tkeith

Thanks, Felser.

Here is the BFT Master list, with links, beginning with BFT #74 from April, 2010.Please do not post in this thread. PM me with questions or corrections.For more information about the Organissimo Blindfold Test, see the Blindfold Test FAQ thread For links to BFT #1 through 73, see the Blindfold Test Master List, Volume 2 #74 - The Magnificent Goldberg - April, 2010 (discussion) (answers) #75 - Thom Keith - May/June, 2010 (discussion) (answers) #76 - Bill Barton - June/July, 2010 (discussion) (answers) #77 - clifford_thornton - August, 2010 (discussion) (answers) #78 - Hot Ptah - September, 2010 (discussion) (answers) #79 - Michael Weiss - October, 2010 (discussion) (answers) #80 - colinmce - November, 2010 (discussion) (answers) #81 - Tom in RI - December, 2010 (discussion) (answers) #82 - jeffcrom - January, 2011 (discussion) (answers) #83 - king ubu - February, 2011 (discussion) (answers) #84 - Spontooneous - March, 2011 (discussion) (answers) #85 - Alex - April, 2011 (discussion) (answers) #86 - NIS - May, 2011 (discussion) (answers) #87 - Joe - June, 2011 (discussion) (answers) #88 - Dan Gould - July, 2011 (discussion) (answers) #89 - Thom Keith - August, 2011 (discussion) (answers) #90 - BillF - September, 2011 (discussion) (answers) #91 - fent99 - October, 2011 (discussion) (answers) #92 - Hot Ptah - November, 2011 (discussion) (answers) #93 - mikeweil - December, 2011 (discussion) (answers) #94 - jeffcrom - January, 2012 (discussion) (answers) #95 - Hardbopjazz - February, 2012 (discussion) (answers) #96 - Spontooneous - March, 2012 (discussion) (answers) #97 - king ubu - April, 2012 (discussion) (answers) #98 - thedwork - May, 2012 (discussion) (answers) #99 - Stefan Wood - June, 2012 (discussion) (answers) #100 - Dr J, who presented the very first O forum BFT - July, 2012 (discussion) (answers) #101 - Thom Keith - August, 2012 (discussion) (answers) #102 - BillF - September, 2012 (discussion) (answers) #103 - colinmce - October, 2012 (discussion) (answers) #104 - Hot Ptah - November, 2012 (discussion) (answers) #105 - JSngry - December, 2012 (discussion) (answers) #106 - Big Al - January, 2013 (discussion) (answers) #107 - Hardbopjazz - February, 2013 (discussion) (answers) #108 - Dan Gould - March, 2013 (discussion) (answers) #109 - The Magnificent Goldberg - April, 2013 (discussion) (answers) #110 - jeffcrom - May, 2013 (discussion) (answers) #111 - Joe - June, 2013 (discussion) (answers) #112 - webbcity - July, 2013 (discussion) (answers) #113 - NIS - August, 2013 (discussion) (answers) #114 - Thom Keith - September, 2013 (discussion) (answers) #115 - felser - October, 2013 (discussion) (answers) #116 - Hot Ptah - November, 2013 (discussion) (answers) #117 - mikeweil - December, 2013 (discussion) (answers) #118 - Spontooneous - January, 2014 (discussion) (answers) #119 - Hardbopjazz - February, 2014 (discussion) (answers) #120 - Stefan Wood - March, 2014 (discussion) (answers) #121 - Dan Gould - April, 2014 (discussion) (answers) #122 - The Magnificent Goldberg - May, 2014 (discussion) (answers) #123 - Tom in RI - June, 2014 (discussion) (answers) #124 - fent99 - July, 2014 (discussion) (answers) #125 - awesome_welles - August, 2014 (discussion) (answers) #126 - Thom Keith - September, 2014 (discussion) (answers) #127 - Homefromtheforest - October, 2014 (discussion) (answers) #128 - Noj - November, 2014 (discussion) (answers) #129 - felser - December, 2014 (discussion) (answers) #130 - alex - January, 2015 (discussion) (answers) #131 - colinmce- February, 2015 (discussion) (answers) #132 - Tom in RI- March, 2015 (discussion) (answers) #133 - Dan Gould - April, 2015 (discussion disc 1, disc 2) (answers disc 1, disc 2) #134 - Hot Ptah - May, 2015 (discussion) (answers) #135 - Hardbopjazz- June, 2015 (discussion) (answers)

That's the bright side. Love those lyrics. Dirty old men making a statement. Correct ID on the tune. I agree on the drummer, and I think a lot of people will be surprised by the entire cast. The trumpeter should be royalty, instead of the insider that he is. Bassist should also get more love. I agree about the bass player. Oddly, he is completely forgotten. Most don't even know of his association with this band. This is going to surprise a lot of people. This, to me, is nearly mandatory for the collection, if only for it's role in an historical context. You might want to give it a second chance later. A fair assessment. I feel similar, but after hearing it, just can't clear it from my head. Not Roney, not Scott. People NEED to know this guy. Fortunately, it's relatively early, so there is time. Not a bad guess (and what drew me in to the song), but not AI. The organ solo is the key to this one. I get what you're saying, but as this sort of thing goes, this should have gotten more exposure. Great assessment all around. I think people will get this one, so I'll refrain from further comment. Not BN, but not a bad guess. Not a vinyl rip, but definitely started that way. Yes, 'bone player's album. Bassist is a MONSTER. It isn't, but originally was. Correct! I had the pleasure of spending a couple of days with the man and he is truly a survivor and ambassador of the music. When you look at the scope of musicians across genres this guy has worked with, you realize he's one of the last connections to the true history. Ding! Ding! Handy gets no love, and I will never understand that. You would think the solo on Goodbye Porkpie Hat would cement him in the history of the music, but nobody even know the name. The instrumentation of this band is one of the most unique and interesting I have heard. AND, it works. Glad you enjoyed it!

Wow... so, I guess the "upgrade" does let you toggle to raw code any longer. That sucks. 1 - Correct on Tate (didn't figure I was going to fool many on this one, but how could I not include it?). 2 - I like your assessment. This is a decidedly odd version of someone else's tune. It's the mix of players that lead me to include it. 3 - This is going to surprise some people. 4 - Hadn't thought about the MI link, but you're right. This one blew me away when it crossed the iPod. 5 - Ding! Ding! This is EW's Light on the Path. We'll leave the specifics open to guesses. Such a great track. 6 - Not BWW. 7 - I'm really looking forward to the feedback on this one, as it's not like anything else I typically would include on a BFT. 8 - Yes, I heard that in there the first time, too.

Tate and Wells, both correct. Well done.

It makes me happy that somebody likes that drummer. Too few people are familiar with him.

D'oh! Just back from vacation. Here is the link: http://www.thomkeith.com/BFT/bft136.html

Bill has the link and will post it here (I assume) as the date approaches (I'll be on the road). It's a bit of a mix. Some stuff I expect will get nailed in two notes, some stuff I expect will stump folks.

HBJ, yes, Alden is my guess on Warm Valley (track 6)

One of those tricky, live sorta tests... I'm dig. Track 1 - Greasy. I like it. Reminiscent of some of Jeff Coffin's later stuff, but with more grit. I was liking the patience of the saxophonist, but he's started getting altered extension happy, and it's kind of lost the groove. It's a burner, but it didn't quite hold for me. Track 2 - The way you look tonight. Not a band I'm familiar with, but chops to spare all around. No guesses. Track 3 - Borrows flatteringly from Killer Joe. No guesses, another band with skills. Track 4 - This has a nice mix of old and new. Has a bit of a feel like Lou Donaldson, but then has the chop-heavy rhythms of Kenny Garrett. May well be KG. Right about 3:45 is a lick that almost loses the rhythm, but doesn't; has me thinking Joey D. Again at 4:10, a very Joey D line. That would lend some credence to the Kenny Garrett guess. Very bright sounding snare -- feel like I should know the drummer. Track 5 - I love this at two notes. Easy Living. The intro from the rhythm section reminded me a lot of Buck Hill's second Steeplechase date with Kenny Barron, Buster Williams and Billy Hart. Tenor player sounds like a younger guy the more he plays (or maybe I'm just getting old). Some very chop-heavy lines in there, sort of like Ricky Ford, but much cleaner than that. Second listen: I've got him at 5:15, but for a bad reason. It works here, but he does something that flirts with the line of taste and that's what outted him -- it's Craig Handy. Not sure what the band is. Could be Buster Williams on bass. Solid, tight rhythm section; drummer is for real. Track 6 - That confused me for a second -- nice segue, well done. Damned song is going to confound me... GAH! Sounds like Howard Alden to me. Tastefully safe. AH! Warm Valley! Track 7 - Sure could be Gene Harris on piano. Hmmm... maybe not, but derivative. No idea on the guitar, and not feeling GH any longer. But man, now into the solo, it sure could be. This has a terrific feel. About 3:05, no way that's Gene -- too flashy, but DAMN! This guy can PLAY! Can't place the song, but I know it... almost sounds like a Tristano tune, but seems more of a standard than that. Track 8 - I like the idea behind it. No idea who this is. Track 9 - Nice solid flute sound. Thinking saxophonist doubling -- has that heavy sound. Tune has a new agey quality about it at points, but more of a soul base than that (sort like Harold Land's album of folk music). I could listen to a lot of this. Reminds me a lot of Jim Pepper, too. And now, we're onto something else, but equally tasty. That soprano suggests I was right about the doubling. I like this Coltrane rhythmic feel that develops. Saxophonist shows that Trane/Shorter influence, but seems to have his/her own thing in the attack and vibrato. Now we're into full 'Trane. Could be Azar Lawrence. Very nice. Track 10 - Another Yew. I like this guy's sound and approach, but there are some spots where he rushes a bit, sort of like Jimmy Heath. Maybe Chico Freeman? Wow, really has that Jimmy Heath timing -- could this be later Jimmy? Overall, I like the take on the tune. Not trying to set any sort of records for innovation, but just a quality take on the tune. I'm going to say it's Jimmy -- he's just doing that time thing too much. Track 11 - That's Charlie Rouse, no question. Is this a live Sphere date? Can't hear the bass too well, but that could certainly be Ben Riley, and I've been thinking Kenny Barron. Man... song is driving me nuts... I know it, but can't place the title. Track 12 - It's a Shorter tune from the Messenger years... Contemplation. Could be later Wayne, I suppose. Sounds a bit too brutish to be Wayne. Though, really struggling with the low end, which is certainly true of Wayne in later years (too much time playing the unemployment stick!). Track 13 - Now's The Time. Well, I hear Johnny Griffin there in the head. And there is definitely Von Freeman. Man, that would be a FUN night! After reading thread: Egad. I thought I'd done alright on the latter part, but I just got schooled, hard.

Track 1 - Way before my time, no idea who. It’s interesting to me because I can hear the influence on guys like Jaki Byard and Don Pullen, but it’s not something I would go to. Track 2 - Know not the trumpet, but that’s Jug. Very go-go bar rhythm section, but I’d listen to Gene floss his teeth. Second listen: It’s not Art Farmer… maybe Howard McGee? Track 3 - Definite Jug influence on the tenor, but not him. Could be Gator, but seems to lack his distinct approach. Not certain. Rock ’n’ Roll Illinois? Track 4 - Something familiar about the trumpet, but then just when I think I’m ready to guess, he throws me off. Tenor sounds most like Stubblefield to me, but this is way too old to be him. Touches of Mobley, but not him. The bari sound is pure Charles Davis, but he doesn’t make sense in this context. Second listen: D’oh! That’s Sonny Blount! How’d I miss THAT first time through?!?! Had to paw through the collection: it’s Track B3 from this. That, naturally, was John Gilmore on tenor and, as I heard, Charles Davis on bari. Track 5 - Caravan. It’s trying to swing, but not really pulling it off. I can’t place the players, but the whole things sounds like they’re working out of genre. I don’t know if they’re swing players trying to play Latin music, or Latino players trying to play swing, but something isn’t quite working. Some of Tito’s stuff struck me like this. Track 6 - Another Caravan. Sounds like Abdullah Ibrahim to me. Track 7 - Don’t recognize the pianist. Seems out of the same school as the previous cut, but doesn’t seem quite as strong as track 6. Track 8 - I have this. That’s Ra/Gilmore from this. Track 9 - Lester Bowie! Or more accurately, the AEC From this! Track 10 - Woo-hoo! Track 1 from Air Lore! *SUCH* a great record (and my introduction to Henry Threadgill). Track 11 - Sounds distinctly like Benny Carter on alto, but I don’t recognize the others. Track 12 - Newer. Could be earlier Lovano (my first instinct), but I like this guy’s sound better than the flattish, rubbery sound Lovano gets. Of that generation, though. Don’t recognize the others. Drummer is very heavy, sort of like Tain. Track 13 - Moments Notice. Sure sounds like McCoy on piano, definitely Tony Williams on drums. Contextually, I would guess Ron Carter on bass. Some wholesome goodness in here!

Track 11 - That'll be Hank Mobley's A Baptist Beat (one of my favorite HM tunes/albums). I was completely perplexed as I know of only two versions of this song, so I hit the interwebs and learned that it is track 4 from this [http://www.allmusic.com/album/up-a-step-mw0002375957]. Not somebody I was familiar with. I generally like what he's doing, but like most of the modern players, he needs to do some unlearning of the muscle memory if he is going to have a distinctive identity. I give him massive props for doing an album of Hank Mobley tunes. It's about damned time somebody did. Track 12 - A very herky-jerky take on Moanin'. At times, it seems to burn, but at times, it seems very clunky. Track 13 - Straight, No Chaser. Doesn't seem like a Jazz band so much as either a modern blues or crossover band. Track 14 - I'm in at the bass hook. Sounds like a nice way to get around paying Eddie Harris royalties, but well done. Solos seem to lose the identity of the tune a bit. Again, leaning towards a modern crossover band. Oh mercy! At 3:00 somebody owes Eddie not only royalties but a quote citation. Track 15 - I liked the vamp, but the tenor leaves me cold and the whole thing gets very pensive rather quickly. I enjoy the trumpet solo, but the background isn't quite doing what my ears want it too (which is probably my problem, not theirs). I'm wanting that Billy Harper kind of background and it's much to polite to achieve that. It's solid music, just doesn't reside in my neighborhood. Track 16 - First impressions are midway between two of my faves: Woody Shaw and Charles Tolliver. Newer than either. Sounds an awful lot like Harold Land on tenor, but I assume it’s also someone newer (perhaps studied with Land?). Track 17 - The interviewer sounds like the guy who interviewed Coltrane on that Miles/Coltrane Quintet live double disc (with the interview split between the two sides), in Stockholm, if I recall. Great stuff. Track 18 - Okay... I'll go out on a limb and say both 17 & 18 are Gene Harris (partly because it's been awhile since he's popped up in these parts). Track 19 - Needle drop in sort of rough shape. In general, I like this because of the piano, but the drums are pretty stiff. I'd call this a keeper, but I can't say who it is. Track 20 - This one is kind of stiff off the bat. It's not that I don't like it, it just doesn't feel like it's swinging -- it feels like it's TRYING to swing. No guesses. Track 21 - No idea what this is. Two listens and I've got this weird Sidney Bechet thing nagging at me, but I can't put a name to it. No idea who, but could be Sweets on trumpet. Could be somebody like Red Holloway on tenor. Of the last three, I think I like this one the best upon repeated listening.

Track 1 - Oh! I know this. That bitchin' bari vamp. A-ha! That's Junior Cook. Hmmm... no, too Coltrane. This will need a second listen. And I still can't place it, but man, that hook is awfully familiar. Track 2 - Has that Concord sound, but given the needle drop, I'm leaning a Pablo date. Okay, and a live date. Nice, laid back, swinging date. Bass solo doesn't resonate but enjoying the guitar a lot. Track 3 - I'm a sucker for this style. I used to have a lot of this sort of thing in my collection when I was younger (or maybe it seemed that way because the collection was smaller). This is very nice, and there is something very familiar about the timing in this pianist's touch. Heavy McCoy-ish touch. Track 4 - Give me a second on the title... I can hear the lyrics. Ah!, Jumpin' at the Woodside. A touch of Jaws, but not him. A firebreather, for sure, though. [second listen] -- I'm going to say Arnett Cobb, but I think later. Track 5 - Sure sounds like Ash to me. Again, sounds like a Concord recording. Less like Ashby as it goes on, but someone in that vein. [second listen] Man, there are points I'm positive this is Ashby, but then I waffle. I'll commit and say it's him, but it's not something I have. Track 6 - Gator? Good ol' rock 'n' roll saxophone. I'm in the right neighborhood, but I'm not 100% sure; I'll go with Gator. Track 7 - Huh... almost has that Graham Bond Organization sound. No idea. Track 8 - Off the bat sounded like Joe Williams, but then it became clear I need fresh air as that is clearly not right. The last few songs have me yearning to hit a smokey bar and watch some chick in a bouffant hairdo dance in a bikini. Track 9 - It should have been me... evidently sung by a young man. It's none of the guys I would typically think of who were working at this age, so I'm rather clueless. Track 10 - Sister Sadie. Done by people I'm not familiar with, live. Seems like it might be the drummer's gig, and I was thinking it could be Philly Joe based on the snapiness of the drums.

Huh. I'll be damned.

Tom, is it Patience or Stubbs on #4?

Second half: Track 6 - More odd meter. I know this guy. If not Billy Pierce, somebody out of that school. Second guy is an older player. Touches of Shepp at times, but it's not him. If not an older player, somebody a tick below the first guy. Something about the bass has me leaning Ray Drummond. Almost Elvinish drums at the tail end of the solo. [second listen] That's definitely Billy Pierce on tenor. No idea on the second guy -- not Shepp. Still leaning Ray Drummond on bass. Huh... something weird here... I'm typically not a big Alan Dawson guy, but I like this a lot and I'm nearly positive that's him on drums. Track 7 - Very clean (maybe a bit too much so). I'm hearing Bergonzi. Don't recognize the bari. This reeks of the conservatory. Track 8 - I know this. At least the tune. Pretty sure I have this. Oh man. I know this, definitely in the collection. Yeah, something about that tenor -- I know this guy but I'm missing it. Second solo, and there's Frank Wess. Oh! Yes, it's track 7 from this. Yeah, man, there's Kenny Barron. Gotta re-queue this again -- love me some Frank Foster! Track 9 - Oh, that's a familiar bass hook. Something not quite firing on this. I like the tone of this guy, almost a little out -- has a cry to it, but doesn't seem like it's his best day (sort of like more recent Shepp). Oh! About 2:45 -- that's Cedar Walton on piano. Yes, definitely. Doesn't sound like smiling Billy on drums, so I'm going to assume it's more recent. Can't place the bassist, but I like his note choices. Something with Cedar -- best I can do. Track 10 - Later Jug, that much is certain. Terrible sound. Could be Grady Tate on drums. No idea who that guitarist is, but I wish he wouldn't. Could be Ron Carter on bass. Something both old and new in that pianist. I feel like that's a clue, but I can't place him. Track 11 - Trumpet sounds like one of those Steeplechase guys -- Smoker/McNeil/Swana. Not that familiar with them, but getting that way thanks to a trumpet-playing friend hooking me up. Tenor is not familiar, but seems like he should be. A definite survivor, but not one I'm familiar with. A bit like Junior Cook, but more muscular. Second tenor has touches of Rouse, but it's not him. Two guys I need to know better. This isn't a 100% hit for me, but something I feel like should be in my collection (sort like the later Buck Hill stuff). Looking forward to the reveal!

Apologies for the late sign-up. Listening at work (getting the productive juices flowing. Some good stuff in here in the early offerings. I'm not entirely confident, but I've definitely scored a few IDs. Track 1 - If it's not clear by now, I'm a sucker for all things in 3. This would ordinarily be a bit clean for my ears, but it's in three, so I like it. Not a guitarist I'm familiar with, but seems to be out of the Doug Rainey neck of the woods. I like the bass (again, not a surprise), though overall, the improvisation of the guitar is leaving me a bit cold. It's thoughtful, but not particularly interesting. Track 2 - Sounds like a Concord recording. Understated. Just swings without being ostentatious. I like it. Track 3 - St. Thomas a la two tenors. First has a big sound but out of more of a modern player. Reminds me of Booker T. with a lot more chops. Second one sure sounds like Harold Ashby to me. In fact, that's who it is. That's a clue... trying not to resort to looking it up, but I've got to think who he collaborated with. Sounds a lot like somebody out of the Kenny Barron school on keys. [second Listen] A clue around 1:20 to this guy's ID. Again at 1:33. At 1:40, I'm calling it: that's Benny Golson, albeit later BG. I don't know what this, but Benny is rippin'! Track 4 - Man, the sound on this recording is rubbing a bad part of me. Sonny Moon For Two. I know that tenor. He's got some filth on there, despite the clunky articulation (which works, by the well). Could be later Johnny Griffin. First impression was Stitt on the second tenor, but then George Coleman. Could even be Golson, again. [Third listen] Not sure on the first guy, but not JG. Not a bad guess, though. Middle is definitely Big George. Third guy sounds a lot like Stitt, but not as proficient. Could be later Houston Person. [Fourth listen] First guy... it doesn't fit, but there are some lines and phrasing that have me leaning Stubblefield, but the overall tone is too Texas Tenor for him... maybe Patience Higgins? I have to move on. Track 5 - First thoughts are Dave Stryker on guitar. Sure sounds like Fathead to me (a good thing). This is a weird comment, but it sounds to me like the sax is dubbed in later. I'm 98% sure that's Fathead. The rhythm section is striking me too hard. Organ is too tasteful to be any of my first thoughts. Very patient in the way he builds his improv -- I like that. Drums and guitar just aren't bringing a helluva lot to this to my ear. Organ solo is veyr nice, again, very patient. More later...

DL please

Apologies for the issues you ran into, Colin. Should be good now. This was an interesting BFT, and I rewarded myself for all the hard snow removal with a little listening time, so here's my take: Track 1 - Odd beginnings. I like it. Song sounds familiar, but I’m quite sure I’m crazy. Hearing some elements of a WSQ tune, I think composed by Hemphill, called Hymn For The Old Year, but it’s not that. I really like this once the tempo kicks in. Tenor could be Ayler — strong and crying, but sounds too new. Reverend Frank, perhaps? Very much liking this. I love the bowed bass and tenor in the beginning. May have to borrow that arrangement. So… guitar, tenor, bass clari, and bass… something about that guitar has me thinking Allen Lowe. Track 2 - Not sure what it is. Takes awhile to get going, but is nice once it does. I’m not 100% if I like it or not. I’m going back and forth between liking it and thinking it’s dragging on (I think I’d like it upon repeated listening). The percussion in the beginning really does take a bit to get going. Track 3 - That’s Michael Moore, for sure. That makes me think Bennink. Oh! I know what this is — it’s Clusone Trio. Moore, like all things Dutch, is someone who always piques my interest. It’s not even that I love it, I just can’t ignore it, ever. Amsterdam may be the coolest place on earth. Track 4 - Needle drop. A lot of facility in this player. It wouldn’t be the first thing I grab, but a dark night, no lights, I could enjoy a whole lot of this. Seems similar to some of the Bill Dixon stuff, but I think this is a European player. Track 5 - A live recording (late 70s?) of Take The A Train. Sounds to me like an outside player intentionally playing inside. Could be Cameron Brown on bass. I’m guessing this BFT is heavy on the European players, though. Track 6 - It’s track 6 from this. I can never fully warm up to Kidd. He’s a bad ass player, but he never fully resonates with me. What’s more, I typically love Parker, but with Kidd, less so. I could, of course, be crazy, but that’s what my ears are telling me. Drake is always awesome. I’m reading Parker’s WHO OWNS MUSIC? right now. What an amazing human being. Track 7 - At first, the tenor sounded like Charles Brackeen, but then he started to get too technical. I like him, but something isn’t entirely clicking for me. There are some monstrous moments, but then he kind of loses me. Monster player, though — no doubt about that. Digging that bass, though. A bit of David S. Ware in the tenor, too, but seems to be thinking too much as opposed to staying within the music. On second listening, I like this. That tenor is mean. Aggressive and feisty, I was wrong to dig on his facility — this is a bad man. Not Ware, but in that neighborhood. That bass player has the facility of Stanley Clark on those note-filled runs, but man, he’s got that David Holland style low end. This is good — looking forward to the reveal on this one. Weird guess on the drums - could be Motian, but sounds very aggressive. Track 8 - This has that European abstract style that I’m less familiar with. It’s interesting, but I think I’d be more into it live. It’s a lot of work to listen to (which is not necessarily a bad thing) but I think I prefer a bit more of the blues. Track 9 - This is really nice. A lot of precision in this player, but very thoughtful. Even when he gets a little out, he finds his way back to that melodic beginning. There are a few points that get a little abstract in relation to the original feel, but still, I like this. Reminds me of some of the Tomasz Stanko stuff, but it’s not him. Track 10 - Big, beefy sound. This seems a shade older, but not too old. I’m pretty certain it’s Fred Anderson. It’s not Drake or Parker, though. Definitely Fred. Second listen — oh, wait! The tune is Fred’s Wandering. I have it as a duet with Harrison Bankhead. This isn’t Harrison on bass, either. This is good stuff. Like Kidd, Fred can be hit or miss with me, but one thing is certain, he’s always putting it out there. Track 11 - I’m all in on this from the get go. First impressions are maybe one of Peter Apfelbaum’s groups, but it seems a bit too out. Very aggressive alto. That bass line is hypnotic. Wait a second -I have this. I’m sure of it. Ah, this is Dennis Gonzalez. Yes, there is Charles Brackeen. Such a cry! Oh, yes! I *do* have this — SUCH a great record! Track 1 from this. Been awhile since I’ve played this. I think I’m about poised for another Dennis Gonzalez kick. The Skipper is such a beast and it’s a beautiful mix with the cello on this cut. Track 12 - A little abstract for my blood. Not really feeling it.

That was the way I read it. Seems like a Basie combo, but I can't say who would be in it.

Did he confirm it wasn't Lester? I don't see that.

OOo! I like the Herschel Evans guess, but something about the time still says Prez to me.

Well, got to it (while sitting in a room where students are rehearsing a play... this is NOT the way to listen). Recognized more than I thought I would (including an album in my collection!). Track 1 - Not my genre, but sure sounds like Armstrong to me. And now with the voice, I’m sure of it. No idea what, but confident it’s him. Track 2 - This sounds a bit new — bass seems more actively involved in the song. Ah, that would be Ms. Holiday. A youthful one at that. Track 3 - Tune is Minor Swing. Don’t know if this is Django or not, could be. Track 4 - It’s early Basie, for sure. There’s the president. Man, such a BITCH over time — love it. Arguably THE best “time” player, ever. He’s so much more aggressive than he’s given credit for in common circles. Had to consult the interwebs for the title, but I believe this is Oh Lady Be Good! Track 5 - Well, it’s St. Louis Blues, but any guess as to personnel would be trite and silly on my part. Track 6 - Ah! Finally! One I actually *know*! Lionel Hampton’s Flyin’ Home. Heard this on NPR when I was a kid on NHPR, including an interview with the soloist. First time he played this, he was approaching the band stand and, "Marshall Royal, the first saxophonist, leaned over and said, ‘Do it for yourSELF!’” At least due in part to that interview, I’ve always had a very warm reaction to this recording. Track 7 - C-Jam Blues. Sounds like the man himself on piano. Definitely his band. Nance on violin (always a treat). Big Ben on tenor. Given the time period, I’d say Barney Bigard on clarinet, but not from recognition. Track 8 - I was thinking tame Hawk at first on tenor, but that’s Mr. Young, again. No idea what this is, but MAN, that guy cooks! Track 9 - Again, no idea and any guesses would be trite and ridiculous. This is about the time that I struggle to listen to; something about the bouncy nature of the time. Track 10 - Ditto. Track 11 - Oh my… mega dittos. Track 12 - Well, I don’t know what, but I know who — Mr. A. Track 13 - Okay… now I’m doubting myself, because it sounds like that guy… again. Unless you’re toying with us, I’m now doubting my call on track 12. Track 14 - Getting closer to my era. It’s somebody I’m less inclined towards (that’s code for a “white” band, but when I say that, I always get in trouble). Clarinet is kind of stiff, like Benny Goodman. Oh! That’s because it’s Benny Goodman, All The Cats Join In — my grandmother loved this song. (I’m not being funny, she was pretty hip) Track 15 - I don’t know the song, but I know the clarinetist. That’s Artie Shaw. I heard a great story about him speaking at a Jazz educators convention. Ernie Sola attended with a friend and Artie was the keynote speaker. He started by saying, “All of you, are liars. You’re all claiming to do something that can’t be done — teach Jazz.” I’ll always love him for that comment (as did Ernie). Track 16 - It’s Tea For Two, but I have no idea who by. Makes me want to hear Lester’s vocal version, though. Track 17 - No clue. Has the bounce of the older stuff, but sure sounds like a newer recording. Is this a throwback band? I actually like what the trumpet player is doing, a lot, but that bounce gets to me. Track 18 - No idea what the track is, but it’s Sir Edmond Hall from The Happy Man. My father gave me this record. What are the odds? Track 19 - No clue. I wanted to say Django early, but later it sounded way too modern. Track 20 - I like this off the bat. Helluva band. A-HA! I almost said I thought I heard Quinnichette in there, that’s definitely him on tenor. Am I hearing two baris in there? Man, I need this. Track 21 - That bouncy style in a modern recording. No idea who or what. Track 22 - Almost sounds like Phineas, but I’m confident there is no Phineas I do not own. Also, not quite as… spotless as him. Unsure. Nice, though. Track 23 - Even more modern recording. No idea. Not my thing, but respect it. Track 24 - No clue.

Here's the sad answer to some of the Nate Morgan questions. Jazz legend Nate Morgan dies of heart failure ‘Did what he came to do’ OW Staff Writer | 11/27/2013, midnight Nate Morgan 3 Longtime Jazz pianist Nate Morgan died recently of heart failure at Gardena memorial hospital in Gardena, Calif. He was 60. Rene Fisher, spokesperson for the Morgan family, says funeral arrangements are pending. Before his passing, the famed musician suffered through a series of debilitating illnesses including a stroke that temporarily sidetracked his career in 2008. Morgan’s eclectic artistry behind the ivories put him in elite company among other Los Angeles Jazz musicians and solidified his place as a bona fide master of the genre. In 2002, a community-wide tribute was held in response to Morgan’s failing health at the then newly opened Jatkodd Cultural Fine Arts Center in the Crenshaw District. Over the years since then, various benefit concerts and gatherings have taken place to honor Morgan’s legacy. Philomine Morgan, his wife of more than 30 years, says she has fond memories of her husband’s loving spirit and playful attitude. “These last five years he kept me laughing,” she recalled with a chuckle. “He made sure to say ‘I love you’ every morning and every night. He also sang to me every chance he could get.” She continued, “Before he died, he told me that he has no regrets, that if he passed he did what he came on this earth to do.” During his final days, Morgan’s diminished health almost required the removal of his arm, Philomine added. “I couldn’t let that happen” she said earnestly. “He’s not just a musician, he’s an artist. When the doctor told me he might have to amputate Nate’s arm, I said: ‘if you can’t save his arm, don’t wake him up.” Morgan spent part of the 1970s playing for Rufus and Chaka Khan and collaborated in the early 1990s with rappers Bone Thugs N’ Harmony. He’s also been touted as one of the best kept secrets of the Los Angeles Jazz scene. Morgan is survived by his wife and their six children. Darius Nathaniel and Deshonda Johnson, and Nymekye, Jabari, Dors and Yusef Morgan. Now I'm fascinated and confused. I need to find out who the 52-year-old Nate Morgan who is friends with all of the LA Jazz people is that I am connected with on FB. Egg on my face.

I have no idea why, but you're absolutely correct. You know, based on his FB posts, I'm not even sure he's still playing. He attended one of the larger festivals this summer, but seemed to do so as a fan, which is astounding to me. On the upside, about five years ago, I shared a bunch of music with some of my students and one kid really gravitated towards Mirafu. He was an electric guitarist who took a degree in recording technology, but he learned basically that whole album on guitar. I walked in to school one day and heard electric guitar and acoustic arco bass playing Tapscott's The Sleeping Giant Is Awakened. It was surreal. I miss those kids.