's not in... it's not for me. Envious of the musicianship, for sure, but wish there was more being done with it. Track 07 - Not feeling this. Nothing wrong with it, but owning a bass clarinet is not a good enough reason to record with it. Not hearing a distinct voice, or if I am, not hearing one that maintains my interest. I assume this is a tenor player doubling. On tenor, I'd probably appreciate this more, but the bass clarinet does not hide short-comings well. Track 08 - Like the feel of the rhythm section, a lot. Not sure the tenor is rising to that mark. Been in a text convo while listening to this, and that's about what I can say. Stand by the first comments. Track 09 - First, pay royalties to Ellington for Take The Coltrane. Second, STOP MIC'ING EVERY SQUARE INCH OF THE DRUMS! Drums sound like sh*t! Really capable musicians, but I'm not hearing the music. I've listened to all of all tracks... until this one. Nothing about this is resonating and I want to punch the engineer in the face. I might have enjoyed the McCoy clone more, but that recording... FFS! Track 10 - Now THIS has my interest. Slight drop when the full trio comes in, but more a factor of how strong the bass opening is. Yeah, this track is a winner.

I have grounded myself for missing Frank Foster. Shame on me. Tune is definitely NOT Simone, though.

^^ No one-trick pony he. #SangryFTW

Learned from the master.

Negative. Don't mind the baby faces -- the uni on the right is a key hint.

Ooops! Sorry, wrong thread.

No idea what became of Richard. As for the Novus connection, it's plausible, but the reality is, a Jackie clone in his 20s is far less appealing to the masses than one in his teens. Always wondered what he would have sounded like if he'd committed finding his own sound. Had all the chops, but I have most of Jackie's stuff, and I prefer the original.

Saw Richard sit in with James Williams, Bill Pierce, John Lockwood and Billy Higgins at The Willow. With James' permission, I taped that night. Lyle Mays sat in on a tune, as well. Couple of years later, my Dad caught a night featuring Christopher, and 60 Minutes was there to film it (believe Billy Higgins was on the throne that night, as well). Kid could play, but once the youth wore off, people rapidly lost interest. Last I knew he was a HS band director. Oddly, I now live in his home town.

You say Potato, I say "no thanks, I'll have the rice." To be fair, given Jackie's time in academia, that's a pretty extensive list.

Other than Rene?

frayed knot

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

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

DAMNIT!

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

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

Jeez, Julian!